Paul Thomas Anderson’s latest film, One Battle After Another, has garnered widespread acclaim, securing 14 BAFTA nominations and 13 Oscar nods since its release. The movie, loosely based on Thomas Pynchon’s 1990 novel Vineland, stars Leonardo DiCaprio as Pat Calhoun, a former revolutionary turned fugitive, in a gripping story of survival and reunion. This article explores four pivotal scenes through insights from Anderson and cinematographer Michael Bauman, providing a deep dive into their creative choices and technical execution.
Intense Bank Heist Marks a Turning Point for the French 75
The bank robbery sequence signals a critical moment in One Battle After Another, depicting the French 75 group’s criminal escalation and eventual downfall. During the heist, Perfidia, leader of the group played by Teyana Taylor, kills a security guard, sparking a police chase that leads to her capture. Anderson emphasizes this scene as a shift in tone, where the reckless energy of the group gives way to deadly consequences.
Anderson explains,
“Once you’re standing on a bank teller’s desk, announcing yourself, you are starting to believe your own hype. So that’s a step in the wrong direction. Not to mention the killing of the guard, an act of violence where everything changes.”
The raw atmosphere of the bank heist was achieved without music, giving the scene a documentary-like immediacy despite the film’s stylized narrative approach.
The filming took place in Sacramento, chosen for its scale and architectural anonymity, which Anderson felt could represent any American city. To capture the car chase authentically, the crew used practical effects rather than relying on modern technology.
“We decided to strap the camera to the front of a car and have somebody drive really fast. And that person was [stunt driver] Allan Padelford,”
Anderson says.
“When we started shooting, there had been the Screen Actors Guild and Writers Guild strikes, so a lot of people didn’t have work. When it came time to do that scene, it was the creme de la creme of stuntmen who came to help [stunt co-ordinator] Brian Machleit and [assistant director/producer] Adam Somner. It was an all-star team, guys who can do things with those cars to give it immediacy.”
– stunt driver Allan Padelford
Michael Bauman reflects on the scene’s kinetic energy:
“It was all about getting the energy. So, right behind the bank, when they come running out and take off, there’s this big dip and those guys were like, ‘Oh yeah, let’s give it a bit more.’ It was insane. It was always: take it to 11. We were fortunate to have that level of talent behind the wheel. You can see it in the film.”
Bob’s Confused Payphone Call Captures His Fractured State
In a tense moment, Bob Ferguson (formerly Pat Calhoun) makes a panicked payphone call while under the influence of drugs and alcohol. Attempting to contact an old revolutionary to arrange a meeting with his daughter Willa, Bob struggles to recall the coded language needed for their rendezvous, showcasing his internal turmoil and vulnerability.
Costuming for this scene was a critical consideration. Anderson recounts the debate over Bob’s attire, ultimately deciding on the character’s bathrobe, hat, and glasses ensemble. While a poncho was considered, Leonardo DiCaprio preferred to keep the bathrobe for its fit with the character’s mood.
On set, the scene was shot with two concurrent cameras to capture Bob’s frantic energy from different angles. Anderson notes feeling encouraged by the scene’s blend of humor and tension, marking it as a defining moment in the film.
“We shot Leo running into the market first. Then ran him through the market and got him outside in one shot. Then we concentrated on getting the phone call right. We shot it with two cameras – one in profile, one towards the wall. I remember feeling, ‘This is good, this is making me laugh,’ in a way that got me excited, because this was a defining moment within the movie. It felt like we got something quite strong.”
– Paul Thomas Anderson
Bauman shares details of the improvisational atmosphere during filming:
“We did several takes of him coming around the corner, and there was one where he runs into the empty milk cartons and they all go flying. It was a lot of that, so many little things were happening. It was all about the external environment. We had the cars going by in the background. There are always layers.”
Anderson praises Dan Chariton, who played Comrade Josh and actually conversed with DiCaprio during the phone scene, lending authenticity through live interaction. He further highlights DiCaprio’s exceptional ability as an actor.
“There are actors who can completely lose themselves and it’s exciting to watch, but you can’t ask them to do anything technical. Leo can do it all. He can feel out of control, then hit marks that have been predetermined, which is incredibly rare. This man is like the LeBron James of acting.”
– Paul Thomas Anderson
Bauman adds that DiCaprio brought different subtle nuances to each take, particularly in the way he ended the call:
“Every take, there would just be new stuff, little subtle things. Even how he hung up the phone and what he would say afterwards, just different every time.”
El Paso Rooftop Escape Combines Drama and Precision Staging
Bob’s escape in El Paso is an elaborate sequence showcasing both narrative and technical challenges. After seeking help from Benicio del Toro’s Sensei, Bob navigates through an apartment housing undocumented immigrants before fleeing along rooftops with the help of local skateboarders.
Anderson describes the long creative process behind this section, noting that the script initially had significant gaps regarding the sequence’s dramatic core. He adjusted scenes after Benicio del Toro expressed hesitation about his character aiding Bob if it involved killing someone.
Preparations for filming were rigorous, including scouting safe rooftops and constructing a realistic apartment set. Production designer Florencia Martin built a detailed interior to allow for natural interactions, like cold beers from the refrigerator and running water, enabling improvisational moments.
“I could talk about that sequence forever, because for as long as I’ve been doing this, shooting it was the best time I’ve ever had. It was the most fun, free, meaningful, hilarious, and felt the most inventive. It was an incredible time in El Paso, not the least of which was watching Adam [Somner], who by that time was quite sick, guiding everything. We had a golf cart for him with a British flag on it.”
– Paul Thomas Anderson
Dynamic “River of Hills” Car Chase Emerged from Serendipitous Discovery
The film’s climactic highway pursuit unfolds along a winding desert road in California, providing an exhilarating backdrop for Willa’s escape and Bob’s relentless pursuit. Anderson recounts the surprising find of the serpentine stretch of California State Route 78 during location scouting, which inspired the chase’s distinctive look and feel.
Bauman highlights logistical challenges in filming the chase, including limited road closures and a tight shooting window that required precision coordination. The technical setup involved mounting cameras on vehicles to capture multiple perspectives simultaneously, with driver Allan Padelford directing the action.
Though extensive planning took place, Anderson reflects on fortunate, unplanned moments during filming. He compares the unexpected visual effects in the chase to the work of legendary directors, underscoring the role of chance in filmmaking.
“Steven Spielberg could do that. Alfred Hitchcock could do that. We had to get lucky to get it.”
– Paul Thomas Anderson
Bauman adds,
“All the natural stuff that happened was welcomed.”
The editing and sound design for the sequence were carried out simultaneously, with contributions from composer Jonny Greenwood elevating the tension through layered instrumentation. Anderson remarks that the sequence elicited strong reactions from test audiences, including one who warned others of potential seasickness due to the intensity of the visuals.
“I knew [the sequence] was good. I knew people would have a good reaction. We did a screening, I think it was in Las Vegas, and somebody wrote [on the test cards] in big letters, ‘You cannot let people watch this film without warning them if they have seasickness. I was so sick during that.’”
– Paul Thomas Anderson
All caps.
“I was, ‘Oh, this is the best review ever.’ It was like when my son saw Avengers: Infinity War, and they all died at the end and he said, ‘That’s the worst movie I’ve ever seen in my life.’ What he meant was, ‘It’s the best movie I’ve ever seen.’ This person was so angry. She said, ‘You cannot do this to people. You must warn them. I had so much anxiety.’ I was like, ‘Alright. That’s what it’s supposed to do.’”
– Paul Thomas Anderson
One Battle After Another continues to build momentum in awards circles and audience enthusiasm, bolstered by Anderson’s meticulous craftsmanship and collaboration with his cast and crew. Each carefully crafted scene contributes to the film’s intense atmosphere and narrative depth, marking it as a standout entry in Anderson’s filmography and a testament to his enduring vision in contemporary cinema.
