✱ “Magnolia (1999) was also a sprawling script, but it hung together better than Boogie Nights, not so much on a narrative level but on thematic levels, especially with the recurring Anderson theme of fathers and sons. Plus the deluge of frogs, structured to hit at just the right moment in the running time of the film. Punch-Drunk Love (2002) was Anderson's mostly tightly controlled film and closer to a more conventional film, as if Anderson was saying, "See, I can do that if I want to." There Will Be Blood (2007) had a sprawling plot, like Boogie Nights and Magnolia, but without the range of characters of the two earlier films. Daniel Plainview and Eli Sunday were both very emotionally closed off characters, which reduced audience involvement with the story. In terms of its narrative, There Will Be Blood has a lot going on outside of what we actually see in the film, and our suspicions grow that those elements may have been more interesting to watch than those we actually see.”
✱ The Master: “Freddie fascinates Dodd, who rightly calls him a scoundrel, and Dodd thinks if he can "cure" Freddie, then it will be a great triumph for him. That's the film's plot, for those of you who did not think the movie had one.”
“I have to write down all the things about an idea that excite me and I have to have the whole menu at my disposal. Sometimes I have charts on the wall. Once I outline—and I outline and outline—I have to insist that I write ...
Wall Street Journal (blog)The Seven Deadly Sins of ScreenwritingWall Street Journal (blog)The screenwriter Neil Landau is perhaps best known for “Don't Tell Mom the Babysitter's Dead,” an 80s-like comedy that was actually released in 1991.
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