Barry Jenkins Adores ‘Phantom Thread’: It Feels Like the Evolution of My Favorite Paul Thomas Anderson Movies
Paul Thomas Anderson’s “Phantom Thread” has quickly become a favorite among some of our favorite directors, including Edgar Wright, Rian Johnson, and now Barry Jenkins. The “Moonlight” Oscar winner finally caught up with the romantic drama in the new year and had nothing but raves to share with his social media followers.
“‘Phantom Thread’ is just exquisite, an unfiltered work; a sublime object,” Jenkins wrote about the film. “Object in the sense that, when viewed from different angles, in varying moods, it reveals more and more of itself, other emotions and, for a film overrun with aesthetic objects, deepened ideas.”
Jenkins was particularly impressed with the fact Anderson was able to pull off such an achievement while handling so many on-set duties. “Phantom Thread” marked the first time the director worked without a cinematographer. Instead, Anderson worked with his crew to shoot the film himself.
“This was his most difficult film to build,” Jenkins said. “And yet his hand is invisible here, an effortlessly deployed aesthetic, at once delicate and exacting, lilting and amorous — serene, confident, clear.”
Jenkins calls “Punch-Drunk Love,” “There Will Be Blood,” and “The Master” his favorite Paul Thomas Anderson films and refers to “Phantom Thread” as “the evolution” of these three masterpieces. Only at this point in his career could Anderson make this movie.
Oh, and Focus Features should probably get a copy of Jonny Greenwood’s score on vinyl and send it Jenkins’ way ASAP. “Phantom Thread” is now playing in theaters.
So… PHANTOM THREAD is just exquisite, an unfiltered work; a sublime object. Object in the sense that, when viewed from different angles, in varying moods, it reveals more and more of itself, other emotions and, for a film overrun with aesthetic objects, deepened ideas.
— Barry Jenkins (@BarryJenkins) January 12, 2018
And some PDA for PTA: this was his most difficult film to build. At the very least, he’s never shouldered these on-set duties. And yet his hand is invisible here, an effortlessly deployed aesthetic, at once delicate and exacting, lilting and amorous — serene, confident, clear.
— Barry Jenkins (@BarryJenkins) January 12, 2018
Like… as u watch this film, there are moments so soft and yielding u wonder if they were whispered into existence. As you watch this film, you’re reminded that PTA is an artist in full command of his voice and craft, working in a register unencumbered by the demands of craft.
— Barry Jenkins (@BarryJenkins) January 12, 2018
I thoroughly enjoyed it, a work that feels like the evolution of my favorite PTA — PUNCH DRUNK, TWBB, THE MASTER. And if that all seems a bit much, just also know it’s pretty damn demented and, at times, laugh out loud hilarious
— Barry Jenkins (@BarryJenkins) January 12, 2018
I thoroughly enjoyed it, a work that feels like the evolution of my favorite PTA — PUNCH DRUNK, TWBB, THE MASTER. And if that all seems a bit much, just also know it’s pretty damn demented and, at times, laugh out loud hilarious
— Barry Jenkins (@BarryJenkins) January 12, 2018
Oh… and that PIANO!!! @NonesuchRecords needs to bump that release date up I need that Johnny Greenwood vinyl on my shelf ASAP
— Barry Jenkins (@BarryJenkins) January 12, 2018
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