Todd Haynes was on hand last night for a rather intimate screening of his latest, "I'm Not There."  It was my first time seeing the film, which has been on the festival circuit since Telluride back in September.  I don't think I can even begin to qualify it.  I'm pretty sure it's an undeniable work of art, but beyond that, I need time to let it soak in and, most assuredly, I'll need another viewing.  I didn't even mosey over to Haynes during the reception because, quite frankly, I have no idea what I would have said to him.

In any case, my opinion isn't what's important.  What IS important is how floored the viewers in attendance were.  There was even a cryer.  Yeah, a cryer.

Michael Mann was in attendance, said he enjoyed the film, and spent quite a while making the rounds during the reception.  Most enthusiastic, however, was Ben Foster, who could not contain his sheer glee, not only at "I'm Not There," but at what he calls a "great year for movies."  He had recently come from seeing the Coen brothers' "No Country for Old Men," which had him on a high to go along with the Chivas Regal he was throwing back.

Foster said he thought filmmakers were finally giving in to silence and stillness in the cinema this year, an insight I hadn't previously stumbled onto, what with my declarations that it is simply a downer year at the theaters.  This notion of filmmakers taking their time with audiences, forcing serenity into the frame and allowing for a sort of marination, I think Foster is on to something.  And truly, the guy's enthusiasm is infectious.

Excitement over Hayne's Dylan-inspired work dominated the scene, however.  I also bumped into Jack Coleman ("Heroes"), who kept bouncing back and forth about his favorite sequences, favorite performances, etc., with another equally excited viewer.

Indeed, "I'm Not There" seems to be one of those films that becomes more of an experience than a passive exercise in observation.  It'll be interesting to see if last night's enthusiasm translates during the Oscar season.

Nathaniel Rogers over at The Film Experience was at the Lincoln Center in NYC last night as well for the Dreamworks unveiling of three musical sequences from Tim Burton's upcoming "Sweeney Todd: The Demon Barber of Fleet Street."  Here's his reaction.

It was fitting that the first major guild screening of "There Will be Blood" took place last night at the WGA theater on Doheny Blvd., considering Daniel Day-Lewis' Daniel Plainview character was based largely on oil mogul Edward Doheny (in whose Beverly Hills home the film's climactic final scene was shot).

The crowd was a mixture of numerous guilds: WGA, SAG, ASC, and, of course, press.  Applause lit up the joint upon the film's closing credits, with notable rounds swelling up for Day-Lewis' credit and, interestingly, Robert Elswit's.

When moderator David Ansen introduced Paul Thomas Anderson for the Q&A, half the crowd lept to their feet in a standing ovation.  At first sight, it seemed the film was a hit, but I looked around at those who weren't standing, and they included many older guild members, as well as at least one notable Oscar-nominated producer who sat in front of me and seemed to be scowling as he patiently awaited the noise to settle.

Indeed, the third act clearly confused a considerable portion of the crowd, leaving a great number unsettled.  I talked to a SAG member outside during the reception who said the film was "a bit much," though there was no argument from her that the performances were outstanding.

Personally speaking, the film settled very nicely on a second viewing, filling in a few of the cracks I noticed upon an initial look, embossing other areas that remain bothersome to me (notably Paul Dano's performance, though he shed some light on this when addressing the notion that he was hired to take on the role of Eli Sunday at the last minute when the first actor wasn't up to the task).

Day-Lewis was the treat for the crowd, which showed grand affection for the actor's work both during the movie (via applause and laughter) and during the Q&A.

It was good to take in some critical responses afterward.  CHUD's Devin Faraci seemed to be a big fan, but wanted a second viewing before committing a review to print.  Jeffrey Wells told me one critic asked him, puzzled, "You saw it a SECOND TIME??"

Yes, it seems there might be a critical split waiting to happen, just as appeared to be the case with the guild members in attendance last night.

Eddie Vedder popped up tonight outside the Paramount theater for a modest crowd, performing songs from the "Into the Wild" soundtrack after a screening of the film.  And he killed.

Sean Penn and Emile Hirsch introduced Vedder to the crowd, which included a who's who of the entertainment industry: Cameron Crowe, Ringo Starr, Mark Ruffalo, Emilio Estevez and Wynona Rider among them.  Vedder cranked out "Guaranteed," "Rise Up," "No Ceiling" and "Society" before steering into Pearl Jam B-side "Drifting" as well as "You've Got to Hide Your Love Away" from the "I Am Sam" soundtrack.

Watching the performance from maybe five or six feet away and studying Vedder's face, I suddenly felt the sensation that this fixture of the grunge era had hit a new stride in his musical and lyrical career.  Something more textured, fuller, perhaps more mature.  There's no arguing that his is one of the great voices in rock history and that he can turn a lyric with the best of them, but what Vedder has accomplished on the "Wild" soundtrack is possibly the crowning jewel of the film.  Tonight was a testament to that.

The singer is showing aging, but not necessarily showing his age.  The lines are there, the years of celebrity and activism taking their toll, perhaps.  In any case, it was with a strange combination of sadness and pride that I watched a rock star fully embody this new, more cultivated phase of his career this evening.

I chatted briefly with the film's editor, Jay Cassidy, about his journey with Penn on each of the actor/director's works.  I also caught up with Penn himself, who said he was certainly feeling the toll of the awards campaign, but nonetheless, he seemed like he could take any given event by the horns then and there, regardless of fatigue.

A good event all around for Paramount Vantage, who is in high gear on a campaign that could lead all the way to a Best Picture nomination for the film.  We shall see.

(Photo courtesy of Hollywood Elsewhere)

Paramount Vantage showed Paul Thomas Anderson's "There Will Be Blood" to a mere four -- count 'em -- four members of the Los Angeles entertainment press corps last night...but don't expect any reviews yet.

That's right, we're all expected to be nice enough to hold our thoughts until the Nov. 5 unveiling of the film in San Francisco, at which point the flood gates will certainly go down in a hurry.

All of this despite the fact that the film was kinda, sorta reviewed here at Variety by a stringer out of the Fantastic Fest in Austin, mind you.  Marjorie Baumgarten of the Austin Chronicle had some thoughts in print at that outlet as well as on Variety's festival blog "The Circuit."  John DeFore, meanwhile, ran a full review out of the fest at The Hollywood Reporter.  So the sanctioned cat, if you will, is somewhat out of the bag.

But like I said...we're being nice.

More to come...

Perusing the "Hollywood Elsewhere" comments sections (always a colorful atmosphere), I came across this clip of Joy Division performing "Transmission" on the BBC's "Something Else" in 1979 mashed up with the same sequence from Anton Corbijn's "Control."  Take a look:

The visual similarities between Joy Division frontman Ian Curtis and Sam Riley remain the most eerie aspect of Corbijn's casting decision.  I just sat next to Riley Monday evening at a SAG screening and Q&A for the film, and the guy just seems to have been made to play the part.

Riley had what he called a "failed experience" fronting a band himself, which certainly helped at least build some foundation for playing the part of Curtis.  But now he just hopes to keep working as an actor.  Noting to the crowd that this was his "first acting job," the audience let out a few gasps of disbelief.  (He's had some experience on television, but "Control" is Riley's first real barbecue.)

The actor was in town for one night only this week, sitting down for a few interviews on Monday, handling Variety's praise as one of 10 Actors to Watch at the Hollywood Film Awards and taking queries at thethe evening screening before heading back across the pond Tuesday morning...to which he and his film were greeted by a field-leading 10 British Independent Film Award nominations.

By the way, Movie City News' Gurus 'o Gold chalked Riley up Tuesday as one of a slew of potential "unexpected" Oscar nominees come January, and I happen to think they might be on to something.  Riley is a revelation in the film, and he certainly charmed the pants off that SAG Nominating Committee screening, Heineken in hand, nervous at the sudden attention.

Not a bad week for those involved with this Cannes-sensation-turned-Oscar-hopeful.