I watched Paul Thomas Anderson’s The Master this evening.
My first thought while walking out of the theater was a one sentence sum up as follows:
What a great review.
Oh how we resonate with each other.
Phillip Seymour Hoffman did a magnificent portrayal of LRH.
He did in fact capture the identity and beingness.
I just could not agree with you more.
Including the inducement at the end, all or nothing and then we will show you
– Karen de la Carriere
Class XII Case Supervisor
Personal friend of and apprenticed under L Ron Hubbard
“I’ve made six movies, and I feel like I’m only just finally figuring out how this business fucking works,” Paul Thomas Anderson says on an unseasonably mild August afternoon in the Astoria section of Queens, where later tonight he will preview his latest film for an invited audience at the Museum of the Moving Image. The movie is The Master, Anderson’s first in the five years since the Oscar-winning There Will Be Blood, and one of this year’s most feverishly anticipated cinematic events—a must-see status attributable to Anderson’s vaunted standing among serious film buffs, to the secretive nature of the production (at a time when we know far too much about most movies before we see them), and, mostly, to the film’s subject matter: the early days of a self-help religion that bears more than a passing resemblance to L. Ron Hubbard’s Church of Scientology.