tio filmer som var influenser till boogie nights [1997]
...enligt paul thomas anderson
1. putney swope [robert downey sr 1969]
"when i watched it, i realised that you could be really punk rock in a movie. you could do anything; it didn't have to make sense. as long as it was funny, or funny to the guy who was making it, it would come across as exciting"
2. nashville [robert altman 1975]
"this film is perfect, absolutely perfect, to me. nashville gets me speechless - it's one of his best, right up there with the long goodbye"
3. goodfellas [martin scorsese 1990]
"he threw the cinematic fucking sink into that movie. some stuff i did in boogie nights is compared to the long travelling shot into the copacabana"
4. singin' in the rain [stanley donen 1952]
"everyone needs a musical, right?"
5. tirez sur le pianiste [francois truffaut 1960]
"in this, truffaut took the american gangster movies that i new and loved as a kid - all that humphrey bogart stuff - and took it somewhere brand new and postmodern: our hero could be a little skinnier and not so tough"
6. the jade pussycat [bob chinn 1977]
"for me, it's the quintessential porno film. it sucks - i know that - but it's so enjoyable to watch, not just in a horny, get-off kind of way"
7. soy cuba [mikhail kalatozov 1964]
"i took the going-underwater shot in boogie nights from this"
8. melvin and howard [jonathan demme 1980]
"it's the first 20 minutes: two guys talking in a fucking car - and that's it! this to me is heaven"
9. stray dog [akira kurosawa 1949]
"this is what i call a 'pop song' movie. it's so simple. you can say it in one sentence: a rookie cop loses his gun. it's unbelieveble"
10. bad day at black rock [john sturges 1954]
"can i make it a tie with sweet smell of success [1957]? i like films that are simple in their storytelling - and i can't fucking write for shit!"
