PTA could be involved in Scorsese’s new film
Between uncredited rewrites and elite collaborations, the director confirms himself as an invisible but decisive presence in the industry’s major projects. From Napoleon, Killer of the Flower Moon and others
Paul Thomas Anderson has a hand in Martin Scorsese‘s next film. According to the latest rumors, the director, fresh winner of the Oscar for One battle after anotherhe would rewrite the screenplay of What Happens at Night without appearing in the official credits. It’s not the first time that Anderson has had a hand in other people’s projects. The news was launched by journalist Jeff Sneider on The Insider, according to which the script written by Patrick Marber and based on the novel of the same name by Peter Cameron would have gone through a long process of “silent” rewriting. An exceptional consultancy, in short, which certifies the consideration enjoyed in Hollywood by one of the most influential directors of his era.
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Reconstructing the story, it is rumored that it was Leonardo DiCaprio himself who asked Anderson to take a look at Marber’s work. The actor will star alongside Jennifer Lawrence in a story featuring an American couple traveling to an unknown European town to adopt a child, in what promises to be a horror-tinged psychological thriller.
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The indiscretion has no official confirmation at the moment. However, rumors have already circulated in the past about possible “shadow” interventions by Anderson in Scorsese’s projects. With the release of Killers of the Flower Moonfor example, there was talk of a significant departure from Eric Roth’s original screenplay. Even in that case, DiCaprio would have asked the director for help Licorice Pizzaworried by a narrative structure that is too tied to the stereotype of white savioror the figure of the white man who saves a community considered inferior. There have also been similar rumors Napoleon by Ridley Scott: in that case it would have been Joaquin Phoenix who asked for Anderson’s intervention, going so far – according to rumors – to threaten to abandon the project.
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After years of unconfirmed rumors, a partial admission from Anderson himself to Dazed gives a glimpse of his involvement behind the scenes: “I love to contribute in any way I can when someone asks me for help,” said the director. “It happened with Joaquin, with Leo, and, of course, with Marty and Ridley. It’s always a privilege to be able to say, ‘Let me tell you what I think of the script.'”
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That of ghost writera figure who works in the shadows, is a consolidated tradition in Hollywood — and beyond. The cinema has told its most ambiguous side in The Ghost Writer by Roman Polanski, while in Italy Roberto Andò addressed the theme with A story without a nameexploring the invisible work of those who write for others and the hidden dynamics of the culture industry.
Yet, reducing Paul Thomas Anderson to the figure of a simple ghost writer would be misleading. His is not a work in the shadows out of necessity or anonymity, but a form of authorial intervention that moves on another level: that of trust and prestige. When a director like Anderson is called to write a screenplay, he doesn’t do it to replace himself, but to strengthen, refine, give a depth of vision. In this sense, more than a hidden signature, its presence becomes a guarantee. Invisible in the credits, but far from marginal in the final result.
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