- #Magnolia soundtrack aimee mann 1999 reprise movie
- #Magnolia soundtrack aimee mann 1999 reprise series
But even taken out of the context of Anderson as a filmmaker, the 3-minute clip stands as one of the most perfect things he ever put to film. Yet here, he allows his more sentimental side to flourish, while the video’s lighter tone and use of reds and blues also point the way toward his next film, 2002’s Punch Drunk Love. It’s just a gorgeously conceived ode to Hollywood musicals, while the visual of Apple dancing with a bunch of boys dressed up like it’s the ‘40s is far cuter than anything you’d expect to see in a PTA movie. One thing (among many) that’s so great about it is how much it stands in contrast to the pricklier nature of Anderson and Apple’s personas. The high point of these video collaborations has got to be “Paper Bag”, which might be Fiona Apple’s best song in addition to the video being perhaps Anderson’s best in the medium. In these videos, you see both Anderson’s bravura filmmaking (in the case of “Across The Universe”) and the more off-the-cuff nature (see “Fast As You Can”) that would inhabit a lot of his later videos.
#Magnolia soundtrack aimee mann 1999 reprise series
Though, for that short, glorious time period that the two were dating, Anderson directed a series of memorable videos, which encompassed the dizzying black-and-white accompaniment to Apple’s cover of “Across The Universe” and the bulk of the videos from Apple’s When The Pawn album. The two dated for a year or two around the turn of the century, and both inhabited a certain brand of raw, unnerving cool in their work, which would only grow less commercial after they split. Paul Thomas Anderson and Fiona Apple were, quite simply, a match made in Gen X heaven.
#Magnolia soundtrack aimee mann 1999 reprise movie
RELATED: Every Paul Thomas Anderson Movie Ranked from, uh, "Least Best" to "Most Best" While Anderson’s movies have become more meticulous as his career has progressed, his modestly-budgeted music videos show a place where the director can pare things down and see what he can do with just a camera, a musician, and a great song. If you thought his films showed a love of long takes and tracking shots, they've got nothing on the elaborate journeys that Anderson’s camera goes on in the various empty buildings and L.A. Freed from the boundaries of narrative storytelling (for the most part), his music videos let the director indulge his more playful side while also seeing just how many different things he can do with a steadicam.
Though at the same time, they are still a fun thing he does on the side.
Also, the fact that Anderson cast Alana Haim as the lead in his upcoming Licorice Pizza makes the case that PTA’s music videos are an integral part of his evolution as an artist. However, if you look at PTA’s output as a music video director, you can see all sorts of visual touches that also appear in his films and vice versa. Since Anderson’s features are often the kind of cinematic statements that the viewer is forced to wrestle with intellectually, it’s hard not to look at his music videos as just a fun thing he does on the side. For nearly as long as he’s been directing feature films, Paul Thomas Anderson has also had a low-key career as a top-tier music video director.
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