AFI Catalog of Feature Films
Movie Detail
Name Occurs Before Title Offscreen Credit Print Viewed By AFI
There Will Be Blood
Director: Paul Thomas Anderson (Dir)
Release Date:   11 Jan 2007
Premiere Information:   Austin, TX Fantastic Fest screening: 27 Sep 2007; New York and Los Angeles openings: 26 Dec 2007
Production Date:   5 Jun--25 Aug 2006 in Marfa, TX and Los Angeles
Duration (in mins):   158-159
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Cast: [In order of appearance:] Daniel Day-Lewis (Daniel Plainview)  
    Martin Stringer (Silver assay worker)  
    Matthew Braden Stringer (Silver assay worker)  
    Jacob Stringer (Silver assay worker)  
    Joseph Mussey (Silver assay worker)  
    Barry Del Sherman (H. B. Ailman)  
    Harrison Taylor (Baby HW [Plainview])  
    Stockton Taylor (Baby HW [Plainview])  
    Paul F. Tompkins (Prescott)  
    Dillon Freasier (HW [Plainview])  
    Kevin Breznahan (Signal Hill man)  
    Jim Meskimen (Signal Hill married man)  
    Erica Sullivan (Signal Hill woman)  
    Randall Carver (Mr. Bankside)  
    Coco Leigh (Mrs. Bankside)  
    Paul Dano (Paul Sunday/Eli Sunday)  
    Ciarán Hinds (Fletcher [Hamilton])  
    Sydney McCallister (Mary Sunday)  
    David Willis (Abel Sunday)  
    Christine Olejniczak (Mother Sunday)  
    Kellie Hill (Ruth Sunday)  
    James Downey (Al Rose)  
    Dan Swallow (Gene Blaize)  
    Robert Arber (Charlie Wrightsman)  
    Bob Bell (Geologist)  
    David Williams (Ben Blaut)  
    Joy Rawls (Eli follower)  
    Louise Gregg (Eli follower)  
    Amber Roberts (Eli follower)  
    John W. Watts (Oil worker)  
    Robert Caroline (Oil worker)  
    Barry Bruce (Oil worker)  
    Irene G. Hunter (Mrs. Hunter)  
    Hope Elizabeth Reeves (Elizabeth)  
    John Chitwood (Little Boston doctor)  
    Kevin J. O'Connor (Henry)  
    David Warshofsky (H. M. Tilford)  
    Tom Doyle (J. J. Carter)  
    Colton Woodward (William Bandy)  
    John Burton (L. P. Clair)  
    Hans Howes (Bandy)  
    Robert Barge (Bartender)  
    Ronald Krut (Standard Oil man)  
    Huey Rhudy (Standard Oil man)  
    Steven Barr (Standard Oil man)  
    Robert Hills (HW's interpreter)  
    Colleen Foy (Adult Mary Sunday)  
    Russell Harvard (Adult HW)  
    Reverend Bob Bock (Priest)  
    Vince Froio (Plainview servant)  
    Phil Shelly (Plainview servant)  

Summary: In 1898 California, taciturn prospector Daniel Plainview strikes a small vein of silver in a pit mine but badly injures his leg in a fall. Four years later, as Daniel oversees construction of an oil well in Coyote Hills, an accident results in the death of one of his workers. Daniel adopts and lavishes affection on the man’s orphaned baby, whom he names HW. By 1911, Daniel has become prosperous from his Coyote Hills oil strike but desires to enrich himself further by buying oil leases from small communities. Bringing HW, whom he calls his partner, with him, he proclaims himself an oilman and a family man, who will give the local landowners one-sixth of the profits from the wells. One night, while overseeing a new oil field in Signal Hill, Daniel and his right-hand man, Fletcher Hamilton, are approached by teenager Paul Sunday, who offers to reveal the whereabouts of a rich, untapped oilfield for a $500 finder's fee. After Daniel reluctantly agrees to the terms, Paul shows him a map of an area surrounding his family's goat ranch in Little Boston, near Central California land parcels being bought by Standard Oil. A short time later, Daniel and HW travel to Little Boston and tell Paul's father Abel that they are hunting quail and would like permission to camp on his land. Later, when HW steps in some seeping oil, he rushes to show his father, who laughs with his son over the find. That night, as Daniel and HW eat dinner with the Sunday family, Daniel offers Abel $3,700 for his land. The fervently religious Abel thanks God for the offer, but his son Eli, a preacher, accuses Daniel of deception and demands a $10,000 bonus and a new road to his church. Daniel warily agrees to Eli's terms and soon, with the assistance of Al Rose, the local real estate agent, he is buying up as much local land as possible. Hoping to outmaneuver Standard Oil and avoid railroad transportation fees set by the company, Daniel plans to build a pipeline to the nearby coast and strike a deal with their competitor, Union Oil. As men begin to pour into the burgeoning oilfield, Eli, a charismatic faith healer, tries to convert some of the men to his Church of the Third Revelation. The day before the first derrick is to be dedicated, Eli goes to Daniel to say that he should be allowed to bless the well at a small ceremony marking the occasion. Daniel agrees, but the next day, after naming the well for Eli’s sister Mary, Daniel himself recites a blessing, leaving Eli stunned and angry. One night, after workman Joe Gunda dies in an accident, Daniel asks Eli to oversee the religious Gunda's funeral. Eli tells Daniel that Gunda died because the well was not blessed, but Daniel simply laughs, saying that Eli's faith-healing, which he witnessed at the church, was "a goddamn hell of a show." Some time later, as the third oil well is being drilled, a gusher bursts up, causing HW, who had been watching from above, to lose his hearing from the force of the eruption. A distraught Daniel rushes to his son and carries him back to their cabin, but quickly leaves to cap the well. One day, when Eli goes to Daniel to demand his $10,000, Daniel becomes enraged, screaming that Eli is a faith healer, yet his son cannot hear. He then beats and humiliates Eli, throwing him onto the ground and smearing his face with muddy oil. That night, Eli lashes out at Abel, calling him and the absent Paul lazy and stupid, then mercilessly beats him. Some time later, a man approaches Daniel’s cabin and says that he is his brother from another mother. Daniel is wary at first, but when the man, whose name is Henry, reveals details about Daniel’s family in Fond du Lac, Wisconsin, Daniel accepts him. Henry says that he is not interested in wealth, but merely hopes to have a job, at which he will work hard. That night, HW, who has sunk into depression over his hearing loss and his father's coldness, sets fire to the cabin, but Henry awakens in time to save Daniel. Knowing that HW is responsible, he chases after the fleeing boy and brings him back to the cabin. Some time later, after finding a school for HW, Daniel takes the boy onto the train and gently holds him, then leaves and sends in Fletcher. The boy screams for his father, but Daniel walks away as the train leaves the station. Weeks later, Daniel takes Henry with him to a meeting with Standard Oil executive H. M. Tilford and others who offer to buy Daniel's Coyote Hills property. Although he readily agrees to sell Coyote Hills, he refuses their offer of $1,000,000 for the Little Boston field and erupts into a violent rage, threatening to cut Tilford’s throat for suggesting that he should take the money and spend time with his boy. Soon Daniel learns from Al that his pipeline cannot go through the shortest route to the sea because Daniel never acquired the rights from Bandy, the one holdout among the local landowners. With Henry, Daniel travels to the Bandy farm, but is told by William Bandy that his grandfather is away. Daniel and Henry then take a swim in the ocean and relax on the shore. When a casual remark about their hometown does not elicit the expected response from Henry, Daniel deduces that he is a fraud. That night at their campsite, Daniel confronts Henry, who reveals that he became a close friend of Daniel’s real half-brother, who died of tuberculosis some months before. Henry adds that he acquired enough knowledge to impersonate the brother by reading through his diary. Daniel, who has told Henry that he learned to hate little-by-little and finds nothing to like in humanity, then places his gun to Henry's temple and shoots him. After burying Henry's body, Daniel weeps while reading through the diary and finding a baby picture within the pages. The next morning, Daniel is awakened by Bandy, who calmly tells him that he may use his land for the pipeline, but only if he is washed in the blood of Jesus to atone for his sins. Daniel laughs, but when Bandy shows him the gun used to kill Henry, he agrees. At the church, Daniel reluctantly comes forward to be baptized by Eli, who shouts of casting out the devil as he repeatedly slaps Daniel. Although emotionally overwrought during the baptism, Daniel calmly leaves the church to finish his pipeline. Some time later, as Eli departs on the train to start a new ministry in other oilfields, HW returns with a signing interpreter. Daniel embraces the still deaf boy and whispers “I love you” into his ear, then shows him the pipeline. That evening, sitting in a restaurant waiting for their meal, Daniel seethes when Tilford and his colleagues are seated at the next table. Although the men try to ignore Daniel's loud comments about his deal with Union Oil, he makes a scene. As the months pass, HW becomes more proficient in signing, as does Mary, his close companion. In 1927, a now grown HW and Mary wed in a Catholic Church. When HW goes to his father's palatial mansion to tell him that he loves him but wants to go to Mexico to start his own, small oil company, Daniel lashes out, cruelly referring to him and his interpreter as "hand flappers" and revealing that HW is not his real son. After he calls HW nothing more than a "bastard in a basket" who has nothing of himself in him, HW leaves, saying that he is glad he has nothing of Daniel in him. One night, Eli goes to see Daniel, who has fallen into a drunken stupor in the mansion's bowling alley. Well-dressed and sporting a jewel-encrusted cross, Eli cheerfully drinks with Daniel. Relating that old Bandy has died and that William, who desires to be an actor in Hollywood, wants to sell his land, Eli asks for a $100,000 broker's fee for the sale. After forcing Eli to proclaim that he is a false prophet and that God is a superstition, Daniel loudly boasts that he no longer needs Bandy's land because he has drained its oil from his own properties, which surround it. Now unnerved, Eli breaks down and admits that he needs the money because of losses in the stock market and the costs of his vices. Daniel then gleefully reveals that Paul received the $10,000 finder's fee, enabling him to start his own small oil business, which brings him $5,000 a week. As Eli becomes increasingly hysterical over Daniel's rebukes, Daniel starts to throw bowling balls at him. Then, when Eli falls, Daniel beats him to death with a bowling pin. Having been awakened by loud noises emanating from the bowling alley, one of the servants calls after Daniel, who shouts "I'm finished." 

Production Company: Miramax Film Corp. (The Walt Disney Company)
  Ghoulardi Film Company  
  Scott Rudin Productions  
Production Text: A Joanne Seller Film
Distribution Company: Paramount Vantage (A Viacom Company)
Director: Paul Thomas Anderson (Dir)
  Adam Somner (1st asst dir)
  Eric Lasko (2d asst dir)
  Ian Stone (2d asst dir)
  Richard Oswald (2d asst dir)
  Jenny Nolan (2d 2d asst dir)
Producer: Joanne Sellar (Prod)
  Paul Thomas Anderson (Prod)
  Daniel Lupi (Prod)
  Scott Rudin (Exec prod)
  Eric Schlosser (Exec prod)
  David Williams (Exec prod)
Writer: Paul Thomas Anderson (Wrt for the screen by)
Photography: Robert Elswit (Dir of photog)
  Colin Anderson (Cam/Steadicam op)
  Barry Idoine ("A" cam 1st asst)
  Larissa Supplitt ("A" cam 2d asst)
  Harry Zimmerman ("B" cam 1st asst)
  Thomas D. Lairson, Jr. ("B" cam 2d asst)
  Matthew W. Williams (Film loader)
  Aaron Tichenor ([Photog dept] prod asst)
  Samantha Ryan ([Photog dept] prod asst, Los Angeles unit)
  Melinda Sue Gordon (Still photog)
  Francois Duhamel (Still photog)
  Robby Baumgartner (Chief lighting tech)
  Chris Milani (Best boy elec)
  Eric Cunningham (Elec)
  Wes Dixon (Elec)
  Michael Kelly (Elec)
  Brandon Roberts (Elec)
  Scott Sprague (Elec)
  Nate Johnson (Elec, Los Angeles unit)
  Niles McElroy (Elec, Los Angeles unit)
  James "Biff" Thomsen (Elec, Los Angeles unit)
  Orlando Hernandez (Addl elec, Los Angeles unit)
  Amy Hoffecker (Addl elec, Los Angeles unit)
  Mark Manthey (Rigging gaffer)
  Brian R. Lukas (Rigging gaffer, Los Angeles unit)
  Mark R. Mele (Rigging elec best boy, Los Angeles unit)
  Jon Newell (Rigging elec, Los Angeles unit)
  Travis Panarisi (Rigging elec, Los Angeles unit)
  Curtis King (Rigging elec, Los Angeles unit)
  Joseph Dianda (Key grip)
  Chris Crivier (Best boy grip)
  Jeffrey Sherman Kunkel (Dolly grip)
  Brad Allen (Grip)
  Justin Babin (Grip)
  Charles Crivier (Grip)
  Adam T. Flores (Grip)
  Jamie Franta (Grip)
  Todd Nicodemus (Grip)
  Lupe Perez Jr. (Grip)
  Leif E. Ulvog (Grip)
  Fred Troesken (Grip, Los Angeles unit)
  Sandy P. Gilzow (Key rigging grip)
  Richard J. Boyle (Key rigging grip, Los Angeles unit)
  Brett Welch (Rigging grip best boy, Los Angeles unit)
  John F. Cassidy (Rigging grip, Los Angeles unit)
  Jim Degeeter (Rigging grip, Los Angeles unit)
  Alan Platz (Rigging grip, Los Angeles unit)
  Chapman/Leonard Studio Equipment, Inc. (Dollies and cranes provided by)
  J. L. Fisher, Inc. (Dollies provided by)
  Panavision Remote Systems (Cranes provided by)
Art Direction: Jack Fisk (Prod des)
  David Crank (Art dir)
  Jourdan Henderson (Art dept coord)
  P. K. MacCarthy (Storyboard artist)
Film Editor: Dylan Tichenor (Ed)
  Tatiana S. Riegel (Film ed)
  Peter McNulty (Addl ed)
  Paula Suhy (1st asst ed)
  Heather Mullen (Dailies asst ed)
  Brendan Walsh (2d asst ed)
  Mary Nelson-Fraser (Negative cutter)
Set Decoration: Jim Erickson (Set dec)
  Amy Wells (Asst set dec, Los Angeles unit)
  Carl Stensel (Set des)
  Anthony D. Parillo (Set des, Los Angeles unit)
  Steve Sawhill (Leadperson)
  Douglas Machala (Leadperson, Los Angeles unit)
  Eric J. Luling (On-set dresser)
  Bradley Blei (Set dresser)
  Jack Colmenero (Set dresser)
  Patricia Dillon (Set dresser)
  Mark Hanks (Set dresser)
  Michael P. Casey (Set dresser, Los Angeles unit)
  Keith Giller (Set dresser, Los Angeles unit)
  Peter Lakoff (Set dresser, Los Angeles unit)
  Michael C. Magno (Set dresser, Los Angeles unit)
  Matt Murphy (Set dresser, Los Angeles unit)
  Natalie Palasota (Set dresser, Los Angeles unit)
  Steve Pfauter (Set dresser, Los Angeles unit)
  Alex Walker (Set dresser, Los Angeles unit)
  Stuart Rankine (Prop master)
  Steven C. Husch (Asst prop master)
  Bobby Thomas (Addl asst prop master)
  Craig Baron (Prop asst)
  Bill Holmquist (Const coord)
  Walter Mikowlski (Const foreperson)
  Steve Allen (Propmaker foreperson)
  Jerry Kilber (Propmaker foreperson)
  Stephen Roll (Propmaker foreperson)
  Robert Weinberger (Propmaker foreperson)
  David Bringas (Propmaker supv)
  Marco Campos (Propmaker supv)
  Ronald Cox (Propmaker supv)
  Neil Gahm (Propmaker supv)
  Patrick J. Martin (Propmaker supv)
  Keith Alexander (Propmaker)
  Richard "Frog" Bain (Propmaker)
  Robert Brown (Propmaker)
  Dirk Clark (Propmaker)
  Laurence B. Davis (Propmaker)
  Derek Drews (Propmaker)
  Jerry Farrell (Propmaker)
  Tony Farrell (Propmaker)
  Christopher Flournoy (Propmaker)
  Franco Georgianna (Propmaker)
  Kenneth Heimer (Propmaker)
  Clint Higginbotham (Propmaker)
  Allen Holder (Propmaker)
  Garry Kirks (Propmaker)
  Jim Krase (Propmaker)
  Chandra Malone (Propmaker)
  Mickey Riviere (Propmaker)
  Kyle Safarick (Propmaker)
  Charles Seale (Propmaker)
  Vaughn Rick Smith (Propmaker)
  Jason W. Spradling (Propmaker)
  William Sterling (Propmaker)
  Don Williams (Propmaker)
  Mark "Finn" Borg (Welder)
  Glen Bohls (Laborer)
  Tyler Noel (Laborer)
  David Rodriguez (Laborer)
  Jeffrey A. Rice (Laborer)
  Michael Smothers (Laborer)
  Kevin Tomasiello (Laborer)
  Bradly V. Williams (Laborer)
  Steven Kerlagon (Paint supv)
  Chad "Chadwick" Simpson (Gen paint foreperson)
  Lewis Bowen (Paint foreperson)
  Dean F. Janik (Paint foreperson)
  Robin Spoon (Paint coord)
  Claire Hassig (Scenic artist)
  Andree Lago (Scenic artist)
  Pavel Pesta (Scenic artist)
  Billy Guerro (Painter)
  Leon Wallace (Painter)
  David Lawrence (Paint laborer)
  John E. Townes (Paint laborer)
  Jack Reeves (Standby painter)
  Bridget Cardenas (Standby painter, Los Angeles unit)
  Jeff DeBell (Greens foreperson)
  Eric Henshaw (1st greens)
  Raul Carrera (Greens)
  Ryan Bust (Standby greens)
  Ruth De Jong ([Set dec] prod asst)
  Sara Guistini ([Set dec] prod asst)
  Amy Lamendola ([Set dec] prod asst, Los Angeles unit)
Costumes: Mark Bridges (Cost des)
  Kimberly Adams (Asst cost des)
  Maria K. Tortu (Asst cost des, Los Angeles unit)
  Eden Coblenz (Cost supv)
  Kathleen Kiatta (Key cost)
  Brad Holtzman (On-set cost)
  Stephanie A. Steel (On-set cost)
  Andrew Slyder (On-set cost, Los Angeles unit)
  Michelle Teague (Cost)
  Yvonne Wilburn (Cost)
  Catherine Wall (Cutter/Fitter)
  Elspeth Lauder (Seamstress)
  Sally M. Martin ([Cost] prod asst)
  Taylor Rierden ([Cost] prod asst)
  Joshua Krilov ([Cost] prod asst)
  Elizabeth Galindo ([Cost] intern)
Music: Jonny Greenwood (Orig mus by)
  Linda Cohen (Mus supv)
  Paul Rabjohns (Mus ed)
  Abbey Road (Mus scored at)
  Simon Rhodes (Rec by)
  Graeme Stewart (Mixed by)
  Lewis Jones (Asst eng)
  BBC Concert Orchestra (Performed by)
  Robert Ziegler (Cond)
  Hook End Manor (Addl score rec and mixed at)
  Graeme Stewart (Rec, mixed and eng by)
  The Emperor Quartet ([Mus] performed by)
  Martin Burgess (Violin)
  Clare Hayes (Violin)
  Fiona Bonds (Viola)
  [And] William Schofield (Cello)
  Martin Burgess (Piano trios performed by [Violin])
  Caroline Dale (Piano trios performed by [Cello])
  Michael Dussek (Piano trios performed by [Piano])
Sound: John Pritchett (Sd mixer)
  David M. Roberts (Boom op)
  Kelly Doran (Utility sd tech)
  Eric Pickett (Video assist)
  David Presley (Video assist)
  Christopher Scarabosio (Sd des)
  Michael Semanick (Re-rec mixer)
  Tom Johnson (Re-rec mixer)
  Skywalker Sound, A LucasFilm Ltd. Company, Marin County, CA (Post prod sd services by)
  Matthew Wood (Supv sd ed)
  Michael Babcock (Addl sd supv)
  Richard King (Sd consultant)
  Juan Peralta (Asst re-rec mixer)
  Coya Elliott (1st asst sd ed)
  Timothy Nielsen (Sd eff ed)
  Jeff Sawyer (Sd eff ed)
  J. R. Grubbs (Sd eff ed)
  Vanessa Lapato (Dial ed)
  Hugo Weng (Dial ed)
  David Horton, Jr. (Foley ed)
  Bruce Tanis (Foley ed)
  Randy K. Singer (Foley mixer)
  Sarah Monat (Foley artist)
  Robin Harlan (Foley artist)
  Thomas J. O'Connell (ADR mixer)
  Rick Canelli (ADR rec)
  Andrew Beck (Sd asst)
  Jonathan Greber (Digital transfer)
  Christopher Barron (Digital transfer)
  John Countryman (Digital transfer)
  Ron Roumas (Recordist)
  Ed Dunkley (Video services)
  John "J. T." Torrijos (Video services)
  Alan Mays (Engineering services)
  Steve Morris (Engineering services)
  James Austin (Engineering services)
  David Hunter (Digital editorial services)
  Leffert Lefferts (Digital editorial services)
  Mike Lane (Client services)
  Eva Porter (Client services)
  Gordon Ng (Client services)
  Bryan Pennington (Dolby sd consultant)
Special Effects: Steve Cremin (Spec eff coord)
  William Lee (Spec eff foreperson)
  David Blitstein (Spec eff set foreperson)
  Lee Alan McConnell (Spec eff rigging foreperson)
  Christian F. Eubank (Spec eff tech)
  Jay B. King (Spec eff tech)
  Brandon McLaughlin (Spec eff tech)
  Glenn Thomas (Spec eff tech)
  Douglas Ziegler (Spec eff tech)
  Renata Eubank ([Spec eff] prod asst)
  Digital Backlot (Visual eff)
  Industrial Light & Magic, A Lucasfilm Ltd. Co, S.F., CA (Visual eff & anim)
  Robert Stromberg (Visual eff des, Digital Backlot)
  Paul Graff (Visual eff supv, Digital Backlot)
  Grady Cofer (Visual eff supv, ILM)
  Adam Watkins (CG supv, Digital Backlot)
  Christina Graff (Visual eff prod, Digital Backlot)
  Joy Carmeci (Visual eff prod, ILM)
  Susan Greenhow (Visual eff prod, ILM)
  Elizabeth Hirsch (Visual eff prod mgr, Digital Backlot)
  Erin O'Connor (Visual eff coord, ILM)
  Gregory S. Scribner (Compositor, Digital Backlot)
  Sarah Grossman (Compositor, Digital Backlot)
  Samir Khorshid (Lead 3D artist, Digital Backlot)
  Ari Sachter-Zeltzer (3D artist, Digital Backlot)
  Amit Dhawal (Digital artist, Digital Backlot)
  Mark Casey (Digital artist, ILM)
  Michael Hondrada (Digital artist, ILM)
  Chad Taylor (Digital artist, ILM)
  David Washburn (Digital artist, ILM)
  John G. Chalfant (CG support, Digital Backlot)
  Kurt Johann Graff (Support, Digital Backlot)
  M & H Type (Title des)
  Kenny Howard (Typographer, M & H Type)
  Pacific Title and Art Studio (Titles and opticals by)
  Ladd Lanford (Prod, Pacific Title and Art Studio)
  Emily Fenster (Assoc prod, Pacific Title and Art Studio)
  Brent Parris (Title coord)
  John Campuzano (Digital optical coord)
Make Up: John Blake (Makeup dept head)
  Catherine Conrad (Makeup artist)
  Kimberly Ayers (Makeup artist, Los Angeles unit)
  Linda Flowers (Hair dept head)
  Lupe Devine (Hairstylist)
  Sharon Ely (Hairstylist)
  Yesim "Shimmy" Osman (Key hairstylist, Los Angeles unit)
Production Misc: Cassandra Kulukundis (Casting)
  Barbara Harris (Voice casting)
  Sande Alessi Casting (Background casting)
  Kristan Berona (Background casting)
  Katherine Pickering (Background casting)
  Sally Allen (Addl background casting)
  Toni Cobb Brock (Addl Texas casting)
  Daniel Lupi (Unit prod mgr)
  Will Weiske (Prod supv)
  Michael Scheer (Prod assoc)
  Corey Sklov (Prod assoc)
  Aaron Tichenor (Prod assoc)
  Karen Wacker (Prod coord)
  John B. West (Prod coord, Los Angeles unit)
  Demelza Cronin (Asst prod coord)
  Kate Poss (Prod secy)
  Lauren Suarez (Prod secy, Los Angeles unit)
  Karen Ramirez (Travel coord)
  Erica Frauman (Post-prod supv)
  Jamey Pryde (Post-prod supv)
  Jared Shapiro (Post prod asst)
  Albert Chi (As himself)
  Conner McKinley (Asst to Ms. Sellar)
  Ginger Griffice (Asst to Mr. Day-Lewis)
  Nathan Kelly (Asst to Mr. Rudin, Los Angeles unit)
  James Queen (Asst to Mr. Rudin, Los Angeles unit)
  Tara Reimers (Office prod asst)
  Jon Applebaum (Office prod asst)
  R. Andre Miller (Office prod asst, Los Angeles unit)
  Eli Fowler (Office/post-prod asst)
  Brett Robinson (Key set prod asst)
  Topaz Adizes (Set prod asst)
  Christian LaBarta (Set prod asst)
  Rachel McIntyre (Set prod asst)
  Justin Ritson (Set prod asst)
  Ryan B. Young (Set prod asst)
  Kevin Collins (Set prod asst, Los Angeles unit)
  Laurel Lary (Set prod asst, Los Angeles unit)
  Anna Rane (Scr supv)
  Mary Sunshine (Prod accountant)
  E. Gloria Alvarado (1st asst accountant)
  Michael Miller (2d asst accountant)
  David Goodin (2d asst accountant)
  Jennifer Hunt (Payroll accountant)
  Megan Tompkins (Post prod sd accountant)
  Sean Kaczmarek (Accounting clerk)
  Ryan Hintz (Const accountant)
  Emily Takehara (Post prod accountant)
  S. Todd Christensen (Loc mgr)
  Larry Ring (Loc mgr, Los Angeles unit)
  Dorion Thomas (Asst loc mgr)
  Jacob M. Torres (Asst loc mgr, Los Angeles unit)
  Lori A. Balton (Loc scout, Los Angeles unit)
  David Williams (MacGuire Ranch liaison)
  Kerr Mitchell (Mitchell Ranch liaison)
  Mary Belle Mitchell (Mitchell Ranch liaison)
  Marc Arevalo ([Loc dept] prod asst)
  Austin Christensen ([Loc dept] prod asst)
  Mimi Zora ([Loc dept] prod asst, Los Angeles unit)
  Joel Corry ([Loc dept] intern)
  Tom Ajar (Projectionist)
  Matthew Maine (Projectionist asst)
  Tino Martinez (Security guard)
  Raigen Thornton (Medic)
  Shawn Zimmerman (Medic)
  Dominique Jaramillo (Medic, Los Angeles unit)
  Robert Caballero (Medic, Los Angeles unit)
  Keith Gallina (Medic, Los Angeles unit)
  Mario's Catering (Catering by)
  Oscar Gonzalez (Chef)
  Christian A. Gonzalez (Asst chef)
  Benito Romo (Chef's asst)
  Jose Cruz (Chef's asst)
  Pablo Herrera (Chef's asst)
  Joe Fiske (Craft service)
  Charlie E. Scott Jr. (Craft service, Los Angeles unit)
  Mike Gillespie (Craft service asst)
  Joey Garibay (Craft service asst)
  Charlie E. Scott III (Craft service asst, Los Angeles unit)
  Gregory Faucett (Transportation coord)
  Bill Puluti (Transportation coord, Los Angeles unit)
  Wayne French (Transportation capt)
  Curtis E. Clark (Transportation capt)
  Mark Anderson (Transportation co-capt)
  Kenneth F. Catando (Transportation capt, Los Angeles unit)
  Stan Garner (Train coord)
  Chuck Shubb (Picture vehicle coord, Los Angeles unit)
  Dave Wood (Picture vehicle mechanic)
  Megan Bertrang ([Transportation] prod asst)
  Oscar Acosta (Driver)
  Skip Barbay (Driver)
  Jimmie Bradford (Driver)
  Mack Chapman (Driver)
  Galo Diaz de Tuesta (Driver)
  Gustavo Garcia (Driver)
  David Holt (Driver)
  Ronnie Jordan (Driver)
  Donna Kelley (Driver)
  Xavier Maldonaldo (Driver)
  Carlos Monje (Driver)
  Joel Morton (Driver)
  Randal S. Pritchett (Driver)
  Frank Serna (Driver)
  Robert "Smitty" Smith (Driver)
  James Spriggs (Driver)
  Robin Stillwell (Driver)
  Nicholas Turpin (Driver)
  Louie Villalobos (Driver)
  Jimmy Walker (Driver)
  Rick Hicks (Marine coord, Los Angeles unit)
  David Little (Livestock coord)
  Darwin Mitchell (Livestock coord, Los Angeles unit)
  Ronnie Reeves (Animal wrangler foreperson)
  Tom Mitchell (Wrangler foreperson, Los Angeles unit)
  Roy Burger (Animal wrangler)
  Gil Dean (Animal wrangler)
  Cody Haynes (Animal wrangler)
  Jeff "Buzz" Ross (Snake wrangler)
  Clearance Domain (Rights and clearances)
Stand In: Jeff Habberstad (Stunt coord)
  Myke Schwartz (Stunt coord)
  Brian Avery (Stunt performer)
  Ryan Happy (Stunt performer)
  Keii Johnston (Stunt performer)
  Mike Justus (Stunt performer)
  Jay B. King (Stunt performer)
  Shawn Lane (Stunt performer)
  Frank Lloyd (Stunt performer)
  Jake Lombard (Stunt performer)
  Mark Munoz (Stunt performer)
  Denney Pierce (Stunt performer)
  Larry Shorts (Stunt performer)
  Paul Sklar (Stunt performer)
  Scott Sproule (Stunt performer)
Color Personnel: Kenny Becker (Col timer)
MPAA Rating: R
Country: United States
Language: English

Music: “Popcorn Superhet Receiver” composed by Jonny Greenwood, performed by the BBC Concert Orchestra, conducted by Robert Ziegler; “Violin Concerto in D Major, Op. 77:3. Vivace non troppo” composed by Johannes Brahms, performed by Berliner Philharmoniker, conducted by Herbert Von Karajan, solos by Anne-Sophie Mutter & António Meneses, courtesy of Deutsche Grammophon GmbH, Hamburg, under license from Universal Music Enterprises; “Smear” composed by Jonny Greenwood, performed by the London Sinfonietta, conducted by Martyn Brabbins, Ondes Martenot, solos by Valérie Hartmann-Claverie & Bruno Perrault, recorded for broadcast on BBC Radio 3 on 25th June 2005, licensed courtesy of BBC Worldwide; “Pärt: Fratres for Cello and Piano” composed by Arvo Pärt, performed by I Fiamminghi, The Orchestra of Flanders, conducted by Rudolf Werthen, courtesy of Telarc International Corporation.
Songs: “What a Friend We Have in Jesus,” written by Joseph Scriven & Charles Converse, performed by Church of the Third Revelation; “There Is Power in the Blood,” written by Lewis E. Jones, performed by Church of the Third Revelation.
Composer: Johannes Brahms
  Charles Converse
  Jonny Greenwood
  Lewis E. Jones
  Arvo Pärt
  Joseph Scriven
Source Text: Based on the novel Oil! by Upton Sinclair (Long Beach, CA and New York, 1927).
Authors: Upton Sinclair

Copyright Claimant Copyright Date Copyright Number
Paramount Vantage 28/12/2007 dd/mm/yyyy PA1590610
Miramax Film Corp. 28/12/2007 dd/mm/yyyy PA1590610

Physical Properties: Sd: Dolby Digital; SDDS Sony Dynamic Digital Sound; dts Digital Sound in selected theatres
  col: DeLuxe
  Widescreen/ratio: Filmed in Panavision
  Lenses/Prints: Kodak motion picture film

 
Genre: Drama
Sub-Genre: Historical
 
Subjects (Major): California
  Deception
  Fathers and sons
  Greed
  Oilmen
  Preachers
  Religiosity
 
Subjects (Minor): Baptism
  Battered children
  Bowling and bowling alleys
  Brothels
  Cabins
  Churches
  Deafness
  Drunkenness
  Dynamite
  Firearms
  Fires
  Foster children
  Goats
  Half brothers
  Hate
  Healers
  Hunting
  Money
  Murder
  Oil companies
  Oil fields
  Poverty
  Ranchers
  Restaurants
  Servants
  Sign language
  Signal Hill (CA)
  Silver mines
  Standard Oil Corporation
  Trains
  Union Oil Corporation

Note: The action begins directly after the company logos and the main title card, with all cast and crew credits appearing at the end of the film. Major credits appear first in the end credits, followed by a repetition of the film's title and the remaining credits. Paul Thomas Anderson's credit reads: "Written for the screen and directed by." The five principal actors were first listed in order of importance, with their names and character names. In that list, Paul Dano's credit reads: "Paul Dano as Eli and Paul Sunday." The complete cast, which is presented further on, is listed in order of appearance, with Dano included first as Paul Sunday, then later as Eli Sunday. While in the first cast list the character played by Dillon Freasier is called "H.W." the cast in order of appearance lists him as "HW."
       There is a written statement in the end credits that reads: "Dedicated to Robert Altman (1925--2006).” Anderson has been quoted in interviews as saying that director Altman had been an inspiration and mentor to him. Another onscreen statement reads "With love to Maya, Pearl, Roman and Francesca." The end credits also acknowledge a number of persons, museums, companies and towns that were helpful during the film's productions, among them, Marfa, Alpine and Fort Davis, TX, the Petroleum Museum of Midland, TX and the Kern County Museum of Bakersfield, CA.
       The film's title was taken from a quotation from the Bible , Exodus 7:19, which some versions of the Bible translate as "there may be blood." Although the onscreen literary source credit reads "Based on Oil! by Upton Sinclair," the film bears only a passing resemblance to the first sections of Sinclair's 1927 novel, in which the central characters are J. Arnold "Joe" Ross and his son, J. Arnold Ross, Jr., respectively called "Dad" and "Bunny," and "Paul Watkins” and his brother "Eli." The novel presents Dad as a greedy, ruthless California oilman who deceives, bribes and bends the law to become an extremely powerful and wealthy man but is also loving to his son and frequently sentimental. In the novel, the son is illegitimate rather than adopted, and does not go deaf.
       Although close to his father, Bunny embraces the tenants of socialism and bolshevism. Bunny becomes a friend of Paul, a political and labor activist, who is a minor character in the film. Eli, like the character in the film, is a charismatic preacher in the fictitious Church of the Third Revelation, but also a greedy womanizer. In both the novel and the film, Eli is presented as an amalgam of popular 1920s evangelists such as Aimee Semple McPherson (1890--1944) and Billy Sunday (1862--1935). Near the end of the novel, Dad dies of natural causes while living in Europe with his new wife, a prominent spiritualist, and Bunny continues in the oil business.
       According to many literary sources, Sinclair's novel was inspired by the actual events of the Teapot Dome and Elk Hills oil lease scandals during the administration of Warren G. Harding, who died in office in 1923. Some sources have speculated that the characters of Dad and Bunny, respectively "Daniel Plainview" and HW Plainview in the film, were inspired by noted Southern California oil millionaire Edward L. Doheny and his son, Edward L. Doheny, Jr., whose Greystone Mansion in Beverly Hills, CA was used as the location for Daniel's mansion at the end of the film. According to a LAT article on the location, the bowling alley, which was featured in the film's climactic final scenes, was restored by the production company in exchange for permission to film there and in the den and hallway of the mansion.
       According to an article in HR on 5 Dec 2007, Anderson wrote There Will Be Blood with actor Daniel Day-Lewis in mind, and sent the script to the actor before it was completed. A 4 Jan 2008 LAT article reported that production had been delayed almost two years because of the difficulties of obtaining financing. The HR article related that Anderson initially tried to work out a joint deal with Universal Pictures and Focus Features for a $50,000,000 production budget but the project ultimately went to Paramount Vantage after Anderson's agent, John Lesher, became president of that company and brought in Miramax as a partner on the production, which would be shot on a budget in excess of $25,000,000. Some other contemporary sources have estimated the budget at $35,000,000.
       The character of “Paul Sunday” appears only in one scene, early in the film, when he visits Daniel to tell him about the oil on his family's goat ranch. According to a 2 Jan 2008 article in "The Envelope" supplement to LAT , Dano, the twenty-two-year-old actor who appeared in the dual roles of Paul and Eli, initially had tested for the role of Eli but instead was cast as Paul. The LAT article stated that another, unnamed actor had been cast as Eli, but when the filming of Eli’s scenes was about to begin, Anderson decided to cast Dano, who already had completed his scene as Paul. Some audience members and critics reportedly found the dual casting confusing, and although it is never explicitly stated within the story, in the bowling alley sequence, when Daniel disdainfully compares Eli to Paul, he calls Eli an "afterbirth," implying that the brothers were twins. The LAT article also noted that Dano and Day-Lewis never spoke to each other on the set unless they were actually acting in a scene together.
       After the character of HW becomes deaf, there are two short sequences in which there is no dialogue or ambient sound, emulating the child's deafness. The picture's score, which was unusual for a period piece, featured modernistic music by Jonny Greenwood, lead guitarist with the rock group Radiohead, with some classical strains within various sections of the soundtrack. As noted in press materials and news articles, many of the “Little Boston” scenes were shot on location in and around Marfa, TX, which also served as the location site for George Stevens’ 1955 film Giant , as well the 2007 Joel and Ethan Coen picture No Country for Old Men (see entries above). In addition to Greystone, southern California locations included the Santa Clarita area and a closed oil refinery in Long Beach . Other contemporary sources have added Albuquerque, NM as another location.
       Anderson was quoted in an Entertainment Weekly article as saying that the substance used to simulate oil in the film included "the stuff they put in chocolate milkshakes at McDonald's." According to a LAT article in Jan 2008, the gusher that resulted in HW’s hearing loss and the subsequent oil fire that had to be capped were accomplished through environmentally safe materials. The production’s ecological impact was noted in the film’s end credits, which included a sentence stating that it was "a carbon neutral production: 100% of carbon emissions offset with Native Energy.”
       The film has a number of characters and subplots that were not completely developed. For example, there are several mentions of beatings administered by the pious “Abel Sunday” to his youngest daughter, "Mary,” for whom Daniel expresses paternal affection. A LAT item on 12 Dec 2007 and a DV item on 17 Dec quoted Anderson as saying that the scene in which Daniel asks Mary if her father had stopped hitting her and assures her that there would be "no more hitting" was the first he wrote that was not based on the Sinclair novel. Another subplot of the film concerns Daniel's chronic drinking and his addition of alcohol to HW's baby bottle and later nightly glass of milk.
       Only alluded to in the film is the rivalry between the powerful oil companies Standard Oil and Union Oil (called by fictitious names in Sinclair’s novel), and the control that Standard had over the oil industry. The year in which most of the film's action takes place, 1911, was pivotal in Standard’s history. In May of that year, the Supreme Court confirmed that the company was a monopoly and in violation of the Sherman Anti-Trust Act, thereby forcing it to be divested of many its subsidiaries.
       There Will Be Blood was Anderson's first film since Punch-Drunk Love (2002) and Day-Lewis' first since The Ballad of Jack and Rose (2005), which also featured Dano. According to Paramount Vantage credit information as of Apr 2007, among the actors whose roles were eliminated from There Will Be Blood were Steve Sawhill, Mary Elizabeth Barrett, David Little, April Corrao, Gregory Schwab, Robert Wooster, Chris Childers, Pat Abbott, Lucas Bevan, Bill Waggoner, J. R. Robertson, Leslea Charlesworth, Michael Purcell, John Kerry, Jane Walker and Melissa Hurt.
       The picture was first publicly screened at the Austin, TX Fantastic Fest 3 as a “secret” closing night feature on 27 Sep 2007. Although many reviews highly praised the film, with several calling it a "masterpiece" and comparing it, as the Var review did, to Orson Welles's Citizen Kane (1941, see above), some felt the film was not a completely realized success. Timothy Noah of the online magazine Slate.com coined the word "halfterpiece” to describe it, and critic David Ansen of Newsweek wrote that the picture was “ferocious, and it will be championed and attacked with equal ferocity. When the dust settles, we may look back on it as some kind of obsessed classic.”
       The acting of Day-Lewis as Daniel was heralded by almost all reviews. As noted in several reviews and feature articles, his voice assumed a cadence and tone that is very similar to that of director-actor John Huston. Some critics also speculated that Plainview was similar to the character "Noah Cross," whom Huston portrayed in the 1974 film Chinatown . Other sources compared his characterization to that of Humphrey Bogart’s “Fred C. Dobbs” in Huston’s The Treasure of the Sierra Madre (1948, see below). In the wake of the film's release, the line bombastically uttered by Day-Lewis to Dano in the bowling alley sequence: "I drink your milkshake!," became a popular, often parodied quotation. Anderson stated in interviews that the words, which refer to the siphoning of oil deposits by drilling adjacent wells, were taken directly from 1924 congressional hearings on the Teapot Dome scandal during the Warren G. Harding administration. Some sources have traced the origin of the line to similar wording used by Harding's Secretary of the Interior, Albert B. Fall, during his testimony.
       In addition to being named one of AFI’s Movies of the Year for 2007, There Will Be Blood was named Best Picture of the year by the Los Angeles and New York Film Critics Associations, Day-Lewis was selected as the Best Actor of the year and Anderson was named Best Director by those associations as well as many other local and national film critics’ organizations. The picture received a Golden Globe nomination for Best Motion Picture—Drama, and Day-Lewis received the award for Best Performance by an Actor in a Motion Picture—Drama. He also received a Screen Actors Guild Award for Male Actor in a leading role. Anderson received a nomination from the Directors Guild of America for directorial achievement in a feature film, and was nominated by the Writers Guild of America for his adapted screenplay. The film also was nominated by the Producers Guild of America for its Darryl Zanuck Producer of the Year Award.
       Day-Lewis won the Academy Award for Best Actor for There Will Be Blood , and the picture received nominations in the following categories: Best Picture, Best Directing, Best Cinematography, Best Film Editing, Best Sound Editing and Best Adapted Screenplay, and . In addition, Day-Lewis won a BAFTA for Leading Actor, and the film was nominated in the categories of Best Film, Director, Adapted Screenplay, Supporting Actor (Dano), Music, Cinematography, Production Design and Sound. 

Bibliographic Sources:   Date   Page
Daily Variety   18 Jan 2006   p. 1, 21.
Daily Variety   2 Nov 2007   p. 6, 36.
Daily Variety   16 Nov 2007.   
Daily Variety   17 Dec 2007.   
Entertainment Weekly   24 Aug 2007   p. 101.
Entertainment Weekly   11 Jan 2008   pp. 56-57.
Entertainment Weekly   15 Feb 2008   pp. 22-23.
Hollywood Reporter   18 Jan 2008   p. 1, 64.
Hollywood Reporter   2 Aug 2006   p. 1, 20.
Hollywood Reporter   12-18 Sep 2006   p. 30.
Hollywood Reporter   1 Oct 2007   p. 7, 10.
Hollywood Reporter   5 Dec 2007.   
Long Beach Press-Telegram   10 Aug 2006.   
Los Angeles Times   12 Dec 2007.   
Los Angeles Times   26 Dec 2007   Calendar, p. 1, 8.
Los Angeles Times   27 Dec 2007   Home, p. 1, 4.
Los Angeles Times   2 Jan 2008   The Envelope, p. 10.
Los Angeles Times   4 Jan 2008   Calendar, p. 20.
New York Times   26 Dec 2007.   
Newsweek   17 Dec 2007   p. 74.
Time   3 Dec 2007.   
Variety   27 Sep 2007.   
Variety   5 Nov 2007   p. 32, 41.

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
 
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