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Magnolia (soundtrack)
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This article is about the soundtrack to the movie Magnolia. For the score by Jon Brion, see Magnolia (score).

Magnolia: Music from the Motion Picture

Soundtrack album by Aimee Mann

Released
December 7, 1999
Genre
Pop, rock
Length
50:49
Label
Warner Music
Producer
Jon Brion
 Buddy Judge
 Aimee Mann
Brendan O'Brien
Michael Penn
Aimee Mann chronology

I'm with Stupid
 (1995) Magnolia
 (1999) Bachelor No. 2
 (2000)


Professional ratings

Review scores

Source
Rating
Allmusic 4.5/5 stars[1]
Almost Cool (7.25/10)[2]
The Austin Chronicle 4/5 stars[3]
Chicago Tribune (favorable)[4]
Mojo (favorable)[5]
NME (4/10)[6]
Q 4/5 stars[5]
Rolling Stone 4/5 stars[7]
Robert Christgau (1-star Honorable Mention)[8]
Magnolia: Music from the Motion Picture is the soundtrack album to the Paul Thomas Anderson motion picture of the same name. Largely composed of works by Aimee Mann, enough such that she receives a title billing on the album, the album also features tracks by Gabrielle, Supertramp, and Jon Brion.


Contents  [hide]
1 Description
2 Track listing
3 Charts and certifications 3.1 Charts
3.2 Certifications
4 References

§Description[edit]
Anderson has stated that Magnolia was inspired by Mann's music.[9]
Many of the songs feature prominently within the film, with "Wise Up" even being sung by the cast at one point, but only two of the songs were written expressly for the film, those being "You Do" and "Save Me". "Save Me" would garner Mann an Academy Award nomination for Best Song, losing to Phil Collins's song "You'll Be in My Heart" from Tarzan.[1]
The tracks "Deathly", "Driving Sideways", and "You Do" show up on Aimee Mann's following album, Bachelor No. 2, though the track "Save Me" replaces "Driving Sideways" on EU editions. "Nothing Is Good Enough", here an instrumental, appears in lyrical form on that album. (Bachelor also includes "Red Vines", a song Mann wrote about director Anderson.)
The beginning of the song "You Could Make a Killing" and the bit that appears after the track "It's Not Safe", both from I'm with Stupid, also appear briefly in the beginning of the film, but the tracks do not appear on this album.
The song "One", written by Harry Nilsson and originally made popular by Three Dog Night, contains several obscure musical references to other Nilsson songs. It opens with a sample of Nilsson saying "Okay, Mr. Mix!" taken from the start of his song "Cuddly Toy". This version of the song also includes lyrics from Nilsson's song "Together" sung in the background. ("Life isn't easy when two are divided / and one has decided / to bring down the curtain / and one thing's for certain / there's nothing to keep them together."). Furthermore, the opening vocal motif from Nilsson's song "Good Old Desk" is used as a background vocal line (at approximately 1:54 into the song). Neil Innes, from The Bonzo Dog Doo Dah Band and The Rutles, and Chris Difford of Squeeze provide backing vocals.[10] This track originally appeared on the For the Love of Harry: Everybody Sings Nilsson tribute album.
§Track listing[edit]
All songs performed by Aimee Mann, unless otherwise noted.

No.
Title
Writer(s)
Length

1. "One"   Harry Nilsson 2:53
2. "Momentum"   Aimee Mann 3:27
3. "Build That Wall"   Mann, Jon Brion 4:25
4. "Deathly"   Mann 5:28
5. "Driving Sideways"   Mann, Michael Lockwood 3:47
6. "You Do"   Mann 3:41
7. "Nothing Is Good Enough (Instrumental)"   Mann 3:10
8. "Wise Up"   Mann 3:31
9. "Save Me"   Mann 4:35
10. "Goodbye Stranger" (performed by Supertramp) Rick Davies, Roger Hodgson 5:50
11. "The Logical Song" (performed by Supertramp) Davies, Hodgson 4:07
12. "Dreams" (performed by Gabrielle) Gabrielle, Tim Laws 3:43
13. "Magnolia" (performed by Jon Brion) Brion 2:12
Total length:
 50:49 
§Charts and certifications[edit]

§Charts[edit]

Chart (2000)
Peak
 position


Canada (RPM)[11]
21
Germany (Media Control AG)[12]
42
US Billboard 200[13]
58
US Top Internet Albums (Billboard)[13]
4

§Certifications[edit]

Region
Certification
Sales/shipments


United States (RIAA)[14]
Gold 500,000^
*sales figures based on certification alone
^shipments figures based on certification alone
xunspecified figures based on certification alone


§References[edit]
1.^ Jump up to: a b Erlewine, Stephen Thomas. "Magnolia (Original Soundtrack) – Original Soundtrack". Allmusic. Rovi Corporation. Retrieved May 11, 2013.
2.Jump up ^ "Aimee Mann - Magnolia OST". Almost Cool. 1999. Retrieved July 7, 2013.
3.Jump up ^ Labernz, Mindy (February 18, 2000). "Aimee Mann Songs From Magnolia (Reprise)". The Austin Chronicle. Retrieved July 7, 2013.
4.Jump up ^ Klein, Joshua (January 9, 2000). "Aimee Mann Magnolia: Music from the Motion Picture (Reprise)". Chicago Tribune. Retrieved July 7, 2013.
5.^ Jump up to: a b "Magnolia Soundtrack CD Album". CD Universe. Retrieved July 7, 2013.
6.Jump up ^ "Album Reviews - Magnolia - Music From The Motion Picture". NME. April 3, 2000. Retrieved July 7, 2013.
7.Jump up ^ Walters, Barry (February 17, 2000). "Aimee Mann: Magnolia Music from the Motion Picture". Rolling Stone. Wenner Media. Archived from the original on December 4, 2007. Retrieved May 11, 2013.
8.Jump up ^ CG: Magnolia album
9.Jump up ^ Patterson, John (March 10, 2000). "Magnolia Maniac". The Guardian. Retrieved April 12, 2010.
10.Jump up ^ Phipps, Kevin (March 29, 2002). "Soundtrack: Magnolia". The A.V. Club. The Onion. Retrieved May 11, 2013.
11.Jump up ^ "Top 100 CDs". RPM (Toronto) 70 (17). February 28, 2000. Retrieved May 11, 2013.
12.Jump up ^ "Discographie Aimee Mann". charts.de (in German). Hung Medien. Retrieved June 21, 2013.
13.^ Jump up to: a b "Magnolia [Original Soundtrack] – Awards (Billboard Singles)". Allmusic. Rovi Corporation. Retrieved May 11, 2013.
14.Jump up ^ "American certifications – Soundtrack – Magnolia". Recording Industry Association of America. Retrieved May 11, 2013.


[hide]
v ·
 t ·
 e
 
Aimee Mann


'Til Tuesday albums
Voices Carry ·
 Welcome Home ·
 Everything's Different Now ·
 Coming Up Close: A Retrospective
 

Solo albums
Whatever ·
 I'm with Stupid ·
 Bachelor No. 2 or, the Last Remains of the Dodo ·
 Lost in Space ·
 The Forgotten Arm ·
 One More Drifter in the Snow ·
 @#%&*! Smilers ·
 Charmer
 

Other albums
Bark Along with The Young Snakes ·
 Aimee Mann & The Young Snakes ·
 Magnolia: Music from the Motion Picture ·
 Ultimate Collection ·
 Live at St. Ann's Warehouse ·
 The Both
 

Related articles
Discography ·
 Michael Penn ·
 Jules Shear ·
 "Time Stand Still" ·
 The Both
 

  


Categories: 1999 soundtracks
Aimee Mann albums
Albums produced by Brendan O'Brien (record producer)
Albums produced by Jon Brion
English-language soundtracks
Film soundtracks
Warner Bros. Records soundtracks






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Magnolia (soundtrack)
From Wikipedia, the free encyclopedia
Jump to: navigation, search

This article is about the soundtrack to the movie Magnolia. For the score by Jon Brion, see Magnolia (score).

Magnolia: Music from the Motion Picture

Soundtrack album by Aimee Mann

Released
December 7, 1999
Genre
Pop, rock
Length
50:49
Label
Warner Music
Producer
Jon Brion
 Buddy Judge
 Aimee Mann
Brendan O'Brien
Michael Penn
Aimee Mann chronology

I'm with Stupid
 (1995) Magnolia
 (1999) Bachelor No. 2
 (2000)


Professional ratings

Review scores

Source
Rating
Allmusic 4.5/5 stars[1]
Almost Cool (7.25/10)[2]
The Austin Chronicle 4/5 stars[3]
Chicago Tribune (favorable)[4]
Mojo (favorable)[5]
NME (4/10)[6]
Q 4/5 stars[5]
Rolling Stone 4/5 stars[7]
Robert Christgau (1-star Honorable Mention)[8]
Magnolia: Music from the Motion Picture is the soundtrack album to the Paul Thomas Anderson motion picture of the same name. Largely composed of works by Aimee Mann, enough such that she receives a title billing on the album, the album also features tracks by Gabrielle, Supertramp, and Jon Brion.


Contents  [hide]
1 Description
2 Track listing
3 Charts and certifications 3.1 Charts
3.2 Certifications
4 References

§Description[edit]
Anderson has stated that Magnolia was inspired by Mann's music.[9]
Many of the songs feature prominently within the film, with "Wise Up" even being sung by the cast at one point, but only two of the songs were written expressly for the film, those being "You Do" and "Save Me". "Save Me" would garner Mann an Academy Award nomination for Best Song, losing to Phil Collins's song "You'll Be in My Heart" from Tarzan.[1]
The tracks "Deathly", "Driving Sideways", and "You Do" show up on Aimee Mann's following album, Bachelor No. 2, though the track "Save Me" replaces "Driving Sideways" on EU editions. "Nothing Is Good Enough", here an instrumental, appears in lyrical form on that album. (Bachelor also includes "Red Vines", a song Mann wrote about director Anderson.)
The beginning of the song "You Could Make a Killing" and the bit that appears after the track "It's Not Safe", both from I'm with Stupid, also appear briefly in the beginning of the film, but the tracks do not appear on this album.
The song "One", written by Harry Nilsson and originally made popular by Three Dog Night, contains several obscure musical references to other Nilsson songs. It opens with a sample of Nilsson saying "Okay, Mr. Mix!" taken from the start of his song "Cuddly Toy". This version of the song also includes lyrics from Nilsson's song "Together" sung in the background. ("Life isn't easy when two are divided / and one has decided / to bring down the curtain / and one thing's for certain / there's nothing to keep them together."). Furthermore, the opening vocal motif from Nilsson's song "Good Old Desk" is used as a background vocal line (at approximately 1:54 into the song). Neil Innes, from The Bonzo Dog Doo Dah Band and The Rutles, and Chris Difford of Squeeze provide backing vocals.[10] This track originally appeared on the For the Love of Harry: Everybody Sings Nilsson tribute album.
§Track listing[edit]
All songs performed by Aimee Mann, unless otherwise noted.

No.
Title
Writer(s)
Length

1. "One"   Harry Nilsson 2:53
2. "Momentum"   Aimee Mann 3:27
3. "Build That Wall"   Mann, Jon Brion 4:25
4. "Deathly"   Mann 5:28
5. "Driving Sideways"   Mann, Michael Lockwood 3:47
6. "You Do"   Mann 3:41
7. "Nothing Is Good Enough (Instrumental)"   Mann 3:10
8. "Wise Up"   Mann 3:31
9. "Save Me"   Mann 4:35
10. "Goodbye Stranger" (performed by Supertramp) Rick Davies, Roger Hodgson 5:50
11. "The Logical Song" (performed by Supertramp) Davies, Hodgson 4:07
12. "Dreams" (performed by Gabrielle) Gabrielle, Tim Laws 3:43
13. "Magnolia" (performed by Jon Brion) Brion 2:12
Total length:
 50:49 
§Charts and certifications[edit]

§Charts[edit]

Chart (2000)
Peak
 position


Canada (RPM)[11]
21
Germany (Media Control AG)[12]
42
US Billboard 200[13]
58
US Top Internet Albums (Billboard)[13]
4

§Certifications[edit]

Region
Certification
Sales/shipments


United States (RIAA)[14]
Gold 500,000^
*sales figures based on certification alone
^shipments figures based on certification alone
xunspecified figures based on certification alone


§References[edit]
1.^ Jump up to: a b Erlewine, Stephen Thomas. "Magnolia (Original Soundtrack) – Original Soundtrack". Allmusic. Rovi Corporation. Retrieved May 11, 2013.
2.Jump up ^ "Aimee Mann - Magnolia OST". Almost Cool. 1999. Retrieved July 7, 2013.
3.Jump up ^ Labernz, Mindy (February 18, 2000). "Aimee Mann Songs From Magnolia (Reprise)". The Austin Chronicle. Retrieved July 7, 2013.
4.Jump up ^ Klein, Joshua (January 9, 2000). "Aimee Mann Magnolia: Music from the Motion Picture (Reprise)". Chicago Tribune. Retrieved July 7, 2013.
5.^ Jump up to: a b "Magnolia Soundtrack CD Album". CD Universe. Retrieved July 7, 2013.
6.Jump up ^ "Album Reviews - Magnolia - Music From The Motion Picture". NME. April 3, 2000. Retrieved July 7, 2013.
7.Jump up ^ Walters, Barry (February 17, 2000). "Aimee Mann: Magnolia Music from the Motion Picture". Rolling Stone. Wenner Media. Archived from the original on December 4, 2007. Retrieved May 11, 2013.
8.Jump up ^ CG: Magnolia album
9.Jump up ^ Patterson, John (March 10, 2000). "Magnolia Maniac". The Guardian. Retrieved April 12, 2010.
10.Jump up ^ Phipps, Kevin (March 29, 2002). "Soundtrack: Magnolia". The A.V. Club. The Onion. Retrieved May 11, 2013.
11.Jump up ^ "Top 100 CDs". RPM (Toronto) 70 (17). February 28, 2000. Retrieved May 11, 2013.
12.Jump up ^ "Discographie Aimee Mann". charts.de (in German). Hung Medien. Retrieved June 21, 2013.
13.^ Jump up to: a b "Magnolia [Original Soundtrack] – Awards (Billboard Singles)". Allmusic. Rovi Corporation. Retrieved May 11, 2013.
14.Jump up ^ "American certifications – Soundtrack – Magnolia". Recording Industry Association of America. Retrieved May 11, 2013.


[hide]
v ·
 t ·
 e
 
Aimee Mann


'Til Tuesday albums
Voices Carry ·
 Welcome Home ·
 Everything's Different Now ·
 Coming Up Close: A Retrospective
 

Solo albums
Whatever ·
 I'm with Stupid ·
 Bachelor No. 2 or, the Last Remains of the Dodo ·
 Lost in Space ·
 The Forgotten Arm ·
 One More Drifter in the Snow ·
 @#%&*! Smilers ·
 Charmer
 

Other albums
Bark Along with The Young Snakes ·
 Aimee Mann & The Young Snakes ·
 Magnolia: Music from the Motion Picture ·
 Ultimate Collection ·
 Live at St. Ann's Warehouse ·
 The Both
 

Related articles
Discography ·
 Michael Penn ·
 Jules Shear ·
 "Time Stand Still" ·
 The Both
 

  


Categories: 1999 soundtracks
Aimee Mann albums
Albums produced by Brendan O'Brien (record producer)
Albums produced by Jon Brion
English-language soundtracks
Film soundtracks
Warner Bros. Records soundtracks






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Magnolia (score)
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2014)

Magnolia:
 Original Motion Picture Score

Soundtrack album by Jon Brion

Released
March 14, 2000
Genre
Soundtrack
Length
48:37
Label
Warner Bros.
Jon Brion chronology

 Magnolia
 (2000) Meaningless
 (2001)

Magnolia is the score soundtrack to the Paul Thomas Anderson film of the same name. The score is composed by Jon Brion. A soundtrack release for the film with original music by Aimee Mann was previously issued in 1999. Track 9, "Magnolia", appears on said soundtrack, and is the only track from this soundtrack which does so.
§Track listing[edit]
1."A Little Library Music/Going to a Show" – 5:35
2."Showtime" – 10:28
3."Jimmy's Breakdown" – 4:24
4."WDKK Theme" – 0:45
5."I've Got a Surprise for You Today" – 6:12
6."Stanley/Frank/Linda's Breakdown" – 11:00
7."Chance of Rain" – 4:10
8."So Now Then" – 3:51
9."Magnolia" – 2:12
  


Categories: Film soundtracks
Jon Brion albums
2000 soundtracks






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This page was last modified on 9 September 2014, at 15:47.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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http://en.wikipedia.org/wiki/Magnolia_(score)











Magnolia (score)
From Wikipedia, the free encyclopedia
Jump to: navigation, search



 This article does not cite any references or sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2014)

Magnolia:
 Original Motion Picture Score

Soundtrack album by Jon Brion

Released
March 14, 2000
Genre
Soundtrack
Length
48:37
Label
Warner Bros.
Jon Brion chronology

 Magnolia
 (2000) Meaningless
 (2001)

Magnolia is the score soundtrack to the Paul Thomas Anderson film of the same name. The score is composed by Jon Brion. A soundtrack release for the film with original music by Aimee Mann was previously issued in 1999. Track 9, "Magnolia", appears on said soundtrack, and is the only track from this soundtrack which does so.
§Track listing[edit]
1."A Little Library Music/Going to a Show" – 5:35
2."Showtime" – 10:28
3."Jimmy's Breakdown" – 4:24
4."WDKK Theme" – 0:45
5."I've Got a Surprise for You Today" – 6:12
6."Stanley/Frank/Linda's Breakdown" – 11:00
7."Chance of Rain" – 4:10
8."So Now Then" – 3:51
9."Magnolia" – 2:12
  


Categories: Film soundtracks
Jon Brion albums
2000 soundtracks






Navigation menu



Create account
Log in



Article

Talk









Read

Edit

View history

















Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikimedia Shop

Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page

Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page

Print/export
Create a book
Download as PDF
Printable version

Languages

Edit links
This page was last modified on 9 September 2014, at 15:47.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
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http://en.wikipedia.org/wiki/Magnolia_(score)





















Magnolia (film)
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Magnolia
Magnolia poster.jpg
Theatrical release poster

Directed by
Paul Thomas Anderson
Produced by
Paul Thomas Anderson
JoAnne Sellar
Dylan Tichenor
Michael De Luca

Written by
Paul Thomas Anderson
Starring
Jeremy Blackman
Tom Cruise
Julianne Moore
Melinda Dillon
Philip Baker Hall
Philip Seymour Hoffman
Ricky Jay
William H. Macy
Alfred Molina
John C. Reilly
Jason Robards
Melora Walters

Music by
Jon Brion
Aimee Mann

Cinematography
Robert Elswit
Edited by
Dylan Tichenor
Distributed by
New Line Cinema

Release dates

December 17, 1999


Running time
 188 minutes[1]
Country
United States
Language
English
French
German

Budget
$37 million[2]
Box office
$48.5 million[2]
Magnolia is a 1999 American drama film written, produced, and directed by Paul Thomas Anderson and starring Jeremy Blackman, Tom Cruise, Philip Baker Hall, Philip Seymour Hoffman, Ricky Jay, William H. Macy, Julianne Moore, John C. Reilly, Jason Robards in his last feature film appearance, and Melora Walters. The film is a mosaic of interrelated characters in search of happiness, forgiveness, and meaning in the San Fernando Valley.
Magnolia was a critical success. Of the ensemble cast, Tom Cruise was nominated for Best Supporting Actor at the 72nd Academy Awards, and won the award in that category at the Golden Globes of 2000. Anderson once said: "I really feel... That Magnolia is, for better or worse, the best movie I'll ever make."[3]


Contents  [hide]
1 Plot
2 Cast
3 Development 3.1 Screenplay
3.2 Casting
3.3 Production
4 Music and soundtracks
5 Reception 5.1 Awards
6 Themes 6.1 Raining frogs and Exodus (Bible) references
7 Home media
8 References
9 External links

§Plot[edit]
The narrator recounts three instances of incredible coincidences and suggests that forces greater than chance play important roles in life.
Police officer Jim Kurring is sent to investigate a disturbance at a woman's apartment and finds a body in her bedroom closet. Dixon, a neighborhood boy, tries to tell him (by rapping) who committed the murder but Jim is dismissive. From there Jim goes to the apartment of Claudia Wilson. Claudia's neighbors had called the police after she had a loud argument with her estranged father, children's game show host Jimmy Gator, and then blasted music while snorting cocaine. Unaware of her addiction, Jim is immediately attracted to her and prolongs the visit. He asks her on a date that night; she says yes.
Jimmy hosts a long-running quiz show called "What Do Kids Know?" and is dying of cancer; he has only a few months to live. That night the newest child prodigy on "What Do Kids Know?", Stanley Spector (Jeremy Blackman), takes the lead as the show begins. He is hounded by his father for the prize money and demeaned by the surrounding adults, who refuse to let him use the bathroom during a commercial break. When the show resumes, he wets himself and freezes, humiliated when everyone realizes what happened. As the show continues an inebriated Jimmy sickens, and he orders the show to go on after he collapses onstage. But after Stanley's father berates him for freezing on air, Stanley refuses to return for the final round.
Donnie Smith, a former "What Do Kids Know?" champion, watches the show from a bar. Donnie's parents spent all of the money he won as a child, and he has just been fired from his job at Solomon & Solomon, an electronics store, due to chronic lateness and poor sales. But he is obsessed with getting oral surgery, thinking he will land the man of his dreams after he gets braces. He hatches a plan to get back at his boss by breaking in and stealing the money he needs for his braces.
Like Jimmy, the show's former producer, Earl Partridge, is dying of cancer. Earl's trophy wife, Linda, collects his prescriptions for morphine while he is cared for by a nurse, Phil Parma. Earl asks Phil to find his estranged son, Frank Mackey, a narcissistic sexist who is peddling a pick-up artist self-help course to men. Frank is in the midst of an interview with a female journalist who reveals that she has information demonstrating his official biography is a lie; rather than being an intelligent free-spirited youth who learned the truth about sexual relationships, Frank as a teen-aged boy had been forced to take care of his dying mother when Earl abandoned them. An angry Frank storms out of the interview when Phil finally gets through to him.
Linda goes to see Earl's lawyer, begging him to change Earl's will. She admits she married Earl for his money, but now loves him and doesn't want it. The lawyer suggests she renounce the will and refuse the money, which would then go to Frank. Linda rejects his advice and leaves in a rage. When she gets home Linda berates Phil for seeking out Frank, but later apologizes. She then drives to a vacant parking lot and washes down handfuls of prescription medicine with alcohol. Dixon finds Linda in her car, near death, and calls an ambulance after taking money from her purse.
Before his date with Claudia, Jim takes fire during a pursuit and loses his gun. When he meets Claudia they promise to be honest with each other, so he confesses his ineptitude as a cop and admits he has not been on a date since he was divorced three years earlier. Claudia says he will hate her because of her problems, but Jim assures her they don't matter. They kiss, but she runs off.
Jimmy Gator goes home to his wife Rose and confesses that he has cheated on her. She asks why Claudia does not talk to him, and Jimmy admits that Claudia believes he molested her. But when he says he cannot remember whether or not he did, Rose tells Jimmy he deserves to die alone, and she walks out on him. Jimmy decides to kill himself.
Meanwhile, Donnie takes the money from the Solomon & Solomon safe. As he drives away, he realizes his mistake in stealing and decides to return the money. However, he cannot get back in as his key had broken off in the lock earlier. As he tries to climb a utility pole to get on the roof, he is seen by a passing Jim. Suddenly, frogs begin to fall from the sky. As Jimmy is about to shoot himself, frogs fall through his skylight, causing him to shoot the TV instead. Rose crashes her car in front of Claudia's apartment but makes it inside safely. Earl dies as Frank watches. Linda's ambulance crashes in front of the emergency room. Donnie is knocked from the pole and smashes his teeth.
The next morning, Jim counsels Donnie and helps him return the money; his gun falls from the sky. Frank goes to the hospital to be with Linda, who will recover from her attempted suicide. Stanley, on his way to bed, tells his father that he needs to be nicer to him, though his father does not respond as Stanley had hoped, telling him to go to bed. Jim goes to see Claudia, telling her he wants to make things work between them; she smiles in reply.
§Cast[edit]
Jeremy Blackman as Stanley Spector
Tom Cruise as Frank T.J. Mackey
Julianne Moore as Linda Partridge
Melinda Dillon as Rose Gator
Philip Baker Hall as Jimmy Gator Thomas Jane as Young Jimmy
Philip Seymour Hoffman as Phil Parma
William H. Macy as "Quiz Kid" Donnie Smith
Alfred Molina as Solomon Solomon
John C. Reilly as Officer Jim Kurring
 Jason Robards as Earl Partridge
Melora Walters as Claudia Wilson
Felicity Huffman as Cynthia
April Grace as Gwenovier
Michael Murphy as Alan Kligman, Esq.
Michael Bowen as Rick Spector
Ricky Jay as Burt Ramsey / Narrator
Luis Guzmán as Luis
Henry Gibson as Thurston Howell
Danny Wells as Dick Jennings
 Patton Oswalt as Delmer Darion
Orlando Jones as Worm
Neil Flynn as Daniel Hill
Clark Gregg as WDKK Floor Director
Michael Shamus Wiles as Captain Muffy
Mary Lynn Rajskub as Voice of Janet, Frank's secretary
Jim Beaver and Ezra Buzzington as Smiling peanut patrons
Robert Downey, Sr. as WDKK Show Director
William Mapother as WDKK Show Director's assistant
Miriam Margolyes (uncredited) as Faye Barringer

§Development[edit]
Anderson started to get ideas for Magnolia during the long editing period of Boogie Nights (1997).[citation needed] As he got closer to finishing the film, he started writing down material for his new project[4] After the critical and financial success of Boogie Nights, New Line Cinema, who backed that film, told Anderson that he could do whatever he wanted and the filmmaker realized that, "I was in a position I will never ever be in again".[5] Michael De Luca, then Head of Production at New Line, made the deal for Magnolia, granting Anderson final cut without hearing an idea for the film.[5][6] Originally, Anderson had wanted to make a film that was "intimate and small-scale",[7] something that he could shoot in 30 days.[8] He had the title of "Magnolia" in his head before he wrote the script.[9] As he started writing, the script "kept blossoming" and he realized that there were many actors he wanted to write for and then decided to put "an epic spin on topics that don't necessarily get the epic treatment".[7] He wanted to "make the epic, the all-time great San Fernando Valley movie".[9] Anderson started with lists of images, words and ideas that "start resolving themselves into sequences and shots and dialogue",[7] actors, and music. The first image he had for the film was the smiling face of actress Melora Walters.[7] The next image that came to him was of Philip Baker Hall as her father. Anderson imagined Hall walking up the steps of Walters' apartment and having an intense confrontation with her.[10] Anderson also did research on the magnolia tree and discovered a concept that eating the tree's bark helped cure cancer.[9]
§Screenplay[edit]
By the time he started writing the script, Anderson was listening to Aimee Mann's music.[7] Anderson used her two solo albums and some demo tracks from a new album that Mann was working on as a basis and inspiration for the film.[11]
In particular, Mann's song "Deathly", on her album Bachelor No. 2 or, the Last Remains of the Dodo, inspired the character of Claudia.[11] At one point in the movie, Claudia uses part of the lyric as dialogue in the film ("Now that I've met you/Would you object to/Never seeing each other again").[7]
The character of Jim Kurring originated in the summer of 1998 when actor John C. Reilly grew a mustache out of interest and started putting together an unintelligent cop character. He and Anderson did a few parodies of COPS with the director chasing Reilly around the streets with a video camera. Actress Jennifer Jason Leigh made an appearance in one of these videos. Some of Kurring's dialogue came from these sessions.[7] This time around, Reilly wanted to do something different and told Anderson that he was "always cast as these heavies or these semi-retarded child men. Can't you give me something I can relate to, like falling in love with a girl?"[12] Anderson also wanted to make Reilly a romantic lead because it was something different that the actor had not done before.[7]
For Philip Seymour Hoffman, Anderson wanted him to play a "really simple, uncomplicated, caring character".[7] The actor described his character as someone who "really takes pride in the fact that every day he's dealing with life and death circumstances".[8] With Julianne Moore in mind, the director wrote a role for her to play a crazed character using many pharmaceuticals. According to the actress, "Linda doesn't know who she is or what she's feeling and can only try to explain it in the most vulgar terms possible".[13] For William H. Macy, Anderson felt that the actor was scared of big, emotional parts and wrote for him, "a big tearful, emotional part".[7]
While convincing Philip Baker Hall to do the film by explaining the significance of the rain of frogs, the actor told him a story about when he was in the mountains of Italy and got caught in bad weather—a mix of rain, snow and tiny frogs. Hall had to pull off the road until the storm passed.[14] According to an interview, Hall said that he based the character of Jimmy Gator on real-life TV personalities such as Bob Barker, Alistair Beck, and Arthur Godfrey.[15] The rain of frogs was inspired by the works of Charles Fort and Anderson claims[citation needed] that he was unaware that it was also a reference in The Bible when he first wrote the sequence. At the time the filmmaker came across the notion of a rain of frogs, he was "going through a weird, personal time", and he started to understand "why people turn to religion in times of trouble, and maybe my form of finding religion was reading about rains of frogs and realizing that makes sense to me somehow".[4]
§Casting[edit]
Tom Cruise was a fan of Anderson's previous film, Boogie Nights, and contacted the filmmaker while he was working on Stanley Kubrick's Eyes Wide Shut (1999).[16] Anderson met with Cruise on the set of Kubrick's film and the actor told him to keep him in mind for his next film. After Anderson finished the script, he sent Cruise a copy and the next day, the actor called him. Cruise was interested but nervous about the role. They met with Cruise along with De Luca who helped convince the actor to do the film.[5] Frank T.J. Mackey, the character that Cruise would play in the film, was based in part on an audio-recording done in an engineering class taught by a friend that was given to Anderson.[4] It consisted of two men, "talking all this trash" about women and quoting a man named Ross Jeffries, who was teaching a new version of the Eric Weber course, "How to Pick Up Women," but utilizing hypnotism and subliminal language techniques.[4] Anderson transcribed the tape and did a reading with Reilly and Chris Penn.[5] The director then incorporated this dialogue and his research on Jeffries and other self-help gurus into Mackey and his sex seminar.[4] Anderson felt that Cruise was drawn to the role because he had just finished making Eyes Wide Shut, playing a repressed character, and was able to then play a character that was "outlandish and bigger-than-life".[9]
Anderson wrote the role of Earl Partridge for Jason Robards but he was initially unable to do it because of a serious staph infection.[citation needed] Anderson approached George C. Scott, who turned him down. Eventually, Robards was able to do the film.[17] Robards said of his character, "It was sort of prophetic that I be asked to play a guy going out in life. It was just so right for me to do this and bring what I know to it".[8] According to Hall, much of the material with Partridge was based on Anderson watching his father die of cancer.[15]
Several of the cast from Boogie Nights return in Magnolia. As well as the major characters played by Hall, Hoffman, Macy, Moore, Reilly and Walters, there are cameo performances from Alfred Molina as 'Quiz Kid' Donnie Smith's employer Solomon Solomon, Luis Guzmán as Luis, one of the adult contestants on "What Do Kids Know?", and Ricky Jay, who also doubles as narrator, as the television executive Burt Ramsey.
§Production[edit]
Before Anderson became a filmmaker, one of the jobs he had was as an assistant for a television game show, Quiz Kid Challenge, an experience he incorporated into the script for Magnolia.[6] He also claimed in interviews that the film is structured somewhat like "A Day in the Life" by The Beatles, and "it kind of builds up, note by note, then drops or recedes, then builds again".[9] The production designers looked at films with close, tight color palettes, films that were warm and analyzed why they did that and then applied it to Magnolia.[8] They also wanted to evoke the colors of the magnolia flower: greens, browns and off-whites. For the section of the prologue that is set in 1911, Anderson used a hand-cranked pathé camera that would have been used at the time.[8] Some of the actors were nervous about singing the lyrics to Mann's "Wise Up" in the film's climactic scene and so Anderson had Moore do it first and she set the pace and everyone else followed.[7]
Anderson and New Line reportedly had intense arguments about how to market Magnolia.[5] He felt that the studio did not do a decent enough job on Boogie Nights and did not like the studio's poster or trailer for Magnolia. Anderson ended up designing his own poster, cut together a trailer himself,[5] wrote the liner notes for the soundtrack album, and pushed to avoid hyping Cruise's presence in the film in favor of the ensemble cast.[17] Even though Anderson ultimately got his way, he realized that he had to "learn to fight without being a jerk. I was a bit of a baby. At the first moment of conflict, I behaved in a slightly adolescent knee-jerk way. I just screamed."[5] In a Rolling Stone article, published around the time of Magnolia's release, Anderson said that he walked out of Fight Club after the first half hour and criticized its director, David Fincher, for making jokes about cancer, saying that he should get it as punishment. Afterwards, Anderson wrote Fincher a note apologizing and explained that he had lost his sense of humor about cancer.[18]
§Music and soundtracks[edit]
Main articles: Magnolia (soundtrack) and Magnolia (score)
Anderson met Aimee Mann in 1996 when he asked her husband, Michael Penn, to write songs for his film, Hard Eight. Mann had songs on soundtracks before but never "utilized in such an integral way" she said in an interview.[16] She gave Anderson rough mixes of songs and found that they both wrote about the same kinds of characters.[16] He encouraged her to write songs for the film by sending her a copy of the script.[8]
Two songs were written expressly for the film: "You Do," which was based on a character later cut from the film, and "Save Me," which closes the film;[11] the latter was nominated in the 2000 Academy Awards and Golden Globes and in the 2001 Grammies. Most of the remaining seven Mann songs were demos and works in progress; "Wise Up," which is at the center of a sequence in which all of the characters sing the song,[7] was originally written for the 1996 film Jerry Maguire. At the time Mann's record label had refused to release her songs on an album.[11] The song that plays at the opening of the film is Mann's cover of "One" by Harry Nilsson. Mann's track "Momentum" is used as the loud playing music in Claudia's apartment scene when Officer Jim arrives and was also featured in the trailer for the film.
Anderson produced a music video for "Save Me" that featured Mann in the background of what appeared to be scenes from the film, singing to characters. Unlike in many such music videos, there was no digital manipulation involved;[citation needed] the video was shot at the end of filming days with Mann and actors who were asked to stay in place. The video, which contains exactly seven cuts, won the Best Editing award at the 2000 MTV Video Music Awards and was nominated for Best Music Video from a Film.
The soundtrack album, released in December 1999 on Reprise Records, features the Mann songs, as well as a section of Jon Brion's score and tracks by Supertramp and Gabrielle that were used in the film. Reprise released a full score album in March 2000.
The film also features the famous Habanera from the opera Carmen and the opening from Richard Strauss's Also sprach Zarathustra, the latter of which plays over the deathbed of Earl Partridge and introduces his son Frank Mackey on stage.
§Reception[edit]



"There is no film... EVER... that has made me think and made me feel and made me question like Magnolia. It made me laugh and cry and squirm and giggle with nervous laughter. Yet, I can't deny that five years later my life is changed because I've seen Magnolia. I sit here at my computer getting goosebumps at the tenderness of Philip Seymour Hoffman".
—Film critic Richard Propes on the impact of Magnolia.[19]
Magnolia initially opened in a limited release on December 17, 1999, in seven theaters grossing USD$193,604. The film was given a wide release on January 7, 2000, in 1,034 theaters grossing $5.7 million on its opening weekend. It eventually grossed $22,455,976 in North America and $25,995,827 in the rest of the world with a worldwide tally of $48,451,803, above its budget of $37 million.[2]
While Magnolia struggled at the box office, it was well-received critically. As of 2014 it has an 84% rating at Rotten Tomatoes, based on 117 "fresh" reviews out of 140.[20] USA Today gave the film three-and-a-half stars out of four and called it "the most imperfect of the year's best movies".[21] In the Chicago Sun-Times, Roger Ebert praised the film, saying: "Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy".[22] Entertainment Weekly gave the film a "B+" rating, praising Cruise's performance: "It's with Cruise as Frank T.J. Mackey, a slick televangelist of penis power, that the filmmaker scores his biggest success, as the actor exorcises the uptight fastidiousness of Eyes Wide Shut ... Like John Travolta in Pulp Fiction, this cautiously packaged movie star is liberated by risky business".[23] The Independent said that the film was "limitless. And yet some things do feel incomplete, brushed-upon, tangential. Magnolia does not have the last word on anything. But is superb".[24] Kenneth Turan, in his review for the Los Angeles Times, praised Tom Cruise's performance: "Mackey gives Cruise the chance to cut loose by doing amusing riffs on his charismatic superstar image. It's great fun, expertly written and performed, and all the more enjoyable because the self-parody element is unexpected".[25] In his review for The New York Observer, Andrew Sarris wrote, "In the case of Magnolia, I think Mr. Anderson has taken us to the water's edge without plunging in. I admire his ambition and his very eloquent camera movements, but if I may garble something Lenin once said one last time, 'You can't make an omelet without breaking some eggs'."[26]
In her review for The New York Times, Janet Maslin wrote, "But when that group sing-along arrives, Magnolia begins to self-destruct spectacularly. It's astonishing to see a film begin this brilliantly only to torpedo itself in its final hour," but went on to say that the film "was saved from its worst, most reductive ideas by the intimacy of the performances and the deeply felt distress signals given off by the cast".[27] Philip French, in his review for The Observer, wrote, "But is the joyless universe he (Anderson) presents any more convincing than the Pollyanna optimism of traditional sitcoms? These lives are somehow too stunted and pathetic to achieve the level of tragedy".[28] Time magazine's Richard Schickel wrote, "The result is a hard-striving, convoluted movie, which never quite becomes the smoothly reciprocating engine Anderson (who did Boogie Nights) would like it to be".[29]
Roger Ebert included it in his "Great Movies" list in November 2008 saying "As an act of filmmaking, it draws us in and doesn't let go."[30]
Total Film magazine placed it at number 4 in their list of 50 Best Movies in Total Film's lifetime.[31]
In 2008, it was named the 89th greatest movie of all time by Empire magazine in its issue of The 500 Greatest Movies of All Time.[32]
In his 2002 interview by Jan Aghed, Ingmar Bergman quoted Magnolia as a great example of the strength of American cinema.[33]
§Awards[edit]
Magnolia was nominated for two Golden Globe Awards in 2000, Cruise for Best Supporting Actor in a Motion Picture and Mann for Best Original Song for "Save Me". Cruise won the Golden Globe.[34] The film was also nominated for three Academy Awards, including Cruise for Best Supporting Actor, Anderson for Best Original Screenplay, and Aimee Mann's "Save Me" for Best Original Song. Magnolia did not win in any categories it was nominated for.[35] Anderson's film won the Golden Bear at the 50th Berlin International Film Festival.[36]
The Toronto Film Critics Association Awards named Magnolia the Best Film of 1999 and gave Anderson Best Director honors. His screenplay also tied with the ones for Being John Malkovich and American Beauty as the best of the year.[37] Philip Seymour Hoffman and Julianne Moore won Supporting Actor and Actress awards from the National Board of Review of Motion Pictures.[9]
2000 Academy Awards
Nominated, Tom Cruise - Best Supporting Actor
Nominated, Paul Thomas Anderson - Best Original Screenplay
Nominated, Aimee Man - Best Original Song
2000 Broadcast Film Critics Association Awards
Nominated, Best Picture
2001 Grammy Awards
Nominated, Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media
Nominated, Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
Nominated, Best Song Written for a Motion Picture, Television or Other Visual Media: Aimee Mann, for the song "Save Me"
2000 Screen Actors Guild Awards
Nominated, Outstanding Performance by a Cast in a Theatrical Motion Picture
Nominated, Outstanding Performance by a Female Actor in a Supporting Role: Julianne Moore
Nominated, Outstanding Performance by a Male Actor in a Supporting Role: Tom Cruise
§Themes[edit]
Numerous essays have been written on the themes in Magnolia,[38][39][40][41][42] such as regret; loneliness;[16] the cost of failed relationships as a result of parents, particularly fathers, who have failed their children;[43] cruelty to children and its lasting effect (as demonstrated by the implied sexual assault perpetrated on Claudia by Jimmy);[30] familial violence (as evinced by the opening scene, in which a boy is murdered by his mother); not all events and their results can be controlled, but an individual can control his or her own actions and that, to some degree, mistakes of the past cannot simply be erased ("We might be through with the past, but the past ain't through with us"); exploitation; and the limits of forgiveness.
§Raining frogs and Exodus (Bible) references[edit]
Further information: Raining animals
At the end of the film, frogs rain from the sky. Throughout the film, there are references to the Book of Exodus 8:2 "And if thou refuse to let them go, behold, I will smite all thy borders with frogs."
The film has an underlying theme of unexplained events, taken from the 1920s and 1930s works of Charles Fort. Fortean author Loren Coleman has written a chapter about the film, entitled "The Teleporting Animals and Magnolia", in one of his recent books. One of Fort's books is visible on the table in the library and there is an end credit thanking Charles Fort.[44]
The only character who seems to be unsurprised by the falling frogs is Stanley. He calmly observes the event, saying "This happens. This is something that happens." This has led to the speculation that Stanley is a prophet, allegorically akin to Moses, and that the "slavery" the film alludes to is the exploitation of children by adults.[45] These "father issues" persist throughout the movie, as seen in the abuse and neglect of Claudia, Frank, Donnie, Stanley, and Dixon.[46]
§Home media[edit]


 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2010)
The DVD release includes a lengthy behind-the-scenes documentary, That Moment. It uses a fly-on-the-wall approach to cover nearly every aspect of production, from production management and scheduling to music direction to special effects. The behind-the-scenes documentary is an in-depth look into Anderson's motivation and directing style. Pre-production included a screening of the film Network (1976), as well as Ordinary People (1980). Several scenes showed Anderson at odds with the child actors and labor laws that restrict their work time. The character of Dixon has further scenes filmed but, from Anderson's reactions, appear not to be working. These scenes were cut completely and have never been shown on DVD.
§References[edit]
1.Jump up ^ "MAGNOLIA (18)". British Board of Film Classification. 2000-01-11. Retrieved 2013-07-05.
2.^ Jump up to: a b c "Magnolia". Box Office Mojo. Retrieved January 24, 2008.
3.Jump up ^ P. T. Anderson, quoted at They Shoot Pictures, Don't They?
4.^ Jump up to: a b c d e Konow, David (January–February 2000). "PTA Meeting: An Interview with Paul Thomas Anderson". Creative Screenwriting.
5.^ Jump up to: a b c d e f g Hirschberg, Lynn (December 19, 1999). "His Way". The New York Times.
6.^ Jump up to: a b Goldstein, Patrick (December 24, 1999). "Heading in a New Direction". Toronto Star.
7.^ Jump up to: a b c d e f g h i j k l Patterson, John (March 10, 2000). "Magnolia Maniac". The Guardian. Retrieved April 12, 2010.
8.^ Jump up to: a b c d e f "Magnolia Production Notes". New Line Cinema. 1999. Retrieved February 4, 2008.
9.^ Jump up to: a b c d e f Strauss, Bob (December 19, 1999). "Magnolia Springs from Valley Roots". The Montreal Gazette.
10.Jump up ^ Portman, Jamie (December 30, 1999). "How Magnolia Grew and Grew". Ottawa Citizen.
11.^ Jump up to: a b c d Bessman, Jim (December 16, 1999). "Music Blossomed into Film". Toronto Star.
12.Jump up ^ Braun, Liz (January 11, 2000). "He Finally Gets the Girl". Toronto Sun.
13.Jump up ^ Strauss, Bob (December 23, 1999). "Everything's Coming Up Magnolias for Actress". The Globe and Mail.
14.Jump up ^ Pevere, Geoff (January 23, 2000). "Director Can Do Both Riveting and Ribbiting". Toronto Star.
15.^ Jump up to: a b Dawson, Tom (March 5, 2000). "I Went from Being Anonymous to: 'Who Is This Guy We've Got To Have Him'". Scotland on Sunday.
16.^ Jump up to: a b c d Weinraub, Bernard (October 8, 1999). "Boogie Writer Back in the Valley". The New York Times.
17.^ Jump up to: a b Puig, Claudia (January 7, 2000). "Dangerous Ground Is Paul Thomas Anderson's Turf". USA Today.
18.Jump up ^ Lacey, Liam (January 22, 2000). "The Lion and the Young Cub". The Globe and Mail.
19.Jump up ^ Lundy & Janes 2009, p. 957.
20.Jump up ^ Magnolia at Rotten Tomatoes
21.Jump up ^ Clark, Mike (December 17, 1999). "Magnolia Unfolds with Epic Boldness". USA Today.
22.Jump up ^ Ebert, Roger (January 7, 2000). "Magnolia". Chicago Sun-Times. Retrieved January 24, 2008.
23.Jump up ^ Schwarzbaum, Lisa (December 29, 1999). "Magnolia". Entertainment Weekly. Retrieved January 24, 2008.
24.Jump up ^ Quirke, Antonia (March 19, 2000). "I Left with that Strange Feeling You Get When You've Witnessed a Genuine Act of Courage". The Independent.
25.Jump up ^ Turan, Kenneth (April 6, 2000). "Magnolia". Los Angeles Times. Retrieved 2010-08-31.[dead link]
26.Jump up ^ Sarris, Andrew (January 23, 2000). "A Day in the Life of L.A.: Where's the Rough Stuff?". The New York Observer. Retrieved 2010-08-31.
27.Jump up ^ Maslin, Janet (December 17, 1999). "Entangled Lives on the Cusp of the Millennium". The New York Times. Retrieved January 24, 2008.
28.Jump up ^ French, Philip (March 19, 2000). "Magnolia". The Observer. Retrieved 2011-02-26.
29.Jump up ^ Schickel, Richard (December 27, 1999). "Magnolia". Time. Retrieved 2010-08-31.
30.^ Jump up to: a b Ebert, Roger (November 27, 2008). "Magnolia :: rogerebert.com :: Great Movies". Chicago Sun-Times. Retrieved November 28, 2008.
31.Jump up ^ http://www.totalfilm.com/features/50-best-movies-of-total-film-magazine-s-lifetime/magnolia-1999
32.Jump up ^ "Empire's 500 Greatest Movies of All Time". Empire Magazine. January 5, 2014. Retrieved January 5, 2014.
33.Jump up ^ "Sydsvenska Dagbladet Interview". May 2002.
34.Jump up ^ Lyman, Rick (January 24, 2000). "American Beauty Wins 3 Golden Globe Awards". The New York Times.
35.Jump up ^ "The 72nd Annual Academy Award Nominees". Variety. February 16, 2000.
36.Jump up ^ Malcolm, Derek (February 21, 2000). "Magnolia Blossoms". The Guardian.
37.Jump up ^ "Toronto Critics Pick Magnolia as Best Film of 1999". The Globe and Mail. December 17, 1999.
38.Jump up ^ Richard Stanwick (2003-02-25). "Richard Stanwick: Magnolia". Cinetext.philo.at. Retrieved 2012-09-05.
39.Jump up ^ "Magnolia Movie Review". Killermovies.com. Retrieved 2012-09-05.
40.Jump up ^ "Magnolia :: rogerebert.com :: Reviews". Rogerebert.suntimes.com. Retrieved 2012-09-05.
41.Jump up ^ Magnolia and Meaning. "Magnolia and Meaning | Movies". Culture Snob. Retrieved 2012-09-05.
42.Jump up ^ Ramlow, Todd. "Magnolia (1999)". < PopMatters. Retrieved 2012-09-05.
43.Jump up ^ Field, Syd. "Magnolia: An Appreciation". SydField.com. Retrieved January 22, 2008.
44.Jump up ^ Coleman, Loren (2007). Mysterious America: The Ultimate Guide to the Nation's Weirdest Wonders, Strangest Spots, and Creepiest Creatures. Simon & Schuster.
45.Jump up ^ Hipps, Shane (May 9, 2003). "Magnolia: The Exodus for Kids". Metaphilm. Retrieved January 23, 2008.
46.Jump up ^ Anderson, Paul Thomas (January 26, 2004). The Paul Thomas Anderson Shooting Script Set: Magnolia and Punch-Drunk Love. Newmarket Press.
Lundy, Karen Saucier; Janes, Sharyn (2009). Community Health Nursing: Caring for the Public's Health. Jones & Bartlett Learning. ISBN 978-0-7637-1786-5.
§External links[edit]
 Wikiquote has quotations related to: Magnolia
Magnolia at the Internet Movie Database
Magnolia at Box Office Mojo
Magnolia at Rotten Tomatoes
Magnolia at Metacritic


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Categories: 1999 films
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Films directed by Paul Thomas Anderson
Films about dysfunctional families
Films featuring a Best Supporting Actor Golden Globe winning performance
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Magnolia (film)
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Magnolia
Magnolia poster.jpg
Theatrical release poster

Directed by
Paul Thomas Anderson
Produced by
Paul Thomas Anderson
JoAnne Sellar
Dylan Tichenor
Michael De Luca

Written by
Paul Thomas Anderson
Starring
Jeremy Blackman
Tom Cruise
Julianne Moore
Melinda Dillon
Philip Baker Hall
Philip Seymour Hoffman
Ricky Jay
William H. Macy
Alfred Molina
John C. Reilly
Jason Robards
Melora Walters

Music by
Jon Brion
Aimee Mann

Cinematography
Robert Elswit
Edited by
Dylan Tichenor
Distributed by
New Line Cinema

Release dates

December 17, 1999


Running time
 188 minutes[1]
Country
United States
Language
English
French
German

Budget
$37 million[2]
Box office
$48.5 million[2]
Magnolia is a 1999 American drama film written, produced, and directed by Paul Thomas Anderson and starring Jeremy Blackman, Tom Cruise, Philip Baker Hall, Philip Seymour Hoffman, Ricky Jay, William H. Macy, Julianne Moore, John C. Reilly, Jason Robards in his last feature film appearance, and Melora Walters. The film is a mosaic of interrelated characters in search of happiness, forgiveness, and meaning in the San Fernando Valley.
Magnolia was a critical success. Of the ensemble cast, Tom Cruise was nominated for Best Supporting Actor at the 72nd Academy Awards, and won the award in that category at the Golden Globes of 2000. Anderson once said: "I really feel... That Magnolia is, for better or worse, the best movie I'll ever make."[3]


Contents  [hide]
1 Plot
2 Cast
3 Development 3.1 Screenplay
3.2 Casting
3.3 Production
4 Music and soundtracks
5 Reception 5.1 Awards
6 Themes 6.1 Raining frogs and Exodus (Bible) references
7 Home media
8 References
9 External links

§Plot[edit]
The narrator recounts three instances of incredible coincidences and suggests that forces greater than chance play important roles in life.
Police officer Jim Kurring is sent to investigate a disturbance at a woman's apartment and finds a body in her bedroom closet. Dixon, a neighborhood boy, tries to tell him (by rapping) who committed the murder but Jim is dismissive. From there Jim goes to the apartment of Claudia Wilson. Claudia's neighbors had called the police after she had a loud argument with her estranged father, children's game show host Jimmy Gator, and then blasted music while snorting cocaine. Unaware of her addiction, Jim is immediately attracted to her and prolongs the visit. He asks her on a date that night; she says yes.
Jimmy hosts a long-running quiz show called "What Do Kids Know?" and is dying of cancer; he has only a few months to live. That night the newest child prodigy on "What Do Kids Know?", Stanley Spector (Jeremy Blackman), takes the lead as the show begins. He is hounded by his father for the prize money and demeaned by the surrounding adults, who refuse to let him use the bathroom during a commercial break. When the show resumes, he wets himself and freezes, humiliated when everyone realizes what happened. As the show continues an inebriated Jimmy sickens, and he orders the show to go on after he collapses onstage. But after Stanley's father berates him for freezing on air, Stanley refuses to return for the final round.
Donnie Smith, a former "What Do Kids Know?" champion, watches the show from a bar. Donnie's parents spent all of the money he won as a child, and he has just been fired from his job at Solomon & Solomon, an electronics store, due to chronic lateness and poor sales. But he is obsessed with getting oral surgery, thinking he will land the man of his dreams after he gets braces. He hatches a plan to get back at his boss by breaking in and stealing the money he needs for his braces.
Like Jimmy, the show's former producer, Earl Partridge, is dying of cancer. Earl's trophy wife, Linda, collects his prescriptions for morphine while he is cared for by a nurse, Phil Parma. Earl asks Phil to find his estranged son, Frank Mackey, a narcissistic sexist who is peddling a pick-up artist self-help course to men. Frank is in the midst of an interview with a female journalist who reveals that she has information demonstrating his official biography is a lie; rather than being an intelligent free-spirited youth who learned the truth about sexual relationships, Frank as a teen-aged boy had been forced to take care of his dying mother when Earl abandoned them. An angry Frank storms out of the interview when Phil finally gets through to him.
Linda goes to see Earl's lawyer, begging him to change Earl's will. She admits she married Earl for his money, but now loves him and doesn't want it. The lawyer suggests she renounce the will and refuse the money, which would then go to Frank. Linda rejects his advice and leaves in a rage. When she gets home Linda berates Phil for seeking out Frank, but later apologizes. She then drives to a vacant parking lot and washes down handfuls of prescription medicine with alcohol. Dixon finds Linda in her car, near death, and calls an ambulance after taking money from her purse.
Before his date with Claudia, Jim takes fire during a pursuit and loses his gun. When he meets Claudia they promise to be honest with each other, so he confesses his ineptitude as a cop and admits he has not been on a date since he was divorced three years earlier. Claudia says he will hate her because of her problems, but Jim assures her they don't matter. They kiss, but she runs off.
Jimmy Gator goes home to his wife Rose and confesses that he has cheated on her. She asks why Claudia does not talk to him, and Jimmy admits that Claudia believes he molested her. But when he says he cannot remember whether or not he did, Rose tells Jimmy he deserves to die alone, and she walks out on him. Jimmy decides to kill himself.
Meanwhile, Donnie takes the money from the Solomon & Solomon safe. As he drives away, he realizes his mistake in stealing and decides to return the money. However, he cannot get back in as his key had broken off in the lock earlier. As he tries to climb a utility pole to get on the roof, he is seen by a passing Jim. Suddenly, frogs begin to fall from the sky. As Jimmy is about to shoot himself, frogs fall through his skylight, causing him to shoot the TV instead. Rose crashes her car in front of Claudia's apartment but makes it inside safely. Earl dies as Frank watches. Linda's ambulance crashes in front of the emergency room. Donnie is knocked from the pole and smashes his teeth.
The next morning, Jim counsels Donnie and helps him return the money; his gun falls from the sky. Frank goes to the hospital to be with Linda, who will recover from her attempted suicide. Stanley, on his way to bed, tells his father that he needs to be nicer to him, though his father does not respond as Stanley had hoped, telling him to go to bed. Jim goes to see Claudia, telling her he wants to make things work between them; she smiles in reply.
§Cast[edit]
Jeremy Blackman as Stanley Spector
Tom Cruise as Frank T.J. Mackey
Julianne Moore as Linda Partridge
Melinda Dillon as Rose Gator
Philip Baker Hall as Jimmy Gator Thomas Jane as Young Jimmy
Philip Seymour Hoffman as Phil Parma
William H. Macy as "Quiz Kid" Donnie Smith
Alfred Molina as Solomon Solomon
John C. Reilly as Officer Jim Kurring
 Jason Robards as Earl Partridge
Melora Walters as Claudia Wilson
Felicity Huffman as Cynthia
April Grace as Gwenovier
Michael Murphy as Alan Kligman, Esq.
Michael Bowen as Rick Spector
Ricky Jay as Burt Ramsey / Narrator
Luis Guzmán as Luis
Henry Gibson as Thurston Howell
Danny Wells as Dick Jennings
 Patton Oswalt as Delmer Darion
Orlando Jones as Worm
Neil Flynn as Daniel Hill
Clark Gregg as WDKK Floor Director
Michael Shamus Wiles as Captain Muffy
Mary Lynn Rajskub as Voice of Janet, Frank's secretary
Jim Beaver and Ezra Buzzington as Smiling peanut patrons
Robert Downey, Sr. as WDKK Show Director
William Mapother as WDKK Show Director's assistant
Miriam Margolyes (uncredited) as Faye Barringer

§Development[edit]
Anderson started to get ideas for Magnolia during the long editing period of Boogie Nights (1997).[citation needed] As he got closer to finishing the film, he started writing down material for his new project[4] After the critical and financial success of Boogie Nights, New Line Cinema, who backed that film, told Anderson that he could do whatever he wanted and the filmmaker realized that, "I was in a position I will never ever be in again".[5] Michael De Luca, then Head of Production at New Line, made the deal for Magnolia, granting Anderson final cut without hearing an idea for the film.[5][6] Originally, Anderson had wanted to make a film that was "intimate and small-scale",[7] something that he could shoot in 30 days.[8] He had the title of "Magnolia" in his head before he wrote the script.[9] As he started writing, the script "kept blossoming" and he realized that there were many actors he wanted to write for and then decided to put "an epic spin on topics that don't necessarily get the epic treatment".[7] He wanted to "make the epic, the all-time great San Fernando Valley movie".[9] Anderson started with lists of images, words and ideas that "start resolving themselves into sequences and shots and dialogue",[7] actors, and music. The first image he had for the film was the smiling face of actress Melora Walters.[7] The next image that came to him was of Philip Baker Hall as her father. Anderson imagined Hall walking up the steps of Walters' apartment and having an intense confrontation with her.[10] Anderson also did research on the magnolia tree and discovered a concept that eating the tree's bark helped cure cancer.[9]
§Screenplay[edit]
By the time he started writing the script, Anderson was listening to Aimee Mann's music.[7] Anderson used her two solo albums and some demo tracks from a new album that Mann was working on as a basis and inspiration for the film.[11]
In particular, Mann's song "Deathly", on her album Bachelor No. 2 or, the Last Remains of the Dodo, inspired the character of Claudia.[11] At one point in the movie, Claudia uses part of the lyric as dialogue in the film ("Now that I've met you/Would you object to/Never seeing each other again").[7]
The character of Jim Kurring originated in the summer of 1998 when actor John C. Reilly grew a mustache out of interest and started putting together an unintelligent cop character. He and Anderson did a few parodies of COPS with the director chasing Reilly around the streets with a video camera. Actress Jennifer Jason Leigh made an appearance in one of these videos. Some of Kurring's dialogue came from these sessions.[7] This time around, Reilly wanted to do something different and told Anderson that he was "always cast as these heavies or these semi-retarded child men. Can't you give me something I can relate to, like falling in love with a girl?"[12] Anderson also wanted to make Reilly a romantic lead because it was something different that the actor had not done before.[7]
For Philip Seymour Hoffman, Anderson wanted him to play a "really simple, uncomplicated, caring character".[7] The actor described his character as someone who "really takes pride in the fact that every day he's dealing with life and death circumstances".[8] With Julianne Moore in mind, the director wrote a role for her to play a crazed character using many pharmaceuticals. According to the actress, "Linda doesn't know who she is or what she's feeling and can only try to explain it in the most vulgar terms possible".[13] For William H. Macy, Anderson felt that the actor was scared of big, emotional parts and wrote for him, "a big tearful, emotional part".[7]
While convincing Philip Baker Hall to do the film by explaining the significance of the rain of frogs, the actor told him a story about when he was in the mountains of Italy and got caught in bad weather—a mix of rain, snow and tiny frogs. Hall had to pull off the road until the storm passed.[14] According to an interview, Hall said that he based the character of Jimmy Gator on real-life TV personalities such as Bob Barker, Alistair Beck, and Arthur Godfrey.[15] The rain of frogs was inspired by the works of Charles Fort and Anderson claims[citation needed] that he was unaware that it was also a reference in The Bible when he first wrote the sequence. At the time the filmmaker came across the notion of a rain of frogs, he was "going through a weird, personal time", and he started to understand "why people turn to religion in times of trouble, and maybe my form of finding religion was reading about rains of frogs and realizing that makes sense to me somehow".[4]
§Casting[edit]
Tom Cruise was a fan of Anderson's previous film, Boogie Nights, and contacted the filmmaker while he was working on Stanley Kubrick's Eyes Wide Shut (1999).[16] Anderson met with Cruise on the set of Kubrick's film and the actor told him to keep him in mind for his next film. After Anderson finished the script, he sent Cruise a copy and the next day, the actor called him. Cruise was interested but nervous about the role. They met with Cruise along with De Luca who helped convince the actor to do the film.[5] Frank T.J. Mackey, the character that Cruise would play in the film, was based in part on an audio-recording done in an engineering class taught by a friend that was given to Anderson.[4] It consisted of two men, "talking all this trash" about women and quoting a man named Ross Jeffries, who was teaching a new version of the Eric Weber course, "How to Pick Up Women," but utilizing hypnotism and subliminal language techniques.[4] Anderson transcribed the tape and did a reading with Reilly and Chris Penn.[5] The director then incorporated this dialogue and his research on Jeffries and other self-help gurus into Mackey and his sex seminar.[4] Anderson felt that Cruise was drawn to the role because he had just finished making Eyes Wide Shut, playing a repressed character, and was able to then play a character that was "outlandish and bigger-than-life".[9]
Anderson wrote the role of Earl Partridge for Jason Robards but he was initially unable to do it because of a serious staph infection.[citation needed] Anderson approached George C. Scott, who turned him down. Eventually, Robards was able to do the film.[17] Robards said of his character, "It was sort of prophetic that I be asked to play a guy going out in life. It was just so right for me to do this and bring what I know to it".[8] According to Hall, much of the material with Partridge was based on Anderson watching his father die of cancer.[15]
Several of the cast from Boogie Nights return in Magnolia. As well as the major characters played by Hall, Hoffman, Macy, Moore, Reilly and Walters, there are cameo performances from Alfred Molina as 'Quiz Kid' Donnie Smith's employer Solomon Solomon, Luis Guzmán as Luis, one of the adult contestants on "What Do Kids Know?", and Ricky Jay, who also doubles as narrator, as the television executive Burt Ramsey.
§Production[edit]
Before Anderson became a filmmaker, one of the jobs he had was as an assistant for a television game show, Quiz Kid Challenge, an experience he incorporated into the script for Magnolia.[6] He also claimed in interviews that the film is structured somewhat like "A Day in the Life" by The Beatles, and "it kind of builds up, note by note, then drops or recedes, then builds again".[9] The production designers looked at films with close, tight color palettes, films that were warm and analyzed why they did that and then applied it to Magnolia.[8] They also wanted to evoke the colors of the magnolia flower: greens, browns and off-whites. For the section of the prologue that is set in 1911, Anderson used a hand-cranked pathé camera that would have been used at the time.[8] Some of the actors were nervous about singing the lyrics to Mann's "Wise Up" in the film's climactic scene and so Anderson had Moore do it first and she set the pace and everyone else followed.[7]
Anderson and New Line reportedly had intense arguments about how to market Magnolia.[5] He felt that the studio did not do a decent enough job on Boogie Nights and did not like the studio's poster or trailer for Magnolia. Anderson ended up designing his own poster, cut together a trailer himself,[5] wrote the liner notes for the soundtrack album, and pushed to avoid hyping Cruise's presence in the film in favor of the ensemble cast.[17] Even though Anderson ultimately got his way, he realized that he had to "learn to fight without being a jerk. I was a bit of a baby. At the first moment of conflict, I behaved in a slightly adolescent knee-jerk way. I just screamed."[5] In a Rolling Stone article, published around the time of Magnolia's release, Anderson said that he walked out of Fight Club after the first half hour and criticized its director, David Fincher, for making jokes about cancer, saying that he should get it as punishment. Afterwards, Anderson wrote Fincher a note apologizing and explained that he had lost his sense of humor about cancer.[18]
§Music and soundtracks[edit]
Main articles: Magnolia (soundtrack) and Magnolia (score)
Anderson met Aimee Mann in 1996 when he asked her husband, Michael Penn, to write songs for his film, Hard Eight. Mann had songs on soundtracks before but never "utilized in such an integral way" she said in an interview.[16] She gave Anderson rough mixes of songs and found that they both wrote about the same kinds of characters.[16] He encouraged her to write songs for the film by sending her a copy of the script.[8]
Two songs were written expressly for the film: "You Do," which was based on a character later cut from the film, and "Save Me," which closes the film;[11] the latter was nominated in the 2000 Academy Awards and Golden Globes and in the 2001 Grammies. Most of the remaining seven Mann songs were demos and works in progress; "Wise Up," which is at the center of a sequence in which all of the characters sing the song,[7] was originally written for the 1996 film Jerry Maguire. At the time Mann's record label had refused to release her songs on an album.[11] The song that plays at the opening of the film is Mann's cover of "One" by Harry Nilsson. Mann's track "Momentum" is used as the loud playing music in Claudia's apartment scene when Officer Jim arrives and was also featured in the trailer for the film.
Anderson produced a music video for "Save Me" that featured Mann in the background of what appeared to be scenes from the film, singing to characters. Unlike in many such music videos, there was no digital manipulation involved;[citation needed] the video was shot at the end of filming days with Mann and actors who were asked to stay in place. The video, which contains exactly seven cuts, won the Best Editing award at the 2000 MTV Video Music Awards and was nominated for Best Music Video from a Film.
The soundtrack album, released in December 1999 on Reprise Records, features the Mann songs, as well as a section of Jon Brion's score and tracks by Supertramp and Gabrielle that were used in the film. Reprise released a full score album in March 2000.
The film also features the famous Habanera from the opera Carmen and the opening from Richard Strauss's Also sprach Zarathustra, the latter of which plays over the deathbed of Earl Partridge and introduces his son Frank Mackey on stage.
§Reception[edit]



"There is no film... EVER... that has made me think and made me feel and made me question like Magnolia. It made me laugh and cry and squirm and giggle with nervous laughter. Yet, I can't deny that five years later my life is changed because I've seen Magnolia. I sit here at my computer getting goosebumps at the tenderness of Philip Seymour Hoffman".
—Film critic Richard Propes on the impact of Magnolia.[19]
Magnolia initially opened in a limited release on December 17, 1999, in seven theaters grossing USD$193,604. The film was given a wide release on January 7, 2000, in 1,034 theaters grossing $5.7 million on its opening weekend. It eventually grossed $22,455,976 in North America and $25,995,827 in the rest of the world with a worldwide tally of $48,451,803, above its budget of $37 million.[2]
While Magnolia struggled at the box office, it was well-received critically. As of 2014 it has an 84% rating at Rotten Tomatoes, based on 117 "fresh" reviews out of 140.[20] USA Today gave the film three-and-a-half stars out of four and called it "the most imperfect of the year's best movies".[21] In the Chicago Sun-Times, Roger Ebert praised the film, saying: "Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy".[22] Entertainment Weekly gave the film a "B+" rating, praising Cruise's performance: "It's with Cruise as Frank T.J. Mackey, a slick televangelist of penis power, that the filmmaker scores his biggest success, as the actor exorcises the uptight fastidiousness of Eyes Wide Shut ... Like John Travolta in Pulp Fiction, this cautiously packaged movie star is liberated by risky business".[23] The Independent said that the film was "limitless. And yet some things do feel incomplete, brushed-upon, tangential. Magnolia does not have the last word on anything. But is superb".[24] Kenneth Turan, in his review for the Los Angeles Times, praised Tom Cruise's performance: "Mackey gives Cruise the chance to cut loose by doing amusing riffs on his charismatic superstar image. It's great fun, expertly written and performed, and all the more enjoyable because the self-parody element is unexpected".[25] In his review for The New York Observer, Andrew Sarris wrote, "In the case of Magnolia, I think Mr. Anderson has taken us to the water's edge without plunging in. I admire his ambition and his very eloquent camera movements, but if I may garble something Lenin once said one last time, 'You can't make an omelet without breaking some eggs'."[26]
In her review for The New York Times, Janet Maslin wrote, "But when that group sing-along arrives, Magnolia begins to self-destruct spectacularly. It's astonishing to see a film begin this brilliantly only to torpedo itself in its final hour," but went on to say that the film "was saved from its worst, most reductive ideas by the intimacy of the performances and the deeply felt distress signals given off by the cast".[27] Philip French, in his review for The Observer, wrote, "But is the joyless universe he (Anderson) presents any more convincing than the Pollyanna optimism of traditional sitcoms? These lives are somehow too stunted and pathetic to achieve the level of tragedy".[28] Time magazine's Richard Schickel wrote, "The result is a hard-striving, convoluted movie, which never quite becomes the smoothly reciprocating engine Anderson (who did Boogie Nights) would like it to be".[29]
Roger Ebert included it in his "Great Movies" list in November 2008 saying "As an act of filmmaking, it draws us in and doesn't let go."[30]
Total Film magazine placed it at number 4 in their list of 50 Best Movies in Total Film's lifetime.[31]
In 2008, it was named the 89th greatest movie of all time by Empire magazine in its issue of The 500 Greatest Movies of All Time.[32]
In his 2002 interview by Jan Aghed, Ingmar Bergman quoted Magnolia as a great example of the strength of American cinema.[33]
§Awards[edit]
Magnolia was nominated for two Golden Globe Awards in 2000, Cruise for Best Supporting Actor in a Motion Picture and Mann for Best Original Song for "Save Me". Cruise won the Golden Globe.[34] The film was also nominated for three Academy Awards, including Cruise for Best Supporting Actor, Anderson for Best Original Screenplay, and Aimee Mann's "Save Me" for Best Original Song. Magnolia did not win in any categories it was nominated for.[35] Anderson's film won the Golden Bear at the 50th Berlin International Film Festival.[36]
The Toronto Film Critics Association Awards named Magnolia the Best Film of 1999 and gave Anderson Best Director honors. His screenplay also tied with the ones for Being John Malkovich and American Beauty as the best of the year.[37] Philip Seymour Hoffman and Julianne Moore won Supporting Actor and Actress awards from the National Board of Review of Motion Pictures.[9]
2000 Academy Awards
Nominated, Tom Cruise - Best Supporting Actor
Nominated, Paul Thomas Anderson - Best Original Screenplay
Nominated, Aimee Man - Best Original Song
2000 Broadcast Film Critics Association Awards
Nominated, Best Picture
2001 Grammy Awards
Nominated, Best Compilation Soundtrack Album for a Motion Picture, Television or Other Visual Media
Nominated, Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media
Nominated, Best Song Written for a Motion Picture, Television or Other Visual Media: Aimee Mann, for the song "Save Me"
2000 Screen Actors Guild Awards
Nominated, Outstanding Performance by a Cast in a Theatrical Motion Picture
Nominated, Outstanding Performance by a Female Actor in a Supporting Role: Julianne Moore
Nominated, Outstanding Performance by a Male Actor in a Supporting Role: Tom Cruise
§Themes[edit]
Numerous essays have been written on the themes in Magnolia,[38][39][40][41][42] such as regret; loneliness;[16] the cost of failed relationships as a result of parents, particularly fathers, who have failed their children;[43] cruelty to children and its lasting effect (as demonstrated by the implied sexual assault perpetrated on Claudia by Jimmy);[30] familial violence (as evinced by the opening scene, in which a boy is murdered by his mother); not all events and their results can be controlled, but an individual can control his or her own actions and that, to some degree, mistakes of the past cannot simply be erased ("We might be through with the past, but the past ain't through with us"); exploitation; and the limits of forgiveness.
§Raining frogs and Exodus (Bible) references[edit]
Further information: Raining animals
At the end of the film, frogs rain from the sky. Throughout the film, there are references to the Book of Exodus 8:2 "And if thou refuse to let them go, behold, I will smite all thy borders with frogs."
The film has an underlying theme of unexplained events, taken from the 1920s and 1930s works of Charles Fort. Fortean author Loren Coleman has written a chapter about the film, entitled "The Teleporting Animals and Magnolia", in one of his recent books. One of Fort's books is visible on the table in the library and there is an end credit thanking Charles Fort.[44]
The only character who seems to be unsurprised by the falling frogs is Stanley. He calmly observes the event, saying "This happens. This is something that happens." This has led to the speculation that Stanley is a prophet, allegorically akin to Moses, and that the "slavery" the film alludes to is the exploitation of children by adults.[45] These "father issues" persist throughout the movie, as seen in the abuse and neglect of Claudia, Frank, Donnie, Stanley, and Dixon.[46]
§Home media[edit]


 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2010)
The DVD release includes a lengthy behind-the-scenes documentary, That Moment. It uses a fly-on-the-wall approach to cover nearly every aspect of production, from production management and scheduling to music direction to special effects. The behind-the-scenes documentary is an in-depth look into Anderson's motivation and directing style. Pre-production included a screening of the film Network (1976), as well as Ordinary People (1980). Several scenes showed Anderson at odds with the child actors and labor laws that restrict their work time. The character of Dixon has further scenes filmed but, from Anderson's reactions, appear not to be working. These scenes were cut completely and have never been shown on DVD.
§References[edit]
1.Jump up ^ "MAGNOLIA (18)". British Board of Film Classification. 2000-01-11. Retrieved 2013-07-05.
2.^ Jump up to: a b c "Magnolia". Box Office Mojo. Retrieved January 24, 2008.
3.Jump up ^ P. T. Anderson, quoted at They Shoot Pictures, Don't They?
4.^ Jump up to: a b c d e Konow, David (January–February 2000). "PTA Meeting: An Interview with Paul Thomas Anderson". Creative Screenwriting.
5.^ Jump up to: a b c d e f g Hirschberg, Lynn (December 19, 1999). "His Way". The New York Times.
6.^ Jump up to: a b Goldstein, Patrick (December 24, 1999). "Heading in a New Direction". Toronto Star.
7.^ Jump up to: a b c d e f g h i j k l Patterson, John (March 10, 2000). "Magnolia Maniac". The Guardian. Retrieved April 12, 2010.
8.^ Jump up to: a b c d e f "Magnolia Production Notes". New Line Cinema. 1999. Retrieved February 4, 2008.
9.^ Jump up to: a b c d e f Strauss, Bob (December 19, 1999). "Magnolia Springs from Valley Roots". The Montreal Gazette.
10.Jump up ^ Portman, Jamie (December 30, 1999). "How Magnolia Grew and Grew". Ottawa Citizen.
11.^ Jump up to: a b c d Bessman, Jim (December 16, 1999). "Music Blossomed into Film". Toronto Star.
12.Jump up ^ Braun, Liz (January 11, 2000). "He Finally Gets the Girl". Toronto Sun.
13.Jump up ^ Strauss, Bob (December 23, 1999). "Everything's Coming Up Magnolias for Actress". The Globe and Mail.
14.Jump up ^ Pevere, Geoff (January 23, 2000). "Director Can Do Both Riveting and Ribbiting". Toronto Star.
15.^ Jump up to: a b Dawson, Tom (March 5, 2000). "I Went from Being Anonymous to: 'Who Is This Guy We've Got To Have Him'". Scotland on Sunday.
16.^ Jump up to: a b c d Weinraub, Bernard (October 8, 1999). "Boogie Writer Back in the Valley". The New York Times.
17.^ Jump up to: a b Puig, Claudia (January 7, 2000). "Dangerous Ground Is Paul Thomas Anderson's Turf". USA Today.
18.Jump up ^ Lacey, Liam (January 22, 2000). "The Lion and the Young Cub". The Globe and Mail.
19.Jump up ^ Lundy & Janes 2009, p. 957.
20.Jump up ^ Magnolia at Rotten Tomatoes
21.Jump up ^ Clark, Mike (December 17, 1999). "Magnolia Unfolds with Epic Boldness". USA Today.
22.Jump up ^ Ebert, Roger (January 7, 2000). "Magnolia". Chicago Sun-Times. Retrieved January 24, 2008.
23.Jump up ^ Schwarzbaum, Lisa (December 29, 1999). "Magnolia". Entertainment Weekly. Retrieved January 24, 2008.
24.Jump up ^ Quirke, Antonia (March 19, 2000). "I Left with that Strange Feeling You Get When You've Witnessed a Genuine Act of Courage". The Independent.
25.Jump up ^ Turan, Kenneth (April 6, 2000). "Magnolia". Los Angeles Times. Retrieved 2010-08-31.[dead link]
26.Jump up ^ Sarris, Andrew (January 23, 2000). "A Day in the Life of L.A.: Where's the Rough Stuff?". The New York Observer. Retrieved 2010-08-31.
27.Jump up ^ Maslin, Janet (December 17, 1999). "Entangled Lives on the Cusp of the Millennium". The New York Times. Retrieved January 24, 2008.
28.Jump up ^ French, Philip (March 19, 2000). "Magnolia". The Observer. Retrieved 2011-02-26.
29.Jump up ^ Schickel, Richard (December 27, 1999). "Magnolia". Time. Retrieved 2010-08-31.
30.^ Jump up to: a b Ebert, Roger (November 27, 2008). "Magnolia :: rogerebert.com :: Great Movies". Chicago Sun-Times. Retrieved November 28, 2008.
31.Jump up ^ http://www.totalfilm.com/features/50-best-movies-of-total-film-magazine-s-lifetime/magnolia-1999
32.Jump up ^ "Empire's 500 Greatest Movies of All Time". Empire Magazine. January 5, 2014. Retrieved January 5, 2014.
33.Jump up ^ "Sydsvenska Dagbladet Interview". May 2002.
34.Jump up ^ Lyman, Rick (January 24, 2000). "American Beauty Wins 3 Golden Globe Awards". The New York Times.
35.Jump up ^ "The 72nd Annual Academy Award Nominees". Variety. February 16, 2000.
36.Jump up ^ Malcolm, Derek (February 21, 2000). "Magnolia Blossoms". The Guardian.
37.Jump up ^ "Toronto Critics Pick Magnolia as Best Film of 1999". The Globe and Mail. December 17, 1999.
38.Jump up ^ Richard Stanwick (2003-02-25). "Richard Stanwick: Magnolia". Cinetext.philo.at. Retrieved 2012-09-05.
39.Jump up ^ "Magnolia Movie Review". Killermovies.com. Retrieved 2012-09-05.
40.Jump up ^ "Magnolia :: rogerebert.com :: Reviews". Rogerebert.suntimes.com. Retrieved 2012-09-05.
41.Jump up ^ Magnolia and Meaning. "Magnolia and Meaning | Movies". Culture Snob. Retrieved 2012-09-05.
42.Jump up ^ Ramlow, Todd. "Magnolia (1999)". < PopMatters. Retrieved 2012-09-05.
43.Jump up ^ Field, Syd. "Magnolia: An Appreciation". SydField.com. Retrieved January 22, 2008.
44.Jump up ^ Coleman, Loren (2007). Mysterious America: The Ultimate Guide to the Nation's Weirdest Wonders, Strangest Spots, and Creepiest Creatures. Simon & Schuster.
45.Jump up ^ Hipps, Shane (May 9, 2003). "Magnolia: The Exodus for Kids". Metaphilm. Retrieved January 23, 2008.
46.Jump up ^ Anderson, Paul Thomas (January 26, 2004). The Paul Thomas Anderson Shooting Script Set: Magnolia and Punch-Drunk Love. Newmarket Press.
Lundy, Karen Saucier; Janes, Sharyn (2009). Community Health Nursing: Caring for the Public's Health. Jones & Bartlett Learning. ISBN 978-0-7637-1786-5.
§External links[edit]
 Wikiquote has quotations related to: Magnolia
Magnolia at the Internet Movie Database
Magnolia at Box Office Mojo
Magnolia at Rotten Tomatoes
Magnolia at Metacritic


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Categories: 1999 films
1990s drama films
American films
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French-language films
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Films directed by Paul Thomas Anderson
Films about dysfunctional families
Films featuring a Best Supporting Actor Golden Globe winning performance
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Films set in the San Fernando Valley
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