When I started working as a writer-director, that's when he became Paul Thomas Anderson and I became Paul W.S. Anderson. Neither of us can write and direct an American movie under the name Paul Anderson.
Being on a Paul Thomas Anderson film, the best decision an actor can make is to listen to Paul Thomas Anderson. Because he's probably not going to steer anyone in the wrong direction. I would always say go with your gut on any other movie set, but with Paul, I would say go with Paul's gut.
Coming from a different perspective on a society is really interesting. I love the Paul Thomas Anderson's 'Phantom Thread,' and that's a version of Britishness and Englishness made by an American.
I want to work with Wes Anderson, Paul Thomas Anderson, the Coen Brothers, or Spike Jonze.
I love the fact that James Ivory made films about Britain, made 'Howards End' and 'The Remains of the Day,' or that Paul Thomas Anderson made 'Phantom Thread.' They're about Britishness, but they're from an American perspective. And I actually think they're fantastic in the way that they understand Britishness.
There are a few directors as a young person where I was kind of like, 'Well, these are a sure bet.' The Coens, Paul Thomas Anderson, Wes Anderson.
I moved out to L.A. to be a filmmaker or director. I didn't even think about doing comedy or even acting. I wanted to be like Paul Thomas Anderson or Wes Anderson, but I wasn't going to a lot of comedy.
The idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.
I would love to work with Quentin Tarantino - he's my number one. My ultimate. I would love to work with Paul Thomas Anderson, Alexander Payne - Pedro Almodovar wouldn't be too shabby. There are so many good directors, but those are some of my favorites.
I would love to work with Dustin Hoffman, John Malkovich, Omar Epps, Martin Scorsese, Josh Mond, Woody Allen, Paul Thomas Anderson, and David O. Russell, just to name a few. Those guys are absolutely brilliant at what they do.
What I love about the way they both [Paul Thomas Anderson and Joaquin Phoenix] work is that all of the monkey business is on film. There's no monkey business outside of the monkey business of making the movie. There's no ego bullshit, there's no wasted energy. It's all directed at the story and that's rare.
I'd love to work with Paul Thomas Anderson or Quentin Tarantino, but these are dreams I don't need to rush to achieve. I'll be ready to make those movies when I'm ready to make those movies and they're ready to make them with me, if they ever want to.
I'm a huge Paul Thomas Anderson fan.
When you see Paul Thomas Anderson's The Master and it's shot on film at 75mm it's...you know. It's hard to compare. But I still think that digital is close enough, and I think it's getting closer and closer to be...there's no doubt it's going to be taking over completely unfortunately.
I don't think Paul Thomas Anderson has a standard approach to anything.
'Black cinema' I don't even know what that means. It's just cinema. When Paul Thomas Anderson makes a movie, we don't just say it's 'white cinema.'