Paul Thomas Anderson

And it was like...

Wow, Jack Fisk gets the children's book first.

All right, that's really good advice.

But we had the incredible joy of going to scout locations together and find a place to make this film.

And I learned from him one incredible trick that I still try to make true is that the more you can have a location

where everything's close together, the more freedom you have.

Here's what I mean by that is that if you shoot a scene over here and you see it a few days later, you think that's the worst scene that we've ever done, we should really try to do it again, is that you can go do it again.

You kind of create your own backlog, you create your own universe and try as much as you possibly can to not move too much but to have a variety of different looks and things happening.

So that, I don't know, I'm lost in whatever your question was.

It was kind of like the collaboration.

Yeah, yeah.

There was a piece of music that he had written for orchestra because he was already well-versed in how to write for string instruments.

It wasn't like, don't let him fool you.

It is really incredible.

And it's an opportunity.

You know, look, I think I don't know, there was no kind of crazy weird instrumentation or something like that.

He does do funny things with instruments where he'll detune certain pieces of the orchestra and keep others in tune.

And so he has the ability to make it sound very familiar.

You're hearing string instruments, but that sounds just out of body enough that you can't quite place it.

So he's brilliant like that.