Paul Thomas Anderson’s newest project, One Battle After Another, marks the largest budget of his directing career, reportedly costing $150 million. This ambitious film carries Anderson’s distinctive style while continuing to challenge conventional storytelling, confirming his reputation for pushing boundaries in the industry. The filmmaker remains dedicated to using Microsoft Word for his scriptwriting, despite the availability of specialized software.
A Traditional Approach to Scriptwriting and Filmmaking
Despite working in an era dominated by digital tools, Anderson prefers to write his screenplays on Microsoft Word, embracing what many might consider outdated technology.
“I’m still stuck on the world’s worst programme,”
the director admitted over the phone from Los Angeles.
“It’s stubbornness. It makes no sense. It’s an addiction that’s really unhealthy.”
For Anderson, the process of typing scripts on Word is akin to using a typewriter rather than modern screenwriting software. He enjoys the tactile experience, saying,
“Deep down, I like to write the characters’ names. I like to hit tabs.”
He believes the limitations of this method compel him to pay closer attention to dialogue:
“Exactly. It’s those hiccups you have to do.”
The Long Development of One Battle After Another
Anderson has spent about two decades refining One Battle After Another, developing and trimming his script from an initial draft that reached 600 pages. Of this, Anderson shrugged that
“500 of those pages were shit.”
The film stands out not only for its record-breaking budget—roughly the cost of his previous five films combined—but also for its action-centered plot that includes car chases and shootouts. Even with this scale, Anderson maintains the peculiar, sometimes unsettling tone familiar to his fans, echoing his earlier works like Magnolia.
Reflecting on the production, Anderson noted,
“It felt no different than my other films. Magnolia, we shot for 100 days, and this was about the same, but with a break in the middle. When I look around, I’m with the 15 familiar faces I’ve always worked with. Whether you’re doing a car chase in the desert, or a scene of a baby being born in a room in Inglewood, it’s still the same 15 of us.”
The film was shot using traditional 35mm film with VistaVision cameras, further emphasizing Anderson’s preference for classic filmmaking techniques.
Plot and Characters: A Complex Tale of Activism and Family
One Battle After Another opens with a radical activist group called the French 1975. Central to the story are Bob Ferguson, played by Leonardo DiCaprio, and Perfidia, portrayed by Teyana Taylor, whose romance intertwines with their fight against fascism. When Perfidia secretly becomes involved with Colonel Steven Lockjaw, played by Sean Penn, the group fractures, and Bob escapes with their child.
The narrative fast-forwards two decades, focusing on Bob’s solitary life with his daughter, Willa, played by Chase Infiniti. Willa is disillusioned upon discovering her mother was, in her words, a “rat.” Meanwhile, Lockjaw aims to join a racist cult known as The Christmas Adventurers Club and targets Bob and Willa’s home. Willa is rescued by Deandra, a former French 1975 member portrayed by Regina Hall, while Bob struggles to contact his daughter due to a forgotten password. Supporting Bob is Sergio, a beer-drinking karate instructor played by Benicio del Toro. Throughout the story’s action and comedy, DiCaprio’s character remains notably in a dressing gown, reminiscent of The Dude in The Big Lebowski.
The Influence of Contemporary Life and Technology
This film marks Anderson’s first to feature smartphones prominently, situating it within a modern context. He credits DiCaprio and Infiniti for highlighting the dramatic potential of a secret phone.
“I have to thank Leo and Chase for bringing it to my attention that the phone could be a ticking time bomb. If she’s got a secret phone from her crazy-ass dad who won’t let her have one, then we’ve got a real problem in terms of the plot – in a good way. Which is: they’re gonna get her if she’s got a phone.”
Combining Past Ideas and Inspiration from Literature
The screenplay is a fusion of three previous ideas. One involved a bounty hunter, another focused on a young female activist, and the third was an attempt to adapt Thomas Pynchon’s 1990 novel Vineland. The final script credits Pynchon’s work as an inspiration rather than a direct adaptation. Chase Infiniti’s role as Willa has been widely praised, with the young actress outperforming DiCaprio and Penn in pivotal emotional scenes.
The Director’s Connection to His Cast and Personal Influences
The character of Willa, a politically aware hero, reflects Anderson’s personal environment, especially his relationship with youth and women of color.
“I must be, because I live in a house full of them,”
he said, referring to his four children with partner Maya Rudolph. Anderson expressed the emotional weight he placed on discovering the right actress:
“I’m starting to feel bad, because I put so much love and pressure upon Chase. I can’t undersell how terrific she is. I’ve had this overwhelming feeling lately. In the past week, I’ve had to remember how I got here, and I’ve genuinely come to the conclusion that what’s taken so long is that I was waiting to meet Chase Infiniti. Without getting all Californian, astrological, and hippie about it – to your point, she is the hero of the movie. I put so much pressure on finding the right actor because of who I live with, and what I’m surrounded with. Finding her was one of the lucky breaks I’ve had in the movie business.”
Building Toward an Emotional Climax
Anderson discussed the film’s intense third act, particularly scenes involving Willa, emphasizing suspense over violence. He was cautious not to reveal spoilers but noted,
“The film needs to build to a very suspenseful climax that doesn’t need a violent payoff, it needs an emotional payoff.”
This focus indicates Anderson’s commitment to crafting a narrative that resonates deeply with audiences beyond typical blockbuster thrills.
