On PT Anderson's Use of Color

The latest issue of Senses of Cinema includes Cubie King's intriguing look at PT Anderson's use of color in Punch-Drunk Love. In addition to the interstitial abstract animations by artist Jeremy Blake [which were originally meant to represent--is that too strong a word?--Adam Sandler's character's state of mind], King cites Anderson's recurring, particular use of red, white, and blue, and his inclusion of in-camera effects like washout lighting and lens flares. That's a lot.

King asserts that Anderson truly comes into his own in P-DL. But I recently rewatched Magnolia, and yeah, it's Altman-esque in its structure, but damn, that is one uniquely intense film. Tom Cruise is actually good, unnervingly so, [although the schtick gets tired when he tries it for real on Oprah; suspension of disbelief, my butt] and Julianne Moore, wow, what a sustained performance. Macy, too, now that I think about it.

FYI, Blake's latest trilogy of video work, Winchester moves to incorporate more representational and narrative elements than before. It's showing at SFMOMA through October 10. P-DL screens June 12 at the Museum as the last of a damn-I-missed-it Blake-curated film series.

Punch-Drunk Love: The Budding of an Auteur
Winchester, by Jeremy Blake [sfmoma.org]
Buy the Punch-Drunk Love 2-disc edition DVD or this sweet little Winchester exhibition catalogue [amazon.com]

Since 2001 here at greg.org, I've been blogging about the creative process—my own and those of people who interest me. That mostly involves filmmaking, art, writing, research, and the making thereof.

Many thanks to the Creative Capital | Warhol Foundation Arts Writers Program for supporting greg.org that time.

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