Paul Thomas Anderson film editing took an unexpected spotlight recently, as it was revealed that the acclaimed director was secretly involved in shaping the ending of Judd Apatow’s 2009 comedy-drama ‘Funny People.’ During a period when Anderson has commanded attention for his 2025 film ‘One Battle After Another,’ this behind-the-scenes collaboration demonstrates the director’s influence on major creative projects, further cementing his reputation for generosity toward friends and colleagues in the entertainment industry.
With ‘One Battle After Another’ receiving significant praise amid a disappointing fall slate, Paul Thomas Anderson has maintained a modest public profile, letting his productions speak for themselves. As the director’s latest project garners critical attention, stories have resurfaced detailing his collaborative spirit—highlighted by his uncredited script contributions to films like Martin Scorsese’s ‘Killers of the Flower Moon‘ and Ridley Scott’s ‘Napoleon.’ Anderson’s willingness to provide creative support, whether through writing or in the edit suite, has made him a valued partner among top filmmakers. One notable example is his covert role in the editing of Judd Apatow’s ‘Funny People,’ where Anderson’s touch became evident in the film’s final moments.
Paul Thomas Anderson’s Editorial Influence on ‘Funny People’
Judd Apatow, renowned for helping launch the careers of comedic stars and for his signature, lengthy comedies, has never shied from acknowledging the challenges of refining his films. During an appearance on the We Might Be Drunk podcast, Apatow reflected on the process of making ‘Funny People,’ a film that examines the lives of stand-up comedians through the prism of Adam Sandler’s character, George Simmons, who faces mortality and attempts to reclaim his life and relationships. Living up to Apatow’s reputation, ‘Funny People’ is both praised for its heartfelt storytelling and critiqued for its expansive 146-minute runtime—an unusual length for a mainstream comedy.
Before ‘Funny People,’ Adam Sandler had worked with Anderson on ‘Punch-Drunk Love,’ a film admired by Apatow and the starting point for his friendship with Anderson. During a preview screening of ‘Funny People,’ Anderson did not hesitate to offer blunt, albeit humorous, feedback:
“The movie’s too long, and when you hear that from me, you should take it seriously!”
—Paul Thomas Anderson, Director.
Recognizing the value in this critique, Apatow invited Anderson into the editing suite, hoping his fresh perspective would help streamline the film’s narrative, particularly its challenging conclusion.
Shaping the Final Scene: A Director’s Signature Through Editing
The ending of ‘Funny People’ presents a poignant resolution, with George Simmons and Ira Wright, played by Adam Sandler and Seth Rogen respectively, reconnecting after a tumultuous journey. As the pair discuss future jokes at Ira’s workplace, Apatow remained unsure how to strike the right emotional chord in the closing moments. Seeking inspiration, he stepped away and left Anderson to explore editing options.
Upon his return, Apatow immediately recognized Anderson’s influence in the altered sequence:
“looked exactly like a Paul Thomas Anderson movie,”
—Judd Apatow, Director. Distinctive editing choices, such as an unconventional music transition and an abrupt cut to black, gave the scene a resonance typical of Anderson’s acclaimed style. This experience revealed to Apatow just how much a director can leave their mark in the editing room, with Anderson’s “musical and structural flourishes” standing out as both unique and emotionally impactful.
Although some of Anderson’s suggested edits reportedly did not make the final cut, the film’s conclusion—featuring John Lennon’s ‘Watching the Wheels’—highlights Anderson’s influence. The transition from score to an iconic song, coupled with a tender fade-out, offers a distinctive departure from Apatow’s usual comedic framing, delivering a more introspective and layered finish. This blending of comedy and art-house sensibility deepened the film’s mature exploration of morality, generational tension, and self-reflection, bridging the experiences of Sandler’s and Rogen’s characters.
Anderson’s Legacy of Creative Collaboration in Film
Paul Thomas Anderson’s readiness to contribute behind the scenes extends beyond this solitary editing instance. Notably, he has also worked as a backup director for Robert Altman on ‘A Prairie Home Companion’ and provided script guidance for ‘Killers of the Flower Moon,’ starring Leonardo DiCaprio. His willingness to help, regardless of receiving public credit, demonstrates his passion for cinema as a collaborative art, benefiting colleagues like Apatow and Ridley Scott, as well as actors such as Joaquin Phoenix.
Wherever he participates—in press tours, on film sets, or in the editing room—Anderson’s collaborative ethos has cemented his status as both an auteur and a generous creative partner. This attitude, coupled with his fan-like admiration for comedy, led him to assist Judd Apatow with ‘Funny People,’ infusing the project with his cinematic touch and elevating it to a unique status among studio comedies of the time.
Audiences can now revisit ‘Funny People’ through various streaming platforms, appreciating the subtle but significant contributions made possible by Paul Thomas Anderson film editing and the intersection of Apatow’s and Anderson’s creative worlds. As these stories surface, industry observers are reminded of the profound impact that an uncredited yet collaborative hand can have, sparking curiosity about other hidden influences in the movies we love.
