Paul Thomas Anderson laments the “unnecessarily icky” aspects of awards season, but knows it's “the nature of the game.”
Paul Thomas Anderson:
Alana and Cooper are at the heart of this film. You’ve worked with Alana’s band, Haim, a lot. I’m curious about the moment you realize you wanted her to star in one of your movies.world-famous performance [in 2018], which is amazing because Beyoncé had three soundstages at Sony Pictures and we had a curtain and some fucking shadow puppets! [] Trying to bring some level of showmanship to the situation when you’re opening for the queen.
[The role] plays to a lot of Cooper’s strengths. Cooper’s very social, he’s very charming, he’s very easy. But there’s a certain moment where it really stops. What’s interesting is when kids have one foot in adulthood and another foot in adolescence. They’re so fucking vulnerable. They’re trying all these coats on for size to see what the real world is like, and that’s the character that he plays.
Joel Wachs is a city councilman in the San Fernando Valley and he’s an incredible man. When I was a kid, I didn’t know anything about what it meant to be closeted. I grew up in a very liberal family. It didn’t occur to me that you had to hide your personal life. But you’re right, the romantic view that we have of the 1970s—it’s all disco and flowers and great music and girls in short pants, but if you scratch underneath the surface, you find something a bit more sinister and dark.
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