As media personalities, they both seem kind of unknowable, or at least untouchable.
They drop in every half-decade or so, blow our minds, and then go back to their private lives.
, which would be my favorite album of 2012 if the year ended today.
On Friday, Anderson’s first film in five years, The Master, arrives in a handful of theaters, with a wide release set for next week.
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, and restored Apple’s reputation as a likably thorny artist. Anderson hit the wall after the public sniffed Punch-Drunk Love and opted not to take a drink.
In June, Apple released her first record in seven years, The Idler Wheel …
Only Paul and Fiona aren’t as chatty; they’re just nervously sucking down cigarettes, trying to get their minds right before walking into the glare of what’s waiting for them outside.
In retrospect, it might’ve been better for Paul and Fiona if they had just kept on driving and smoking that night.
Writer Lynn Hirschberg zeroed in on Anderson’s “reputation as a brat and a genius,” and the article’s sub-headline posed a pointed rhetorical question: “Thanks to the critical success of Boogie Nights, Paul Thomas Anderson has total control over his new three-hour movie, Magnolia. But all that alt-rock stuff was so passé in the late ’90s; people just wanted to enjoy their budget surpluses and lack of wars and Sugar Ray singles. Fiona, like Paul, had a Heaven’s Gate mentality in what had suddenly become a Star Wars world.
Now even Janeane Garofalo — the fallen symbol of bygone preach-the-truth alt-dom — was mocking her, in a bit from Denis Leary’s 1997 album Lock N Load, which Rolling Stone‘s Chris Heath played for Apple during a 1998 interview seemingly for the purpose of making her cry.
But let’s forget that for a second: Their timing really was so ridiculous that December night.