Paul Thomas Anderson

It's just the same thing as like silent talkies.

You know, it's this transitional time in whatever industry they're going from shooting on film to shooting on video.

Like use things like this to tell your story and whatever themes will...

will just emerge later.

I find that that's exactly what happens, with the exception that it does happen a little bit earlier.

You know, that once you... I mean, listen, I'm not blind.

You know, as you're writing something,

you're fighting off the idea that the theme is right in front of your face just because you want to try to tell something factually.

And what ends up emerging emerges and you can't fight it.

Hopefully you like it.

You're enjoying what's happening.

But I think you keep a half an eye on it, but really you keep the other eye on what are the facts?

What are the facts?

What are the facts of the story?

Why is that?

Because I don't know.

I find films that overindulge in telling me the theme are annoying and boring.

But yes, to your point that once you, and then you get into shooting and you're seeing dailies and you're seeing stuff emerge that is really exciting or stuff that is unexpected and you either embrace it or you say, perhaps this is not going in the right direction, but very more often than not, you can't stop what's coming, nor should you, that you have to kind of be, surrender.

You're guiding a ship, but you're also surrendering a bit to the path that's happening.

And, you know, performances kind of get bigger or smaller, whatever ends up happening.