Following spoilers for "one battle after another".

Whether it's a romantic comedy like "Punch-Pian Loveubov" or EP as "There Will Be Blood", Writer/Director Paul Thomas Anderson always brings a distinctive visual language in his films. Long downloads, moving camera shots, symmetry and asymmetry clashes and characteristic color choices often define its work - a combination that often calls for an older Hollywood era. Despite being known for that strong visual style, Anderson says his approach is often to allow the story and recording locations to determine the footage he takes, rather than coming out of his way to create moments of high visual drama.

According to Anderson himself, this rule was crucial to the production of "One battle after another," " His latest revolutionary epic comedy action-adventure EP (let's say five times fast). At the screening and conversation attended by /film by New York Regal Union Square, Anderson discussed his desire for "to tell the story" without unnecessary visual beautification.

"Don't hug, don't become too lavish," Anderson said, explaining his philosophy when making the visual language of the film. "Make the footage that tells the story, because there is so much story of telling. There is no room for top or powdered sugar, it has to be very economical." In nearly three -hour film like "One Battle After Other", with so many pieces and parts moving, that kind of approach makes sense. However, Anderson indulge in a slightly more "gourmet" approach to a specific moment - the confrontation between Villa (Chase Infiniti) and Colonel Lokjav (John Penn) in the chapel of the Brave Beaver mission.

If you have seen "one battle after another", you probably already take the shot. After Lokjav and his circles attacked the mission, his men carry the villa in the chapel, where her father is waiting for soon. The establishment of the footage shows the opposite ends of the long, beautiful room, nothing but an empty space and a rustic religious decor between them, while the camera descends at a low -angle trapped angle, entering at a glance at the incessant view of the gods. Although Anderson tried to keep things as "economical" through most of the filming, this particular moment required more beautification.

"You're finished in a rende -point that is the sisters of the brave Beaver and you are like," Okay, well, there are some visual opportunities here, we can't run away from them, let's get into them, "the director explained. "Those things are revealed in writing, and then it makes it an exciting dramatic moment when she finally climbs Lokjav, and you go," Oh, maybe it's time for one of those big old -fashioned Grand Film shots, you know, go to the stairs and look down, see the face between our hero and our villain. "

The simple, less "gourmet" approach everywhere allowed time and dramatic space to really develop this one scene. "You take advantage of those moments when they come," Anderson said, "but you are trying not to rely on them."

Although the subject of the film - brutal violence against immigrant communities and generally xenophobic abuses of power - feels particularly relevant right now, the film craft of "one battle after another" returns to a much older era, specifically evoking The new Hollywood movement since the 1960s and 70s. It is DNA Anderson that is withdrawing from when he calls "old -fashioned big films" like the one in the chapel.

It can be seen that DNA elsewhere in the movie, as in the various chase scenes, which feel like the man on the camera scattered along with pavement drivers, frantically trying to see if they crash the next step. You can also feel that influence on the scenes of the revolutionary action taken by the French 75 in the initial act of the film.

Given the inspiration for the film, that impact fits to an additional level. While the story takes place nowadays, Thomas Pinhon's novel Anderson has adapted to make the movie "Vinland", it was released in 1990. The book's aging revolutionaries have greeted Anderson's 190s and 70s -an era that directly inspired Anderson's own writing about the French 75th. At the same Talkyor conversation where his access to the film was discussed, Starwar Leonardo DiCaprio Share that the director gave him a copy of Brian Barrow's "Days of Fury" - a history of radical movements in the 1970s - early in the process. Underground time, highlighted such a group of that decade, was also a specific jumping point for the film.

"One battle after another" is now in cinemas.