The filmmaking here is luscious, Anderson's camera (he is
the uncredited cinematographer) panning, tracking, and swooping as it showcases Mark Tildesley's gorgeous production design and Mark Bridges's glorious costumes while Jonny Greenwood's score — featuring harps, piano, and flutes that serve as a constant presence throughout the film — accompanies the action.
Acting as his own
uncredited cinematographer, he drenches the film in faded but still - rich color (like Technicolor worn soft), buttery walls and gentle firelight.
Nor did she ask Anderson about working as
an uncredited cinematographer for the first time in his career.
Not exact matches
Action
cinematographer Jan de Bont (Twister, The Haunting) skillfully directs for the first time, making what by all measurements is a terrible screenplay by Graham Yost (Mission to Mars, The Last Castle — reportedly, an
uncredited Joss Whedon punched up the script) into one of the better pure action movies of its era, even if it is one of the dumbest.
Reynolds's behavior may be capricious, but Phantom Thread is consistently beautiful to look at:
uncredited, Anderson was his own
cinematographer, filming on 35 mm and impeccably framing each luxe interior, each of the protagonist's glorious sculptural dresses.
Written by Earl W. Wallace and William Kelley, with Weir's
uncredited work on the script, shot by the Australian
cinematographer John Seale, who would later win an Oscar for his work on The English Patient, with the French composer Maurice Jarre's (Doctor Zhivago, The Train, A Passage to India) score and Thom Noble's (Red Dawn, Thelma & Louise) editing, and with the strong supporting roles of Danny Glover, Josef Sommer, Alexander Godunov and Lukas Haas, Witness is a pleasure to go back to even thirty - two years after its release.
Phantom Thread is a work of tremendous focus, not only from Day - Lewis but also Paul Thomas Anderson, who writes, directs and shoots the film (albeit
uncredited as the
cinematographer).