But he didn’t have final cut and was eventually fired and locked out of his own editing room. This is the making and near unmaking of Mike De Luca was this hotshot executive at New Line. He loved that life and he lived that life and the fast cars and the blow jobs and the pretty girls and all of that stuff. I passed when he brought it to New Line; then I saw the movie and was really impressed.In the fallout, Anderson told a reporter that his experience on , it was with a resolve bordering on arrogance. Still, after an intense production and postproduction period — one in which the director had to manage a cranky, confused Burt Reynolds and an untested, rapping underwear model named Mark Wahlberg — Anderson was forced once again to fight studio heads for his cut of the film. For its beautiful portrait of nontraditional families; for Reynolds and Wahlberg, the surrogate father and son, who were never better; for Philip Seymour Hoffman, squeezing into character and breaking hearts; for its prodigy director sticking to his guns and nailing it; for John C. Just as a joke, I said to him, “Don’t let me pass on something this cool again,” and later, under those auspices, John said, “Remember when you said don’t let you pass on something cool? I said, “Listen, I’m not gonna give the script to anyone else, but you gotta read it tonight. This is not something that you give to your story department." He called me the next day and said, “I love it, I want to do it.”So Bob and I got to Sundance. We had a series of people we were meeting at different places in Park City that evening and we were bar-hopping. Before we made the deal on the project, we agreed on a few things: The movie had to be under three hours and it had to be R-rated, not NC-17. It terrified me at the time, really scared the piss out of me. That long, long shot where he stays on Mark’s face and you can see the madness in the room through his eyes and the decision he makes, when he finally just stands up and goes, “OK, we gotta go, we gotta go.” All that was just phenomenal.One of our artists, Garrett Immel, sculpted this penis to be slightly erect and with the testicles and everything.We made a core that created a void that Mark could put his own anatomy into.His relationship to the material differed from that of the average high schooler. But the real seduction was in the imagined backstories, the circumstantial tragicomedies of the casts and crews, which inspired Anderson to write and film .During the process, Anderson squabbled with producers, barred them from the set, and refused to show any edited footage or make any significant suggested changes.” And she’s all kidding and laughing and she’s like, “Yours is bigger.” But Paul said, “You know what, I don’t want to talk about John Holmes and New Line doesn’t want to talk about it.” And he’s like, “Well, let’s just pull everyone out of the room and we’ll improv a little bit.” He really wanted a lot of innocence and fun. Mark proceeded to parade around the set with the dick hanging out of his jeans.He’d pose with his hands on his hips and everybody was laughing and We sculpted a version that was 12 inches long, and we tested it and it was just way too big. The next one was seven inches; that was the penis we went with.
People were coming into his office, women and so forth, and I started feeling really uncomfortable. “Your cock is so beautiful” just flew out of my mouth. He was like, “Oh my God, that is it.”We started creating the prosthetic by building a wire frame armature and then sculpting the penis in clay.
The evening we arrived, we were meeting some people at a restaurant and a young guy introduces himself to us as Paul Thomas Anderson. And Paul didn’t have final cut and he didn’t have control over the marketing or the distribution plan. A blow job was a blow job, but the sex stuff was a bit confusing. He didn’t want the guys on the sofa to know when they were coming and they were pretty much full blast. He was an outsider, just because the other actors were grown-up as actors and he was a guy that was coming out of the music business. knew that he needed a change of tone or some sort of change of energy to keep the film going, to carry it through to its conclusion. And the reality is, when I wrote the movie and when we shot it, I wasn’t sure what to do — whether we should see it right away, like within the first forty-five minutes — get it out of the way, sort of mortalise it — or whether it should stay to the end.
He’s holding the largest script I ever saw in my life. I was trying to figure out: Is that in her butt or what? The guys were constantly jumping out of their skins, but Rahad, my character, was completely still. But that was a quality that Paul wanted, a guy who was not quite fitting into this world. That is Mark Wahlberg on the set after three days of firecrackers. I went to Paul’s office in Hollywood and it was wall-to-wall porn. I want to talk about what we need.” And the big thing we need on this film is Mark Wahlberg’s penis.
We also made our own little trouser augment and just put it in the pants because you could see the outline in those very tight polyester pants.
It was basically a woman’s stocking knee high filled with birdseed. We did the whole pool party scene and everything and went away for the weekend, and over the weekend in the warm wardrobe trunk the seeds sprouted, so we had to start over.
We took a pattern around that area around the penis and tied that lace piece and matched the color to Mark’s hair. There was a little bit of motivation in terms of being able to react to the actual dick because it was there on the set.