Paul Thomas Anderson

And because there's one theater with 400 seats that they can fill and they can do two shows a day or three shows a day and people will still turn up.

It was like...

Everyone's scratching their head.

No one's coming back for the movies.

It's like, well, they're not coming back to these weird, horrible pyramids that we've built.

No, um...

I do, and then I don't.

I slip in and out of it because I love... Part of loving movies as much as I do, the history of movies and my obsession with this work, which has been with me forever and is what I've made of my life, it does involve being fascinated with the...

the way that it moves, you know, like we were talking about before with Singing in the Rain, you know, that's a fantastic story, the way that what happened to the movie business when it changed from talkies to... So I constantly try to keep an eye on that or try to understand it or have enough friends in this business from over the years that I can call up and ask, you know, what does this mean?

What does this mean when this film is doing well?

Or what is going to happen here?

What ties do you see turning?

And

It's nice to gauge that stuff.

I love this business and I love movies so much that I have a real interest in seeing it survive.

But more often than not, the volume of my day becomes...

more about film preservation, you know, and film history and trying to keep that stuff alive.

And then just sort of looking to see what's happening and reacting, I suppose, but I don't know.

He's great about all that, but he's amazing about it, one of the best, but he also really runs in his own lane, you know, because he, the person who I collaborate the most with that is Scorsese because he has the film foundation.

He, since the 70s, since the late 70s, early 80s,