‘There Will Be Blood’

We complete the Paul Thomas Anderson (“Magnolia”) tribute this week with a movie that is about an oil driller and his boy roaming the plains looking to start a business.

An honest villain posing as a man to help his little boy succeed? Sounds presidential …  oops, wrong century. This film takes place in the 1800s. The story shows us greed has been running our world forever. To some degree it’s wrong, but it’s human nature.

For this review, I had the great pleasure to sit down with Joey Dianda, the key grip for “There Will Be Blood.” Joey is instrumental in making sure the director and cinematographer get their shot. Whether it’s a crane shot, dolly or filming on a boat, Joey makes it work. He has done so for this film’s director Paul Thomas Anderson on “Boogie Nights” and just completed working with Cameron Crowe on “We Bought a Zoo.”

While conducting this interview I had a tough time not being a geek about TWBB. Joey is one the most ego-less people I’ve met. As he discussed “There Will Be Blood” his stories were filled with the ins and outs of the movie-making battlefield with one of my favorite directors.

I couldn’t stop thinking how many scenes and shots that inspire people, which Joey D. made happen. To me, I was in awe. After five minutes chatting with Joey, you quickly realize you’re just a guy listening to stories.

This film was very grip-intensive (lots of crane, rig, dolly and steadicam). Almost every shot has some sort of move, pan, tilt or the camera illustrates a point. PT Anderson is known for his moving camera, something he lifted from Scorsese and Robert Altman.

For the most part, TWBB had two incredibly hard shots — well, that stuck out after 10 viewings. One involves the film’s star Daniel Day-Lewis as he is stuck in an oil ditch and the other comes about 90 minutes into the movie when he learns of a great “deception” while swimming.

As Daniel Day-Lewis is overcome with emotion, the tide slowly comes in and seems as if it’s drowning the character with the camera. When I spoke with Joey D. I asked how they got the shot of Daniel Day Lewis. Joey told me they loaded up a boat and moved two hours up the coast. They had a mini-crane hanging off the boat and could dip it in and out. There was also a safety boat nearby in case the camera or crew fell or sank. Joey said they realized “if an accident happened, the director, lead actor, all the gear and half the crew would be gone.” It was a great story.

As you watch this film, know hundreds of people made it happen, and although we credit the director and Oscar-winning cinematographer, we need to give it up to guys like Joey D. who make it happen. With all due respect, the director isn’t pushing the dolly. I love Paul Thomas Anderson, but even he gives it up to Joey. As you view this film, think of the crew. Sure the cast is great, the director is a master. However, try something new. Think about the cogs in the wheel.