Did you know that Paul Thomas Anderson, the director of One Battle After Another, secretly rewrote two blockbuster films? This revelation adds a fascinating layer to his already legendary career. With 28 Oscar nods and three wins to his name, Anderson is a filmmaker whose bold vision and passion for cinema have made him a standout in modern Hollywood. His work often blends poetic storytelling with intense character-driven narratives, earning him a place among the most influential directors of his generation.
Anderson is one of the rare filmmakers who only writes and directs his own scripts. He’s never taken on director-for-hire gigs and has only ever penned his own shorts and video projects. Even his appearance on Saturday Night Live—the only script he didn’t direct—adds to his unique résumé. But here’s where it gets controversial: despite his reputation for self-directed creativity, Anderson has occasionally contributed to major films as a ‘punch-up writer’ or script consultant. These freelancers, often uncredited due to industry rules, play a crucial role in shaping stories, even if their names don’t always appear on the credits.
In an interview with Dazed, Anderson revealed he worked on Ridley Scott’s biopic Napoleon and Martin Scorsese’s Killers of the Flower Moon, both released in 2023. While Napoleon is credited to David Scarpa, and Killers of the Flower Moon to Scorsese and Eric Roth, Anderson admitted he offered his thoughts on both scripts. The former case is especially intriguing: reports suggest Anderson was brought in specifically because Joaquin Phoenix hated the original script and would only stay on set if he was hired to ‘fix’ it. Anderson’s input apparently gave Scott and Phoenix a laugh, leading to a revised version that better suited Phoenix’s vision.
As for Killers of the Flower Moon, there’s no detailed breakdown of Anderson’s role, but he’s open about contributing in any way he can. Meanwhile, his latest film, One Battle After Another, is now playing in theaters. What does this mean for the future of Hollywood storytelling? And what other hidden contributions might Anderson have made behind the scenes? We’d love to hear your thoughts in the comments below.
