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difficult it actually was to dig for oil during that time.

“You know, before even cable-driven motoring became common use, they began by scooping this muck as it erupted, literally out of the Earth, scooping sort of these plants in buckets and stuff,” he explains, “That was the first way of gathering and then someone had to go back there and set up the a-frame and they had to plunge the equipment with a telegraph pole down into the ground, to see if that would help it along.”

“It was incredibly primitive,” Daniel adds, “You know, as the story progresses, then there’s something to learn about because the drilling procedure is a fairly complicated thing. It’s sheer blood and sweat really just to scoop the stuff up.”

The core of There Will Be Blood comes from the relationship between Daniel and his son H.W., played by young actor Dillon Freasier, who makes his screen debut. When asked about how he got along with him, Daniel had nothing but enthusiasm in talking about his young co-star.

“I felt very close to Dillon and very fond of him,” Day-Lewis says, “He’s a cowboy. His father owns a ranch and in a bit of digging, he’s got this rodeo backhorse, it’s a lancer, and he does the round-ups and is world famous. But he has this strange maturity that he’s very young for, something most kids of his age might have become numb to the world.”

“He’s really used to hard work,” he continues, “He’s got hands like you could knock out a horse with them. They’re big, you know, and he was just the most delightful person. He had that curiosity for everything that was going on, both with the camera and the shots and every department. He was constantly drinking in all this information in such excitement. He was just one step ahead of us most of the time, absolutely. His mother just raised him so beautifully and very respectful.”

Day-Lewis also shared his take on the rather complex and unorthodox nature of the father-son relationship between Daniel and H.W. in the film.

“There’s a real connection between those two,” he says, “It’s not pure exploitation. It goes deeper than that, but Plainview has no understanding of being in a parent drama. So his son is pretty naturally responsible in a way that a genuine partner would be for the day-to-day running his business.”

“So in Plainview’s point-of-view, everything that interferes with the running of the business is something that he has to take care of, even for his son’s sake as well,” he says, “So he doesn’t know how to deal with this damaged creature that he doesn’t know how to be a father to. He’s like a friend and a partner to him, but he doesn’t know how to take care of him as a father and he has no real means of knowing that.”

Helming the film is none other than Paul Thomas Anderson, the director of Boogie Nights, Magnolia, and Punch-Drunk Love. The actor also shared ...

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