Rob Caravaggio Commentaries

You have to admit—some of those ink blotches do look sexualRC-2013-103: The Master (2012) Your browser does not support this audioPaul Thomas Anderson's The Master will be released on home media later this month—I'm on top of it. After making listeners jealous by bragging about being one of the lucky few who got to see the film projected properly on glorious 70 mm, I heap praise on DP Mihai Malamare for his use of the old-school film stock—the clarity, the depth of field, the rosy red colors of Philip Seymour Hoffman's nose! Noting that many were perplexed by the movie, I go on to explain my pet theories about What It All Means. The commentary spirals into a little bit of love fest, with me ladling more compliments on the casting choices and Anderson's daring, to-hell-with-convention screenwriting. I then go crazy by having the audacity to mildly criticize His Excellency Harvey Weinstein, resigning myself to never working in this town again. Questions addressed include: Which scenes are actually dreams? How