Route Resolved ✅
Package: @imdb/name
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{
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"name": {
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"nameText": {
"text": "Paul Thomas Anderson"
},
"birthDate": {
"dateComponents": {
"year": 1970,
"month": 6,
"day": 26
}
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"bio": {
"plainText": "Anderson was born in 1970. He was one of the first of the \"video store\" generation of film-makers. His father was the first man on his block to own a V.C.R., and from a very early age Anderson had a large number of titles available to him. While film-makers like Spielberg cut their teeth making 8 mm films, Anderson cut his teeth shooting films on video and editing them from V.C.R. to V.C.R.\n\nPart of Anderson's artistic D.N.A. comes from his father, who hosted a late night horror show in Cleveland. His father knew a number of oddball celebrities such as Robert Ridgely, an actor who often appeared in Mel Brooks' films and would later play \"The Colonel\" in Anderson's Boogie Nights (1997). Anderson was also very much shaped by growing up in \"The Valley\", specifically the suburban San Fernando Valley of greater Los Angeles. The Valley may have been immortalized in the 1980s for its mall-hopping \"Valley Girls\", but for Anderson it was a slightly seedy part of suburban America. You were close to Hollywood, yet you weren't there. Would-bes and burn-outs populated the area. Anderson's experiences growing up in \"The Valley\" have no doubt shaped his artistic self, especially since three of his four theatrical features are set in the Valley.\n\nAnderson got into film-making at a young age. His most significant amateur film was The Dirk Diggler Story (1988), a sort of mock-documentary a la This Is Spinal Tap (1984), about a once-great pornography star named Dirk Diggler. After enrolling in N.Y.U.'s film program for two days, Anderson got his tuition back and made his own short film, Cigarettes & Coffee (1993). He also worked as a production assistant on numerous commercials and music videos before he got the chance to make his first feature, something he liked to call Sydney, but would later become known to the public as Hard Eight (1996). The film was developed and financed through The Sundance Lab, not unlike Quentin Tarantino's Reservoir Dogs (1992). Anderson cast three actors whom he would continue working with in the future: Altman veteran Philip Baker Hall, the husky and lovable John C. Reilly and, in a small part, Philip Seymour Hoffman, who so far has been featured in all four of Anderson's films. The film deals with a guardian angel type (played by Hall) who takes down-on-his-luck Reilly under his wing. The deliberately paced film featured a number of Anderson trademarks: wonderful use of source light, long takes and top-notch acting. Yet the film was reedited (and retitled) by Rysher Entertainment against Anderson's wishes. It was admired by critics, but didn't catch on at the box office. Still, it was enough for Anderson to eventually get his next movie financed. \"Boogie Nights\" was, in a sense, a remake of \"The Dirk Diggler Story\", but Anderson threw away the satirical approach and instead painted a broad canvas about a makeshift family of pornographers. The film was often joyous in its look at the 1970s and the days when pornography was still shot on film, still shown in theatres, and its actors could at least delude themselves into believing that they were movie stars. Yet \"Boogie Nights\" did not flinch at the dark side, showing a murder and suicide, literally in one (almost) uninterrupted shot, and also showing the lives of these people deteriorate, while also showing how their lives recovered.\n\nAnderson not only worked with Hall, Reilly and Hoffman again, he also worked with Julianne Moore, Melora Walters, William H. Macy and Luis Guzmán. Collectively, Anderson had something that was rare in U.S. cinema: a stock company of top-notch actors. Aside from the above mentioned, Anderson also drew terrific performances from Burt Reynolds and Mark Wahlberg, two actors whose careers were not exactly going full-blast at the time of \"Boogie Nights\", but who found themselves to be that much more employable afterwards.\n\nThe success of \"Boogie Nights\" gave Anderson the chance to really go for broke in Magnolia (1999), a massive mosaic that could dwarf Altman's Nashville (1975) in its number of characters.\n\nAnderson was awarded a \"Best Director\" award at Cannes for Punch-Drunk Love (2002)."
},
"bioHtml": "Anderson was\nborn in 1970. He was one of the first of the "video store" generation\nof film-makers. His father was the first man on his block to own a\nV.C.R., and from a very early age Anderson had a large number of\ntitles available to him. While film-makers like Spielberg cut their\nteeth making 8 mm films, Anderson cut his teeth shooting films on\nvideo and editing them from V.C.R. to V.C.R.<br/><br/>Part of Anderson's artistic D.N.A. comes from his father, who hosted a\nlate night horror show in Cleveland. His father knew a number of\noddball celebrities such as\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0725894/\">Robert Ridgely</a>, an actor who often\nappeared in <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000316/\">Mel Brooks</a>' films and\nwould later play "The Colonel" in Anderson's\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0118749/\">Boogie Nights (1997)</a>. Anderson was\nalso very much shaped by growing up in "The Valley", specifically the\nsuburban San Fernando Valley of greater Los Angeles. The Valley may\nhave been immortalized in the 1980s for its mall-hopping "Valley\nGirls", but for Anderson it was a slightly seedy part of suburban\nAmerica. You were close to Hollywood, yet you weren't there. Would-bes\nand burn-outs populated the area. Anderson's experiences growing up in\n"The Valley" have no doubt shaped his artistic self, especially since\nthree of his four theatrical features are set in the Valley.<br/><br/>Anderson got into film-making at a young age. His most significant\namateur film was\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0138403/\">The Dirk Diggler Story (1988)</a>,\na sort of mock-documentary a la\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0088258/\">This Is Spinal Tap (1984)</a>,\nabout a once-great pornography star named Dirk Diggler. After enrolling\nin N.Y.U.'s film program for two days, Anderson got his tuition back\nand made his own short film,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0138363/\">Cigarettes & Coffee (1993)</a>.\nHe also worked as a production assistant on numerous commercials and\nmusic videos before he got the chance to make his first feature,\nsomething he liked to call Sydney,\nbut would later become known to the public as <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0119256/\">Hard Eight (1996)</a>. The film\nwas developed and financed through The Sundance Lab, not unlike\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000233/\">Quentin Tarantino</a>'s\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0105236/\">Reservoir Dogs (1992)</a>. Anderson\ncast three actors whom he would continue working with in the future:\nAltman veteran <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001311/\">Philip Baker Hall</a>, the\nhusky and lovable <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000604/\">John C. Reilly</a>\nand, in a small part,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000450/\">Philip Seymour Hoffman</a>, who so\nfar has been featured in all four of Anderson's films. The film deals\nwith a guardian angel type (played by Hall) who takes down-on-his-luck\nReilly under his wing. The deliberately paced film featured a number of\nAnderson trademarks: wonderful use of source light, long takes and\ntop-notch acting. Yet the film was reedited (and retitled) by Rysher\nEntertainment against Anderson's wishes. It was admired by critics, but\ndidn't catch on at the box office. Still, it was enough for Anderson to\neventually get his next movie financed. "Boogie Nights" was, in a\nsense, a remake of "The Dirk Diggler Story", but Anderson threw away\nthe satirical approach and instead painted a broad canvas about a\nmakeshift family of pornographers. The film was often joyous in its\nlook at the 1970s and the days when pornography was still shot on film,\nstill shown in theatres, and its actors could at least delude\nthemselves into believing that they were movie stars. Yet "Boogie\nNights" did not flinch at the dark side, showing a murder and suicide,\nliterally in one (almost) uninterrupted shot, and also showing the\nlives of these people deteriorate, while also showing how their lives\nrecovered.<br/><br/>Anderson not only worked with Hall, Reilly and Hoffman again, he also\nworked with <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000194/\">Julianne Moore</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001828/\">Melora Walters</a>,\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000513/\">William H. Macy</a> and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0350079/\">Luis Guzmán</a>. Collectively, Anderson\nhad something that was rare in U.S. cinema: a stock company of\ntop-notch actors. Aside from the above mentioned, Anderson also drew\nterrific performances from\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000608/\">Burt Reynolds</a> and\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000242/\">Mark Wahlberg</a>, two actors whose\ncareers were not exactly going full-blast at the time of "Boogie\nNights", but who found themselves to be that much more employable\nafterwards.<br/><br/>The success of "Boogie Nights" gave Anderson the chance to really go\nfor broke in <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0175880/\">Magnolia (1999)</a>, a massive\nmosaic that could dwarf Altman's\n<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0073440/\">Nashville (1975)</a> in its number of\ncharacters.<br/><br/>Anderson was awarded a "Best Director" award at Cannes for <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0272338/\">Punch-Drunk Love (2002)</a>.",
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