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.
I left the meeting and on the way home I was thinking, Sheryl Lynn was the girl next door. Paul wanted that sex to be very different from porn sex. And then we took a three-piece plaster mold and split it right down the center so it was one side, one side, and then there was a back plug that had the core that created the receptacle in the testicles.
The script originally said something like, “Do you know who John Holmes is? The guys from KNB [EFX Group] came out to the set one day when we were shooting at the West Covina house and they did a fitting on Mark to see if the size and everything was what Paul wanted.
He’s cutting.” So I ran over and that’s how I met Dylan.
He was the post supervisor on Our main battles about violence were with the MPAA.
Postproduction is a very specialized job, and a wide scope of things go on.
But the daunting thing for me was that this was my first time doing it.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.And so we’d give that to Mark and he would go in the bathroom and he’d do that and he’d come out and Garrett would glue it all down.We had a little merkin, a very finely made wig that somebody actually ties one hair at a time into this very fine lace. Mark wore the prosthetic during the first sex scene that he does with Amber, where he comes into the little office set and all the people were reacting.Paul basically told him just to keep lighting [firecrackers] willy-nilly. Paul gave me an earwig so I could hear the dialogue and the music but it dampened the sound of the firecrackers. It was also Paul off-camera with two two-by-fours, slapping them together to simulate the firecrackers. And it was smoky and it was hot and they were just on set like that for days. We sat and watched a couple John Holmes compilations.