Post by petrolino on Jan 19, 2020 0:13:56 GMT
Melora Walters
Melora Walters was born in Dhahran, Saudi Arabia on October 21, 1959. Walters is a painter, actress, dancer and filmmaker. She studied at the Pratt Institute in New York City, New York. Her art has been exhibited in Los Angeles, New York, Paris and Berlin. Walters directed the short subject film 'The Muse' (2016) which was screened at the Cannes Film Festival, the controversial television movie 'The Lover In The Attic : A True Story' (2018), the feature film 'Waterlily Jaguar' (2018) which was co-produced by her friend Paul Thomas Anderson, and the new feature presentation 'Drowning' (2019). A collection of her poems, 'Sonnets And Failures', was published in 2010. She's currently filming Kelly Oxford's new film 'Pink Skies Ahead' (scheduled for 2020) with actress Rosa Salazar.
"Art is my life, it is all I know. Everything I experience and dream is expressed in my art."
- Melora Walters
'Divers' - Joanna Newsom (directed by Paul Thomas Anderson)
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At The Gallery
'Muse'
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At The Pictures
"As a writer, Paul Thomas Anderson starts with lists, actors and music. "Magnolia came out of Aimee Mann's songs, which I was listening to at the time I was starting to write. I had her two solo albums and a lot of her demos, because she's a friend, and I think the tone she gets is really beautiful. So I thought about using them as a basis, or as inspiration for the film."
Indeed, certain lines of dialogue in Magnolia come directly from Mann's songs, including "Now that you've met me, would you object if you never saw me again?" which is the crux of one thread of the narrative. And towards the finale, Anderson lays Mann's Wise Up on the soundtrack and cuts all across the San Fernando Valley to his different characters, who all dreamily sing along with a line each from the song. It should be a ridiculous moment, but it's the emotional high point of the movie, capable of reducing entire rows of filmgoers to tears.
"I wondered about that moment too," says Anderson, "but I tricked everyone by getting Julianne Moore to do it first. She can always set the pace, because actors are so competitive. Then everyone was up for it." Anderson's scripts, he says, start out as "lists of things that are interesting to me, images, words, ideas, and slowly they start resolving themselves into sequences and shots and dialogue."
For Magnolia, he first saw an image of the smiling face of his friend, actress Melora Walters, and went from there. Having consolidated an Altmanesque de facto repertory company in the course of making Hard Eight and Boogie Nights, Anderson is now free to write with specific actors in mind, actors who he stresses are his friends off-set, not just his employees."
Indeed, certain lines of dialogue in Magnolia come directly from Mann's songs, including "Now that you've met me, would you object if you never saw me again?" which is the crux of one thread of the narrative. And towards the finale, Anderson lays Mann's Wise Up on the soundtrack and cuts all across the San Fernando Valley to his different characters, who all dreamily sing along with a line each from the song. It should be a ridiculous moment, but it's the emotional high point of the movie, capable of reducing entire rows of filmgoers to tears.
"I wondered about that moment too," says Anderson, "but I tricked everyone by getting Julianne Moore to do it first. She can always set the pace, because actors are so competitive. Then everyone was up for it." Anderson's scripts, he says, start out as "lists of things that are interesting to me, images, words, ideas, and slowly they start resolving themselves into sequences and shots and dialogue."
For Magnolia, he first saw an image of the smiling face of his friend, actress Melora Walters, and went from there. Having consolidated an Altmanesque de facto repertory company in the course of making Hard Eight and Boogie Nights, Anderson is now free to write with specific actors in mind, actors who he stresses are his friends off-set, not just his employees."
- John Patterson, The Guardian
"Paul Thomas Anderson was the first one who saw how I can change into different characters and he's taken advantage of that. Because his films are so amazing, then people see that, and it's giving me wonderful opportunities. I don't say genius lightly. I really think that's what he is. He really taps into something very deep when he creates these stories. Whenever somebody can do that, the people around cannot help but be touched by it. You feel it and then you're just committed to it, because it's rare. It's like Mozart. If you listen to his music, it touches something in you. Paul's films touch something very primal within you and how can you resist that?"
- Melora Walters, Cigarettes And Redvines
"Paul Thomas Anderson was the first one who saw how I can change into different characters and he's taken advantage of that. Because his films are so amazing, then people see that, and it's giving me wonderful opportunities. I don't say genius lightly. I really think that's what he is. He really taps into something very deep when he creates these stories. Whenever somebody can do that, the people around cannot help but be touched by it. You feel it and then you're just committed to it, because it's rare. It's like Mozart. If you listen to his music, it touches something in you. Paul's films touch something very primal within you and how can you resist that?"
- Melora Walters, Cigarettes And Redvines
'Save Me' - Aimee Mann (directed by Paul Thomas Anderson)
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'Dead Poets Society' (1989 - Peter Weir)
Gloria
'Rude Awakening' (1989 - David Greenwalt & Aaron Russo)
Punky
'Twenty Bucks' (1993 - Keva Rosenfeld)
The Stripper/Funeral Director
'Cabin Boy' (1994 - Adam Resnick)
Trina
'Ed Wood' (1994 - Tim Burton)
Secretary
'Hard Eight' (1996 - Paul Thomas Anderson)
Jimmy's Girl
'Eraser' (1996 - Chuck Russell)
Darleen
'Boogie Nights' (1997 - Paul Thomas Anderson)
Jessie St. Vincent
Jessie St. Vincent
'Magnolia' (1999 - Paul Thomas Anderson)
Claudia Wilson
'Speaking Of Sex' (2001 - John McNaughton)
Melinda
'WiseGirls' (2002 - David Anspaugh)
Kate
'Desert Saints' (2002 - Richard Greenberg)
Bennie Harper
'The Big Empty' (2003 - Steve Anderson)
Candy
'Matchstick Men' (2003 - Ridley Scott)
Heather
'Cold Mountain' (2003 - Anthony Minghella)
Lila
'The Butterfly Effect' (2004 - Eric Bress & J. Mackye Gruber)
Andrea Treborn
'Hurt' (2009 - Barbara Stepansky)
Helen Coltrane
'Love Ranch' (2010 - Taylor Hackford)
Janelle
'The Master' (2012 - Paul Thomas Anderson)
Band (voice)
'Short Term 12' (2013 - Destin Daniel Cretton)
Dr. Hendler
'Underdogs' (2013 - Doug Dearth)
Nancy Smith-Burkett
'The Lovers' (2017 - Azazel Jacobs)
Lucy
'Venom' (2018 - Ruben Fleischer)
Maria
'Paper Bag' - Fiona Apple (directed by Paul Thomas Anderson)
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Where The Past Meets The Future
Melora Walters, John C. Reilly, Paul Thomas Anderson, Don Cheadle & Mark Wahlberg
Melora Walters, Azazel Jacobs & Tracy Letts
Harry Dean Stanton & Melora Walters
Paul Thomas Anderson & Quentin Tarantino
Melora Walters & Jonathan Jay Piumelli
Melora Walters & Mira Sorvino at the Rome Film Festival in 2019
'Right Now' - HAIM (directed by Paul Thomas Anderson)
* Visit melorawaltersart.com online to see some of Melora Walters' paintings.
