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“Good science, by definition, allows for more than one opinion, otherwise you only have the will of one man, which is the basis of a cult,” a man tells Freddie, while Dodd stands by idly. In fact he seems almost defeated or embarassed when his philosophies are challenged and it’s his wife Mary-Sue who appears to be pulling some of the strings. She bristles at “having to explain ourselves” and proclaims that “the only way to defend ourselves is to attack” which has always been the Church of Scientology’s modus operandi. Dodd’s questions to Freddie also seem like a page directly from the Church’s Oxford Capacity Analysis, a personality test given to potential members. “Are you thoughtless in your remarks? Do your past failures bother you? Is your life a struggle? Is your behavior erratic? What are you running from?” And in the line that supposedly gave Tom Cruise pause, Dodd’s son Val (Jesse Plemons) tells Freddie, “He’s making up all this as he goes along. You don’t see that?”
In light of a recent high-profile divorce, we can already see the media running wild with speculation about “The Master” being an damning indictment of Scientology -- and certainly there is some of that as we’ve pointed out -- but Anderson always has something more ambitious on his mind and that was clear from the original rough-draft screenplay (skewering Scientology wouldn’t be particularly new ground anyway, “South Park” covered that pretty brilliantly back in 2005.) As co-star Laura Dern told Slate last year: “In terms of the subject of the film, and all of the films he makes, he dances so comfortably in the gray. When he takes on the subject matter, any subject matter, he is there to examine what it offers; not just take anything down. It’s funny when people think filmmakers are irreverent. It’s like, ‘Ooh, what’s he doing? I heard the movie’s about dot dot dot.’ They go, ‘I bet he’s really going to attack it.’ In fact, he tries to uncover what he loves. What the worth is in something.”
Remember when people assumed “There Will Be Blood” would be some kind of George W. Bush-slamming treatise on oil and capitalism and what they got was a father/son character study? Chances are, there are going to be plenty of Hubbard-like qualities in Hoffman’s character and they shouldn’t be dismissed. But Anderson is a filmmaker smart enough to know that using real life as a jumping off point is going to be a hell of a lot more interesting than your standard biopic. And we’re thankful for it.
21 Comments
rudy | July 22, 2012 12:59 AM
that shot of JP with the gun in the room reminds me of Martin Sheen drunk in the opening of Apocalypse Now
PcChongor | July 21, 2012 9:56 PM
1. Pause at :52 on the trailer.
2. Then go here: http://www.cs.cmu.edu/~dst/Library/Shelf/wakefield/christians.html
3. Search for the term, "a gift."
4. ???
5. Another reference bites the dust.
Macbeth | July 21, 2012 6:04 PM
Top Ten Signs You Might Be Feverish
1. You use the word "feverous."
RickMycroft | July 21, 2012 4:28 PM
Hubbard did ride motorcycles in the desert.
wut | July 21, 2012 2:51 PM
terrible article, 3 pages and says absolutely nothing. just a promo. this is why I hate bloggers.
Derek | July 21, 2012 12:56 PM
"a few acres of land" and no offense, but straining for credit on the title seems a big stretch.
TYLER | July 21, 2012 12:24 PM
@Russ... Thank you, sir. But please back off a bit with the compliments, My girlfriend will not like that. But thanks anyways...
Have a nice day.
Kindred Spirit | July 21, 2012 12:03 PM
Freddy on the boat... is that possibly also a Gulliver's Travels homage?
TYLER | July 21, 2012 11:55 AM
@ Russ... Calm down Russy, I pointed out the "Melvin and Howard" reference and also the name of the song used in the trailer. Yes, you mentioned the Passenger, but I presented VISUAL EVIDENCE. But whatever bro, this is like dumbest thing to argue about. SERIOUSLY.
Now moving on.....
Mert | July 21, 2012 11:53 AM
You guys didn't miss anything, however the aspect ratio if utilised in it's original format would be 2.20:1
Also I'd like the point out that the camera used for The Master is not the same camera used in films like '2001: A Space Odyssey' & 'Lawrence of Arabia' which is the Super Panavision 70.
The Master actually uses Panavision System 65/Super 70, which was introduced in the early 1990s, in response to an increased demand for 65 mm cameras. Panavision introduced an updated line of 65 mm cameras and optics known as "Panavision System 65" or "Panavision Super 70", designed to compete with the rival Arri 765 camera. However, the lack of 70 mm projectors, combined with the fact that 35 mm digital stereo sound somewhat minimized the multi-channel sound advantage the 70 mm format had, meant that the format revival never really took off.
Movies that have use the Panavision System 65 made in the 90's, include Ron Howard's Far & Away, Kenneth Branagh's Hamlet. However it's mainly used for special effects shots, it was used in Inception for sfx. Scorsese also used it for a hyper-reality sequence in Shutter Island (it's used in the night dream scene in the Concentration Camp train yard, where it is snowing and the bodies are piled together, frozen)
TYLER | July 21, 2012 11:46 AM
I pointed out the name of the song, and also the "Melvin and Howard" and "the passenger" references on "CigsandRedvines" before everybody else... So I guess, you were referring to me when you wrote:
"Fans have already picked up on a few possible homages -- the aforementioned âMelvin And Howard,â Freddie hanging freely over the edge of the ship recalls a similar shot in Antonioniâs âThe Passenger,â etc. -- but weâre sure like his previous work, this will be something all his own."
Lol.... Great article. Can't wait for October 12.
Ted | July 21, 2012 11:22 AM
Fantastic write-up. I was looking for the Jo Stafford song and greatly appreciate you tracking it down.