Paul Thomas Anderson

I don't... This is stretched out way too much, you know?

I mean, I was watching...

The Purple Rose of Cairo last night, which is about 92 minutes and absolutely perfect.

And it packs so much story.

Yeah, just wait till the third one.

I know, fuck, piss off.

Yeah.

No, so I, but I only have been really feeling this lately when I'm, and I don't have a leg to stand on because I haven't really, I don't, I don't want to sound...

like an asshole here, but I haven't seen much of it because my viewing always goes, like, if I have opportunity to watch TV, I fucking end up, I'm watching old movies, you know, it's just sort of like my... gravity pulls me that way with the time that I have in the day.

But, you know, sometimes you have a story that's very large, like a large-scale story, any kind of epic stories, and those are great.

And there used to be this opportunity, they would have, like, The Winds of War or, you know, Roots or these huge miniseries.

It was like, okay, that's fantastic.

That used to be a kind of work of art in and of itself.

But now I feel this kind of slow-motion turn towards stories stretched out, um...

Too much, I think.

I guess underneath it, I have a fear that the painfully difficult challenge of telling a story in preferably under two hours, hopefully 90 minutes, will start to get lost because I think it's a very, very valuable storytelling.

That structure is great.

I don't want to see that get lost.

Trailers are their own little art form.

And I have cut them in the past or collaborated with people.