Discussion in 'Media' started by Sam Urai, Mar 28, 2012.
In B4 John Travolta or Kirstie Alley says that Narconon could have saved him.
Anyways RIP PSH. A truly great actor who will be missed. I will never forget your brilliant and thinly disguised playing of elron.
It wasn't his first relapse and the potency of street heroin sometime varies a great deal.
Addiction is very hard to overcome...RIP Phillip.
Philip Seymour Hoffman: A Great Guy, a Bigger Loss Than We Know
by Roger Friedman - February 2, 2014 11:20 pm
The loss of Philip Seymour Hoffman is beyond terrible for his family and close friends. Their loss is different than ours. PSH was maybe the best actor under 50. I am not kidding. Look at his film work, not just in “Capote,” for which he won the Academy Award. He’s devastating in “The Master.” He’s extraordinary in “The Savages.” Any film where he’s added– like “Mission Impossible II”– becomes better by several degees because of his presence.
If you want to see Phil just rock out a performance, rent Sidney Lumet’s “Before the Devil Knows You’re Dead.” If the idiots from ThinkFilm had had resources and money, Phil would have gotten an Oscar again. It’s a lost gem.
Then you have theater. I’m sorry, but eventually real actors have to show their stuff by claiming the stage. It’s the same as singers performing without their augmentation in charity shows. It’s what separates the real ones from the fake. Philip Seymour Hoffman was our Jason Robards.
I hope there’s a taped version of Mike Nichols’ production of “Death of a Salesman” somewhere. Phil was the most magnificent Willy Loman. He should have won a Tony. I think even he was surprised — and saddened– to lose to James Corden’s comic whirlwind. They should not have been in the same category. Corden was great. PSH soared.
Hoffman’s death is a wipe out for us, the audience. We are now denied this remarkable presence who might have entertained and enlightened us for 30 more years. There’s no else like him in his age group. If we were lucky he’d be doing Lear and O’Neill and Chekhov, and new plays to rave reviews. There were certainly also more Oscar nominations and wins in his future. And he was filming a new series for Showtime, called “Happyish,” directed by John Cameron Mitchell. Advance buzz was very high.
But do go back and look the movies– his work with Laura Linney and Catherine Keener and Ethan Hawke and Marisa Tomei. Philip Seymour Hoffman was The Real Thing. Yes, his death is tragic because he was a lovely guy in so many ways. But he was one of the last links to really superior work as an actor.
If by "many", you mean "1 person asking the question and no one agreeing".
Which has a lot more to do with the stupidity of our drug policies than it does with PSH's personal problems. Which deprived us of a genuinely great actor. Fuck you, War on Drugs.
Every word of it.
I see what you did there.
Is it sad that I thought something close to the same thing? Either that or that they'll say he 'pulled it in' for doing The Master and mocking their jolly, rotted teeth conman?
Man is basically good and so a person will stop themselves from doing harm, even if they are not aware that they are doing it. So in PSH's case, he had maligned Mankind's Greatest Friend without being aware of it and so subconsciously he killed himelf to remove the possibility of him ever doing it again.
He mocked him to the point of perfection. Im sure that's what pissed em off even more - that he was so damn good at it
Jim Meskimen beat both of them, but he's not a celebrity except inside Scientology's bubble-world.
While I have admired all the work that I have seen, I most remember the performance of the repulsive, rich-kid dork in "Scent Of A Woman." This was my first exposure to the work of the Artist and I was amazed by the elan expressed in that role.
One of his lesser known and shockingly sad performances was in Love, Liza, a performance that now seems almost an omen. Basically, it was about a guy whose girlfriend killed herself, and he was completely unable to get over it and went on a self-destructive rampage of huffing gasoline.
It is one of the most depressing movies I ever saw.
Philip Seymour Hoffman -- A Single Drink Ultimately Led to Death | TMZ
Philip Seymour Hoffman's recent and fatal path down the road of addiction was triggered by an innocent drink, sources close to the actor tell TMZ.
Hoffman had been sober for 23 years prior to shooting "The Master", but during a wrap party in 2012, the actor succumbed to temptation and celebrated the movie with a drink, which quickly became a couple of drinks.
Hoffman acknowledged to confidants the drinks opened the floodgates. Addictions experts all say one drink can destroy an addict's life, and that seems to be what happened here.
Sources tell us Hoffman didn't begin experimenting with heroin until 2013, after he had already fully fallen off the wagon. We're told he had long been curious about the drug.
In other words, a rookie and/or a weekend warrior.
New On Netflix July 2014
...new and exciting stuff coming to Netflix this July...
Paul Thomas Anderson's operatic opus The Master starring Philip Seymour Hoffman in one of his last (and finest) performances is also on demand. It's kind of about Scientology, but it's also kind of not. Check it out and see what we mean.
How much Scientology is really in “The Master”?: Revisiting P.T. Anderson’s film in the wake of “Going Clear”
Anderson's fictional group "The Cause" and Scientology do have quite a bit in common
By Anna Silman, Salon
When “The Master,” Paul Thomas Anderson’s cryptic opus about the relationship between enigmatic cult leader Lancaster Dodd (the late great Philip Seymour Hoffman) and his wayward disciple Freddie Quell (Joaquin Phoenix), came out, much hay was made about the film’s relationship to Scientology. Anderson eventually admitted that Dodd was based on L. Ron Hubbard and that the film “related to the early days of Dianetics” — however, the connections were never explicit, and much of the film veered toward impressionism and away from any specific real-world analog.
As you probably know if you’re reading this, the popularity of “Going Clear” — both Lawrence Wright’s book and Alex Gibney’s documentary adaptation — has greatly increased the public’s knowledge and interest in Scientology. We took some time to cross-reference “The Master” with the revelations offered in “Going Clear” to examine where the similarities begin and end.
This is from the UK:
The Master, The Natural, Cat Ballou: films on TV today | RadioTimes
BARRY NORMAN: FILM OF THE DAY
The Master ★★★★
11.10pm-1.55am Film4 Premiere
Set in the 1950s, Paul Thomas Anderson’s film is clearly inspired by L Ron Hubbard and Scientology. The Master here, the Hubbard figure, is Philip Seymour Hoffman, charismatic leader of a religious cult called the Cause. Under his spell falls Joaquin Phoenix, a disturbed, violent and alcoholic ex-sailor, who is given a series of strict tests to determine whether he is fit to be a follower. What unfolds is a psychological drama, a touch pretentious certainly but also ambitious and fraught with tension, as the two men bond and then begin to fall out as Phoenix comes to doubt the Master’s teachings. Hoffman and Phoenix are both excellent and strongly supported by the likes of Laura Dern and Amy Adams.
Paul Thomas Anderson and Daniel Day-Lewis Begin Shooting Next Film
Careful as he was not to label The Master a direct analogue to Scientology, the branches between Paul Thomas Anderson‘s film and L. Ron Hubbard’s religion — or “cult,” if you, on the other hand, want to come right out with it — cannot be denied by anybody with even a passing knowledge of the latter, the former’s creator ultimately included. How it accurately depicts Scientology’s processes and where it leans towards invention comes to light in a new video essay, the results of which surprised in revealing the verbatim connections between one and the other.
News that’s just as good: we’ll soon have a new Anderson picture to obsess over. His next collaboration with Daniel Day-Lewis, our most-anticipated film of the year, has apparently begun shooting in Lythe, England, per a report and series of set photos from Whitby Photography. The only official word has come from Focus Features, who expect to distribute it — supposedly concerning “the couture world of 1950s London” (more on that possibly here) — in late 2017, leaving us to wonder some very basic details, chief among them now being: who’s the woman (actress?) appearing in multiple shots? A confirmation of production, which is going under the working title of The Phantom Thread, should be arriving before long, likely with a cast list.
Watch the video and find set photos below, with more at the above link:
The Master: How Scientology Works | Nerdwriter1
Continued at https://thefilmstage.com/news/new-v...nderson-and-daniel-day-lewis-begin-next-film/
What ‘The Master’ Tells Us About Scientology
A closer look at Paul Thomas Anderson’s handling of religion.
By Fernando Andrés, Film School Rejects
Throughout his filmography, Paul Thomas Anderson has covered a myriad of highly specific topics. Whether it’s Hard Eight’s focus on the gambling underworld, Boogie Nights’ portrayal of the pornography business, or There Will Be Blood’s handling of the oil industry, Anderson rejoices in exploring the nooks and crannies of the lives that exist within these strange worlds. His 2012 film The Master was no exception to this, and is perhaps the most dangerous example of them all.
Based heavily on the teachings of Scientology — as well as the life of its founder, L. Ron Hubbard — The Master explores the cryptic relationship between the unstable, primal sailor Freddie (Joaquin Phoenix) and the intellectual Lancaster Dodd (Philip Seymour Hoffman). This relationship is dissected and observed in many ways throughout the film, but never as engrossingly as during Freddie’s “processing” scenes with Dodd. These sequences, based off the infamous “auditing” upon which Scientology is built, involve Dodd prying personal and psychological details from Freddie through a hypnotic interview process. The sequences also make for incredible two-shots, a specialty of Anderson’s cinematic palette.
Here to help us understand the complexities and specifics of how Anderson and The Master adapt Scientology is a new video from The Nerdwriter. Providing a detailed reading of the film itself while incorporating research on Scientology and its practices, the video is an insightful document that illuminates the hidden meaning of Anderson’s elusive opus.
Continued at https://filmschoolrejects.com/what-the-master-tells-us-about-scientology-536345624c24
When rabid Scientologists got into a fistfight with US marshals to protect L. Ron Hubbard
Lancaster Dodd’s Philly arrest in ‘The Master’
By Tony Ortega, May 24, 2018
After we got a fun new look at the early days of Dianetics through the never-before-published letters of Don Rogers recently, it motivated us to dive back into some similar documents that our fearless researcher, R.M. Seibert, located for us.
If you remember, Seibert scored a treasure trove of documents from the Food and Drug Adminstration stemming from its early 1960s investigation of Scientology and L. Ron Hubbard. That’s how we got our hands on Hubbard’s high school grades for the first time, for example, and evidence that Hubbard used the threat of the ‘R2-45 method’ to intimidate early followers.
Looking through other documents that Seibert sent us, we realized that there was an interesting description of a fairly notorious incident in early Scientology history — famous enough that Paul Thomas Anderson riffed on it for his film The Master.
If you remember the movie, Anderson was dramatizing the period around 1952 when Hubbard was trying to regroup after his Dianetics movement had fizzled into bankruptcy, promoting his new effort he called Scientology with the help of a few wealthy followers. In the movie, Laura Dern plays a wealthy Philadelphia woman who is helping Hubbard get past his legal problems, but she has misgivings that the “science” of Dianetics was moving into the “past lives” science fiction nuttiness of Scientology.
In real life, it was Helen O’Brien who was the eager Philadelphia adherent, and who convinced Hubbard to leave London long enough to hold his “Philadelphia Doctorate Course” (PDC) in December 1952 at a house owned by O’Brien’s husband, John Neugebauer.
As Jon Atack has told us many times, this was at a time when Hubbard’s movement was precariously small. Only about 35 people signed up for the PDC in Philly at about $500 each. And on the afternoon of December 16, 1952, there were only about 20 students present as Hubbard was giving an afternoon lecture.
We know what he was lecturing about that afternoon, and we even have a short segment in the name of Fair Use to share with you. In the first afternoon lecture that day, Hubbard was explaining that we’ve all been conditioned — in part through art — to believe that we are merely our bodies and nothing more. In Scientology, we are immortal beings called thetans that live countless times, and if you can get past the idea that you’re just a body, Hubbard explains, you can not only become a disembodied spirit, but you can regain godlike powers.
In this short excerpt (one among many), Hubbard is encouraging his believers that he can help them attain godhood, if they would only throw off their conditioning.
Hubbard gave two hour-long lectures that afternoon. At some point during that time, a couple of U.S. marshals showed up to serve Hubbard with a warrant regarding one of his bankruptcies back in Kansas. Here’s what the FDA investigation in 1963 found about that 1952 incident.
More at https://tonyortega.org/2018/05/24/w...ht-with-us-marshals-to-protect-l-ron-hubbard/
Nibs' version of the event, slightly more colorful...
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