Facebook Twitter Instagram LinkedIn RSS
    Facebook Twitter Instagram LinkedIn RSS
    SHOOTonline SHOOTonline SHOOTonline
    Register
    • Home
    • News
      • MySHOOT
      • Articles | Series
        • Best work
        • Chat Room
        • Director Profiles
        • Features
        • News Briefs
        • “The Road To Emmy”
        • “The Road To Oscar”
        • Top Spot
        • Top Ten Music Charts
        • Top Ten VFX Charts
      • Columns | Departments
        • Earwitness
        • Hot Locations
        • Legalease
        • People on the Move
        • POV (Perspective)
        • Rep Reports
        • Short Takes
        • Spot.com.mentary
        • Street Talk
        • Tool Box
        • Flashback
      • Screenwork
        • MySHOOT
        • Most Recent
        • Featured
        • Top Spot of the Week
        • Best Work You May Never See
        • New Directors Showcase
      • SPW Publicity News
        • SPW Release
        • SPW Videos
        • SPW Categories
        • Event Calendar
        • About SPW
      • Subscribe
    • Screenwork
      • Attend NDS2024
      • MySHOOT
      • Most Recent
      • Most Viewed
      • New Directors Showcase
      • Best work
      • Top spots
    • Trending
    • NDS2024
      • NDS Web Reel & Honorees
      • Become NDS Sponsor
      • ENTER WORK
      • ATTEND
    • PROMOTE
      • ADVERTISE
        • ALL AD OPTIONS
        • SITE BANNERS
        • NEWSLETTERS
        • MAGAZINE
        • CUSTOM E-BLASTS
      • FYC
        • ACADEMY | GUILDS
        • EMMY SEASON
        • CUSTOM E-BLASTS
      • NDS SPONSORSHIP
    • Contact
    • Subscribe
      • Digital ePubs Only
      • PDF Back Issues
      • Log In
      • Register
    SHOOTonline SHOOTonline SHOOTonline
    Home » Alana Haim Reflects On Making Her Film Debut In Paul Thomas Anderson’s “Licorice Pizza”

    Alana Haim Reflects On Making Her Film Debut In Paul Thomas Anderson’s “Licorice Pizza”

    By SHOOTWednesday, November 24, 2021Updated:Tuesday, May 14, 2024No Comments6106 Views
    Facebook Twitter LinkedIn Telegram Pinterest Tumblr Reddit WhatsApp Email
    • Image
    This image released by MGM shows Alana Haim and Cooper Hoffman in a scene from "Licorice Pizza." (Paul Thomas Anderson/MGM via AP)

    By Lindsey Bahr, AP Film Writer

    --

    When Paul Thomas Anderson first mentioned to Alana Haim that he wanted to put her in a movie, she assumed it would be as an extra walking through the frame, or something. And she thought that would be pretty great. 

    They'd gotten to know one another's families over the years. Anderson directed a few music videos for her and her sisters' band HAIM, and their mother also happened to be Anderson's favorite art teacher when he was a young kid. But the ask meant even more than that. As a San Fernando Valley girl, there was no better chronicler of her home turf than PTA. "Boogie Nights" was the movie that made the Valley cool, she said. 

    Then one night, Haim got an email with no subject and a word document attached. It was an untitled Paul Thomas Anderson script and the main character's name was Alana, a 20-something woman living in the Valley in the 1970s. He'd written it for her and wanted her to star. Her family would also appear.

    "I obviously immediately said yes, and then I immediately went to sleep and thought to myself, 'What did I just get myself into?'" Haim laughed. 

    She had never even been in a film before. 

    But the 29-year-old needn't have worried: She is a natural movie star and has gotten near universal praise for her performance in "Licorice Pizza," opening in limited release Friday and in theaters everywhere on Christmas.

    Haim spoke about the film, her costume and family. Remarks have been edited for clarity and brevity. 

    Q: What was the first day on set like?

    HAIM: The first day on set I can explain as pure chaos. The closest I'd ever gotten to a movie set was doing the backlot tour at Universal Studios. It was exactly how I pictured it in my brain. I think the one thing that was missing was just like a camel being taken through like those old timey movie sets. It felt like there were a million people on set and honestly felt like the world was spinning at 100 miles per hour. And then all of a sudden in a snap, it was just still and everyone had just miraculously disappeared. And then we heard "Action!" and Bradley Cooper walked out. That was the first time anyone had seen him as Jon Peters, including me and Cooper (Hoffman, her co-star). We had not had any contact with him before we started shooting. And that was day one. The first second of shooting was Bradley Cooper coming down the hallway and intimidating Cooper. It was insane. We were fully diving into the deep end for that. 

    Q: It's like a "Shallow" reference!

    HAIM: Yeah, exactly, (singing) Sha-la-la-la.

    Q: The '70s seem to loom large for a lot of L.A. kids. How did you get yourself in the mindset of the time?

    HAIM: I've always been in awe of the '70s. That's when my mom was in her early 20s and I think if I could hold up a magic mirror and ask it for anything it would be "Can you show me my mom dancing in the 70s?" And it's no secret that me and my siblings in our band were heavily influenced by '70s music, so it felt like second nature to me. When you're on set and everything around you is period, it felt it just felt right and I felt like this was my era.

    Q: Did you have any input on your costumes? Did you get to keep anything?

    HAIM: I wish I kept my whole wardrobe. That's like my dream wardrobe. Alana Kane's wardrobe is just impeccable. I had a lot of say. I did my own hair and makeup for the whole movie, which is why there's a lot of acne everywhere because I don't know how to do my hair and makeup, but that's what it would be if I was a young woman in the early '70s and we wanted it to be very realistic. We wanted to show what real people look like. Even when I was growing up in the Valley, you couldn't wear makeup because you would sweat it off. 

    Q: What was it like acting with your family? Was your mom thrilled?

    HAIM: She was so happy. I mean, what a full circle to teach Paul when he was 7 or 8 years old and then now be in one of his movies. I think she cried the whole day. And also my dad's hilarious. My dad's the funniest person I know and I'm my dad's biggest fan and the fact that now there is a camera to capture how funny he is is the best scenario for me. And all that was improv.

    Q: Do you want to keep being in movies now, or, like just Paul's movies?

    HAIM: Can you ask Paul this question? That's like my dream. And Paul is the dream and he feels like family. And he made me fall in love with this chapter of my life. It could have gone a completely different way. I was so nervous to do this movie, and he made me feel like I could accomplish anything. And that's how he's made me feel since the day that I met him, even doing music videos with him. I'm incredibly lucky that I have him on my team cheering me on and I'm very lucky to be on his team.

    REGISTRATION REQUIRED to access this page.

    Already registered? LOGIN
    Don't have an account? REGISTER

    Registration is FREE and FAST.

    The limited access duration has come to an end. (Access was allowed until: 2021-11-26)
    Category:Chat Room Interviews
    Tags:Alana HaimChat RoomLicorice PizzaPaul Thomas Anderson



    Insights Into Editing “F1” and “Sentimental Value”

    Friday, February 27, 2026

    For his work on director Joseph Kosinski’s F1 (Apple Original Films), Stephen Mirrione, ACE earned his fourth career Oscar nomination for Best Achievement in Film Editing. He won in 2001 for Traffic, and was nominated for Babel (shared with Douglas Crise) and The Revenant in 2007 and 2016, respectively. All his Oscar-recognized work is from directors with whom Mirrione has enjoyed a collaborative relationship spanning multiple films. While Traffic was his first feature for Stephen Soderbergh, the two went on to team on such movies as Ocean’s Eleven, The Informant! and Contagion. Babel and The Revenant are part of Mirrione’s shared filmography with director Alejandro González Iñárritu, which also includes 21 Grams and Birdman or (The Unexpected Virtue of Ignorance). The latter was editing by Mirrione and Crise. And F1 marks Mirrione’s third film with Kosinski. Mirrione earlier edited Spiderhead and prior to that contributed to the editing of Top Gun: Maverick (for which Eddie Hamilton garnered a Best Editing Oscar nomination). While it’s difficult to encapsulate the nature of a working relationship, Mirrione--when asked to do so--gave a description based on observations from his and Kosinski's spouses. Early on for F1, Kosinski and Mirrione found themselves working from their homes during the pandemic, deploying different conferencing apps including Evercast. “Joe told me one day that he was in his home office while his wife was working in another room. At some point she told Joe, ‘I hear you arguing all day long.’” The night before, Mirrione recalled that his wife told him that all she heard was... Read More

    No More Posts Found

    MySHOOT Profiles

    Facebook Twitter LinkedIn Telegram Pinterest Tumblr Reddit WhatsApp Email

    Previous ArticleReview: Paul Thomas Anderson’s “Licorice Pizza”
    Next Article Peter Jackson’s “Get Back” Sheds Light On Beatle Myths
    SHOOT

    Add A Comment
    What's Hot

    The End Of Hollywood Or A Brighter Future? What a Paramount-Owned Warner Bros. Might Mean For The Movies

    Friday, February 27, 2026

    Insights Into Editing “F1” and “Sentimental Value”

    Friday, February 27, 2026

    “Jay Kelly,” “Sentimental Value,” “Sinners” and “Zootopia 2” Among Winners of Casting Society’s Artios Awards

    Friday, February 27, 2026
    Shoot Screenwork

    Director Gary Freedman, adam&eve\TBWA Team On Hero Spot To Stop An Asteroid, Launch LEGOLAND Galacticoaster

    Friday, February 27, 2026

    Agency adam&eve\TBWA has unveiled “Calling All Heroes,” a campaign created for and in partnership with…

    Cat Goes Heel Over Head For TK Maxx In Andreas Nilsson-Directed Spot From W+K London

    Thursday, February 26, 2026

    The Best Work You May Never See: U.K. Gov’t., TMW, Director Zak Razvi Look To Open Dialogue Between Parents and Kids Over Online Content

    Thursday, February 26, 2026

    Top Spot of the Week: Vampires Feast On Viennese Cuisine In Bianca Poletti-Directed Short For The Vienna Tourist Board

    Wednesday, February 25, 2026

    The Trusted Source For News, Information, Industry Trends, New ScreenWork, and The People Behind the Work in Film, TV, Commercial, Entertainment Production & Post Since 1960.

    Today's Date: Fri May 26 2023
    Facebook Twitter Instagram LinkedIn RSS
    More Info
    • Overview
    • Upcoming in SHOOT Magazine
    • Advertise
    • Privacy Policy
    • SHOOT Copyright Notice
    • SPW Copyright Notice
    • Spam Policy
    • Terms of Service (TOS)
    • FAQ
    STAY CURRENT

    SUBSCRIBE TO SHOOT EPUBS

    © 1990-2021 DCA Business Media LLC. All rights reserved. SHOOT and SHOOTonline are registered trademarks of DCA Business Media LLC.
    • Home
    • Trending Now

    Type above and press Enter to search. Press Esc to cancel.

    Type above and press Enter to search. Press Esc to cancel.