Sign In. Edit The Master Freddie Quell Price Carson Doctor Mike Howard Rorschach Doctor Sarah Shoshana David Nurse Bruce Goodchild Patient Dan Anderson Patient Andrew Koponen Patient Jeffrey W. Patient Patrick Wilder Patient as Patrick Biggs Ryan Curtis Patient Jay Laurence Patient Abraxas Adams Patient Tina Bruna Portrait Customer Kevin Hudnell Portrait Customer Hunter Craig Portrait Customer Ryder Craig Portrait Customer Rodion Salnikov Portrait Customer Emily Gilliam Portrait Customer Kody Klein Portrait Customer Amy Ferguson Martha the Salesgirl W.

Earl Brown Fighting Businessman Frank Bettag Frank Ariel Felix Filipino Worker Vladimir Velasco Filipino Worker John Mark Reyes Filipino Worker Brian Fong Filipino Worker Diane Cortejo Young Filipino Woman Leonida A. Nana Myrna De Dios Angry Filipino Woman Katie Boland Young Woman Philip Seymour Hoffman Lancaster Dodd Amy Adams Peggy Dodd Jesse Plemons Val Dodd Ambyr Childers Elizabeth Dodd Rami Malek Clark Lorelai Hoey Baby Martin Dew Norman Conrad Joshua CloseDodd sees something in Quell and accepts him into the movement.

Freddie takes a liking to "The Cause", and begins traveling with Dodd's family along the East Coast to spread his teachings. The film's inspirations were varied: it was partly inspired by Scientology founder L. Initially, the film was set up with Universal Picturesbut fell through due to script and budget problems.

It was released in theaters on September 14,in the United States to critical acclaim, with its acting, screenplay, direction, plausibility, and realistic portrayal of post-World War II Americans praised. InThe Master was voted the 24th greatest film of the 21st century by critics from around the world.

Joaquin Phoenix

Freddie Quell is a traumatized World War II veteran struggling to adjust to post-war society and prone to violent and erratic behavior. He works as a photographer in a department store, but is fired after getting into a fight with a customer. While working on a farm in California, an elderly colleague collapses after drinking a batch of Freddie's homemade moonshine.

Freddie flees after he is accused of poisoning him. One night, Freddie finds himself in San Franciscoand stows away on the yacht of a follower of Lancaster Dodd, the leader of a nascent philosophical movement known as "The Cause. He invites Freddie to stay and attend the marriage of his daughter, Elizabeth, as long as he will make more moonshine, which Dodd has developed a taste for. Dodd begins an exercise with Freddie called "Processing," in which he asks Freddie a flurry of disturbing psychological questions.

During the exercise, Freddie reveals details of his past, including his father's death, his mother's incarceration in a mental asylum, and his incestuous sexual encounters with his aunt. He also has a flashback to a past relationship with Doris, a young woman from his hometown whom Freddie promised he would one day return to.

At a dinner party in New York, a man questions Dodd's methods and statements and accuses the movement of being a cult. Dodd loses his temper, calling the man "pig fuck," and asks him to leave.

Freddie pursues the man to his apartment and assaults him that night, to Dodd's dismay. Other members of "The Cause" begin to worry about Freddie's behavior. Freddie criticizes Dodd's son Val for disregarding his father's teachings, but Val tells Freddie that Dodd is making things up as he goes along. Dodd is arrested for practicing medicine without proper qualifications after one of his former hostesses has a change of heart; Freddie attacks the police officers and is also arrested.

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In jail, Freddie erupts in an angry tirade, questioning everything that Dodd has taught him and accusing him of being a fake. Dodd calls Freddie lazy and worthless and claims nobody likes him except for Dodd.

They reconcile upon their release, but members of "The Cause" have become more suspicious and fearful of Freddie, believing him to be deranged or an undercover agent or simply beyond their help. Dodd insists that Freddie's behavior can be corrected with more rigorous and repetitive conditioning, which Freddie finds difficult to internalize. Freddie accompanies Dodd to Phoenix, Arizonato celebrate the release of Dodd's latest book.

When Dodd's publisher criticizes the quality of the book and its teachings, Freddie assaults him. Helen Sullivan, a previously acquiescent acolyte, causes Dodd to lose his temper after she questions some details of the book.

Dodd takes Freddie to a salt flat with his motorcycle, telling him to pick a point in the distance and drive towards it as fast as he can; Freddie drives off and disappears.

Freddie returns home to Lynn, Massachusettsto rekindle his relationship with Doris, but learns from Doris' mother that she has married and started a family since he last saw her.How Jaws set the standard for the summer blockbuster, and how Hollywood perfected a formula that has endured for decades.

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the master di paul anderson, con p.s.hoffman e j. phoenix

Paul Thomas Anderson 's new film Phantom Thread marks the eighth feature film that the director has also written. Discover other films he has both written and directed. See more Paul Thomas Anderson movies. A psychologically troubled novelty supplier is nudged towards a romance with an English woman, all the while being extorted by a phone-sex line run by a crooked mattress salesman, and purchasing stunning amounts of pudding.

Indrug-fueled Los Angeles private investigator Larry "Doc" Sportello investigates the disappearance of a former girlfriend.

Set in s London, Reynolds Woodcock is a renowned dressmaker whose fastidious life is disrupted by a young, strong-willed woman, Alma, who becomes his muse and lover. An epic mosaic of interrelated characters in search of love, forgiveness, and meaning in the San Fernando Valley. A story of family, religion, hatred, oil and madness, focusing on a turn-of-the-century prospector in the early days of the business.

The story of a young man's adventures in the California pornography industry of the late s and early s.

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Professional gambler Sydney teaches John the tricks of the trade. John does well until he falls for cocktail waitress Clementine. In a near future, a lonely writer develops an unlikely relationship with an operating system designed to meet his every need. Set in the near, distant future: Alejandro, a tamed modern day slave, struggles to find purpose when his Device presents a new IOS update, titled, "Alexis: Something Human" that inevitably leads them towards something dangerous.

A theatre director struggles with his work, and the women in his life, as he creates a life-size replica of New York City inside a warehouse as part of his new play.

A week in the life of a young singer as he navigates the Greenwich Village folk scene of In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods. Finally he stumbles upon a cult which engages in exercises to clear emotions and he becomes deeply involved with them.

Written by Alan Young, edit Hal Issen. Anderson has never been a director that makes a film for everyone to enjoy. In the vein of auteur directors like Terrence Malick, David Lynch, and Michael Haneke, Anderson's films aren't necessarily the most accessible despite the seeming mainstream status. Films like Boogie NightsMagnoliaand There Will Be Blood are reflective, tensional, studies of human behavior, all things that the average film-goer most of the time will not embrace.

In The Master, Anderson constructs, absolutely magnificently I might add, two dynamic, real, and tangible men that the audience can both imagine knowing, loving, and loathe. It's the writing masterpiece of the year. Lancaster Dodd Hoffman gets the best character blueprints of any player to interpret.

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Hands down, the sharpest and best written character of the film is purely Lancaster. Anderson concentrates on his motivation and responses, giving him an arc that the audience can both easily and willingly travel with him.

Hoffman's natural talents as an actor and finding himself in a character are showcased here with intensity and composure.

the master di paul anderson, con p.s.hoffman e j. phoenix

His often seemingly blood-filled hot-headed dialogue encompasses some of the best moments of the film. It's evident Hoffman is not only enjoying himself but enjoying Lancaster.

He's both repulsive but completely enamoring in structure, word, and persona. Anderson may have created the great oxymoron of cinema this century. Hoffman is damn-near perfect.Known for playing distinctive supporting and character rolesHoffman acted in many films from the early s until his death in He is widely considered to be one of the greatest actors of his generation. He began to occasionally play leading roles, and for his portrayal of the author Truman Capote in Capotewon multiple accolades, including the Academy Award for Best Actor.

Hoffman's profile continued to grow and he received three more Oscar nominations for his supporting work as a brutally frank CIA officer in Charlie Wilson's Wara priest accused of pedophilia in Doubtand the charismatic leader of a Scientology -type movement in The Master The feature Jack Goes Boating marked his debut as a filmmaker.

Hoffman was also an accomplished theater actor and director.

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He joined the off-Broadway LAByrinth Theater Company inwhere he directed, produced, and appeared in numerous stage productions. Hoffman struggled with drug addiction as a young adult and relapsed in after many years of abstinence. In Februaryhe died of combined drug intoxication. Remembered for his fearlessness in playing reprehensible characters, and for bringing depth and humanity to such roles, Hoffman was described in his New York Times obituary as "perhaps the most ambitious and widely admired American actor of his generation".

Along with one brother, GordyHoffman had two sisters, Jill and Emily. Hoffman was baptized a Roman Catholic and attended Mass as a child, but did not have a heavily religious upbringing. It was like a miracle to me". Acting gradually became a passion for Hoffman: "I loved the camaraderie of it, the people, and that's when I decided it was what I wanted to do.

Even then, he was passionate. With friends, he co-founded the Bullstoi Ensemble acting troupe. After graduating, Hoffman worked in off-Broadway theater and made additional money with customer service jobs. After this, he adopted his grandfather's name, Seymour, to avoid confusion with another actor. Hoffman auditioned five times for his role, which The Guardian journalist Ryan Gilbey says gave him an early opportunity "to indulge his skill for making unctuousness compelling".

Hoffman continued playing small roles throughout the early s. After appearing in Joey Breaker and the critically panned teen zombie picture My Boyfriend's Back[19] he had a more notable role playing John Cusack 's wealthy friend in the crime comedy Money for Nothing. According to a People survey of Twitter and Facebook users, Twister is the film with which Hoffman is most popularly associated. The ensemble piece starred Mark WahlbergJulianne Mooreand Burt Reynolds ; Hoffman played a boom operatordescribed by David Fear of Rolling Stone as a "complete, unabashed loser," [20] who attempts to seduce Wahlberg's character.

Warmly received by critics, the film grew into a cult classic[11] [28] and has been cited as the role in which Hoffman first showed his full ability. Fear commended the "naked emotional neediness" of the performance, adding that it made for compulsive viewing. Continuing with this momentum, Hoffman appeared in five films in He had supporting roles in the crime thriller Montana and the romantic comedy Next Stop Wonderlandboth of which were commercial failures, [31] [32] before working with the Coen brothers in their dark comedy The Big Lebowski.

Hoffman had long been a fan of the directors, and relished the experience of working with them. Although it was only a small role, he claimed it was one for which he was most recognized, in a film that has achieved cult status and a large fan base.

Hoffman took an unflattering role in Todd Solondz 's Happiness[35] a misanthropic comedy about the lives of three sisters and those around them.

He played Allen, a strange loner who makes crude phone calls to women; the character furiously masturbates during one conversation, producing what film scholar Jerry Mosher calls an "embarrassingly raw performance". The film was critically panned, but one of the highest-grossing of Hoffman's career. Hoffman considered De Niro the most imposing actor with whom he had appeared, and he felt that working with the veteran performer profoundly improved his own acting.

The performance was approved of by the medical industry, [45] and Jessica Winter of the Village Voice considered it Hoffman's most indelible work, likening him to a guardian angel in his caring for the dying father. One of the most critically and commercially successful films of Hoffman's career was The Talented Mr.

Ripley[41] [48] which he considered "as edgy as you can get for a Hollywood movie". Following a string of roles in successful films in the late s, Hoffman had established a reputation as a top supporting player who could be relied on to make an impression with each performance.

Hoffman had begun to be recognized as a theater actor inwhen he received a Drama Desk Award nomination for Outstanding Featured Actor for the off-Broadway play The Author's Voice.Nearly two years after news of his passing shocked and saddened viewers, it remains a fresh wound. If you are even a casual movie fan, chances are good that Hoffman starred in one of your favorite movies. Though we strived to be as complete as possible, we were not able to see Mockingjay Part 2 ahead of this article, nor were we able to track down two of his most obscure early films, Szuler and Joey Breaker, left behind in VHS format.

We still, however, had an awful lot to sift through, much of it awfully good. Flawless Robert De Niro. Philip Seymour Hoffman. Joel Schumacher. Two of those three men are among the most revered and brilliant artists of their time. Unfortunately, the Joel Schumacher factor far outweighs the pairing of De Niro and Hoffman in the mismatched buddy drama Flawless, a movie whose premise ornery homophobe takes voice lessons with a soulful drag queen, life lessons ensue sounds like it has the potential to be a compelling, s-style exploration of life on the fringes and the strange bedfellows it creates.

Hoffman gives the role of a melancholy drag queen and vocal coach his all, but fails to elevate the proceedings. Seldom, if ever, has Hoffman done more acting in the service of an innately doomed project.


Fans came to feel like they knew him through his art, but for a man who made such a profound impression on the world of film, precious little was known about him as a person. Tacky, silly, and broad? But boring, he is not.

Hoffman proves himself a surprisingly deft and confident physical comedian, but his wonderfully loose and goofy performance only elevates this pandering, formulaic Jennifer Aniston—Ben Stiller rom-com to the level of affable mediocrity. In this promising but underwhelming comedy-drama, Hoffman plays part of a roving band of charlatans and con artists who fleece the faithful at the behest of a sham healer and evangelist played by Steve Martin. The sections of the film devoted to Hoffman and his partners in crime are colorful and engaging, but the central dynamic is a non-starter, the dramatic elements of the film only dragging it down further.

Get them to star in a film called A Late Quartet, whose PBS-pledge-drive-ready title all too accurately captures the tone and tenor of the film: refrained, highbrow, and respectably, artfully boring. Essentially, the material does not rise to the level of the actors in the film.

Of the respected thespians playing the titular quartet of musicians wrestling with decades of resentment, Hoffman has the most to work with, however. Hoffman gives this lurid potboiler a glorious burst of creepy energy that dissipates the moment he dramatically exits the proceedings. Cold Mountain God bless Anthony Minghella. Minghella memorably cast Hoffman as a slick international playboy in The Talented Mr. Hoffman delivers a wonderfully theatrical, flashy performance that gives a jolt of life to what is otherwise a ponderous, overwrought, and lumpen epic.

The Invention of Lying Hoffman contributed a goofy cameo in the comedy The Invention of Lyingas a bartender in an alternate universe where everyone is relentlessly and graphically literal in their honesty; he proves an easy mark for the first man in this universe to discover the necessity of fibbing. The Invention of Lying is worth seeing if only for the opportunity to witness Louis C.

Yet even when Hoffman lent his considerable gifts to a lucrative series of surefire blockbusters, he chose a project that reflected his own sensibility, in a way. For all its commercial elements, The Hunger Games is grim, challenging, and unrelentingly dark as befits a franchise about kids killing each other in a legally mandated spectacleand it gave Hoffman both great actors to play off of and a complicated character to portray in Plutarch Heavensbee.

Moneyball With Capote, Hoffman and director Bennett Miller had — in Truman Capote exploring the shadowy real-life crime tale that would inspire In Cold Blood — a story so famously compelling that it inspired two competing versions released around the same time, one with Hoffman in the lead, the other with Toby Jones.

Though he began his career playing a lot of lumbering thugs, by middle age, he had a cerebral presence that made it easy to imagine he possessed a psyche full of rich, vivid worlds waiting to be splashed onto the page and devoured by readers. Hoffman played blinding arrogance as compellingly as he did insecurity and self-loathing, perhaps because he understood that they come from the same place. Anton Corbijn.We have the ability to plan and execute complex projects across a range of markets, establishing new industry standards for safety, cost control, quality, and schedule.

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Philip Seymour Hoffman

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the master di paul anderson, con p.s.hoffman e j. phoenix

Our Values Our Services. Projects Expertise that spans all project types. View Projects. Careers Good people are the foundation of our success. Learn More. Trade Partners Long-term relationships built on open communication, teamwork, and collaboration. Work With Us. We're sorry. Something disconnected! Please go back and try again, or use the main menu above.Paul Thomas Anderson's haunting meditation on friendship, manipulation and man's desperate search for sanity is more enigmatic than his earlier films -- it neither grabs you by the throat, like "There Will Be Blood," nor twirls you around the dance floor, like "Boogie Nights.

Dodd, who likes to preach that humans are not animals and needn't be ruled by our emotions, is fascinated by Freddie, a rage-filled loner whose idea of courting is to scrawl "Do you want to fuck?

Don't worry: he also adds a smiley face. Freddie, in turn, is torn between his belief in the Master's power to heal him and his suspicion that the whole thing is just another con. In an early, face-to-face therapy session, Dodd proves that he can get behind Freddie's defenses, but whether he can heal his unruly pupil is less clear. Freddie, in turn, repays his would-be savior by violently punishing anyone who dares to question Dodd -- an arrangement Dodd clearly enjoys, despite his tepid protests to the contrary.

Because the film is so careful not to provide easy answers or fill every space with exposition unlike, say, the frantically over-stuffed "Cloud Atlas"it lends itself to speculation and analysis. Anderson himself admits that he's still trying to work out what it all means. The film won the Silver Lion at the Venice Film Festival, and would have won Gold had the festival's judges not been so hell-bent on giving top acting awards to both Phoenix and Hoffman.

Gold Lion-winning films are generally disqualified from the festival's other awards. I spoke to Anderson at the Toronto International Film Festival about his writing process, his collaboration with Joaquin Phoenix a shoo-in for a Best Actor Oscar nomination and a very serious threat to winhis "natural attraction" for redheads and his relationship -- or lack thereof -- with the filmmaker Paul W.

Michael Hogan: I wanted to start by talking about the relationship between the two characters. I know people have said it's a father-son relationship, others have said it's homoerotic. I walked out and thought, They're the same person, at some level. They're doppelgangers. Do you think there's something to that? Paul Thomas Anderson: That's good.

I like that, you know? You're staring at cables on the floor and you zone out and realize things like that. And they're nice thoughts, but that's all they are. They're not the kind of thing that you can actually film, or get underneath.

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