Framed with Intent: The Deliberate Design of Paul Thomas Anderson's Shots in The Master

No frame wasted...

Paul Thomas Anderson's films stand out because of his distinct tone and cinematic language. His films have shots that are expertly framed and staged, using both long and tracking shots. The Master, Anderson's masterpiece from 2012, has long been a favorite of mine. I recall seeing the film in 70mm when it first came out and leaving the cinema ecstatic.

There are many aspects of The Master that I enjoy, including Greenwood's score and Anderson's selection of 1940s and 1950s songs, such as No Other Love by Jo Stafford and Get Thee Behind Me Satan by Ella Fitzgerald. The performances of Phoenix and Hoffman are just a few examples. I've read the screenplay at least three times.

But why was I ecstatic after my first viewing back in 2012 and then went back to the theaters the following week?

It's because of how the shots in The Master are designed. It still—till this day—feels like I can reach out and touch the actors' faces or the items in the scenes. During the Slow Boat to China sequence…