Paul Thomas Anderson’s Dream Cast: Legends He’d Revive

Few directors can boast a roster of collaborators as impressive as Paul Thomas Anderson. Having directed the likes of Daniel Day-Lewis, Philip Seymour Hoffman, and Joaquin Phoenix, one might assume he’d be satisfied with his lot. Yet, Anderson’s ambitions stretch well beyond the living, and his taste for talent is as eclectic as his filmography. Whether it’s the tragicomic sweep of Boogie Nights or the brooding intensity of There Will Be Blood, he’s never been one to play it safe. Still, even with such a formidable list of credits, there are names he wishes he could add—if only time and mortality weren’t such stubborn obstacles.

During a Reddit Ask Me Anything session back in 2017, Anderson was prompted to name the actors he’d most like to resurrect for a collaboration. His response was immediate and enthusiastic, as if the question had been waiting for him all along.

“Oh! Oh! Humphrey [Bogart]. Cary Grant. Ida Lupino. Joan Fontaine. Charles Laughton. Myrna Loy. Carole Lombard. James Mason!!!!!!! We don’t have enough time to play this game. Jason Robards!”

The list reads like a roll call from Hollywood’s most glittering era, yet each name carries its own particular resonance for Anderson.

Icons and Eccentrics: Anderson’s Chosen Few

Humphrey Bogart and Cary Grant, both household names, represent two very different strains of old Hollywood charisma. Bogart, with his sardonic edge and world-weary gaze, stands in sharp contrast to Grant’s effortless sophistication and wit. Their inclusion is hardly surprising, but it’s the subtler choices that reveal more about Anderson’s sensibilities.

Joan Fontaine, often overlooked in discussions of the era’s leading ladies, makes the cut, as does Ida Lupino—a figure perhaps better remembered now for her directorial achievements than her acting. Lupino’s pioneering work behind the camera, especially as the first woman to direct a film noir, seems to have struck a chord with Anderson, who has always gravitated towards artists who defy easy categorisation.

Directors in Disguise and Comedic Royalty

Charles Laughton, another of Anderson’s picks, is a case in point. Though celebrated in his day for his performances, Laughton’s legacy has grown thanks to his singular directorial effort, The Night of the Hunter—a film that continues to cast a long shadow over the genre. Anderson’s appreciation for such figures suggests a fascination with those who straddle the line between performance and authorship.

On a lighter note, Myrna Loy and Carole Lombard, both titans of screwball comedy, are singled out. Their work in the 1930s helped define the genre, and Anderson’s decision to mention them—rather than the more frequently cited Katharine Hepburn—hints at a fondness for those whose contributions have been somewhat overshadowed by time. There’s a sense that he relishes the idea of giving these stars a fresh context, much as he did with Burt Reynolds in Boogie Nights.

British Gravitas and Familiar Faces

James Mason, with his unmistakable blend of charm and menace, rounds out the list. Known for roles in North by Northwest and Lolita, Mason’s presence would no doubt have offered Anderson a new canvas for reinvention. The director’s knack for drawing out unexpected facets in his actors makes one wonder what he might have achieved with Mason’s particular brand of British cool.

And then there’s Jason Robards. Unlike the others, Anderson actually had the chance to direct Robards in Magnolia, and the experience clearly left a mark. The director’s eagerness to work with him again, even posthumously, speaks volumes about the impression Robards made—proof, perhaps, that some collaborations are simply too good to happen only once.