Paul WS Anderson - There Were No Gods Left

There Were No Gods Left

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Paul WS Anderson

A collection of 11 posts

Shapeshifters, Religion, and Other Ghouls with Constantin Werner: Writer and Producer of In the Lost Lands

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Shapeshifters, Religion, and Other Ghouls with Constantin Werner: Writer and Producer of In the Lost Lands

Werner gives his insights about co-writing with Paul WS Anderson, the challenges of producing the project, the differences between his screenplay and both Martin’s original text and the final film, the role of religion in the story, the filmmaking lessons he gleaned, and much more.

Libera te Tutemet: The Three Musketeers (2011)

Libera te Tutemet: The Three Musketeers (2011)

Anderson at his most idealistic.

In The Lost Lands

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In The Lost Lands

The sort of world one wishes they could give Ted Cruz a one-way ticket to.

Libera te Tutamet: Pompeii (2014)

Libera te Tutamet: Pompeii (2014)

One of the greatest cinematic achievements of the 21st century.

The Beauty and Rewatchability of Event Horizon

The Beauty and Rewatchability of Event Horizon

With inspirations varying from Hieronymus Bosch and Warhammer 40,000 to the literal architecture of the Notre Dame Cathedral and Fritz Lang, Paul WS Anderson’s earliest great work Event Horizon (1997) more than holds up as it approaches its 26th year. It’s one of the great 20th-century

Some Changes…

As you may have noticed, I rebranded my personal film website from Transcendent Cinema to No Gods Left: Toward A Millennium of Cinema. That’s because I have something else in store for that project and that URL, which will be evolving into a team effort with a globally and

Exiting Through the 2010s (Podcast Appearance): Resident Evil: Retribution and Resident Evil: The Final Chapter

Exiting Through the 2010s (Podcast Appearance): Resident Evil: Retribution and Resident Evil: The Final Chapter

I join joins Clay and Jack on Exiting Through the 2010s for a retrospective on the finale of the Paul WS Anderson films for the much-maligned Resident Evil franchise in 2012’s Retribution and 2016’s The Final Chapter. Together, we examine Michelle Rodriguez’s career, updating video games

'Thor: Love and Thunder' and queer aesthetics

'Thor: Love and Thunder' and queer aesthetics

With a few daring visuals and innovative artistic references, writer-director Taika Waititi's "Thor: Love and Thunder" merits more superlatives than any of its peer Marvel Studios blockbusters following 2018's "Avengers: Infinity War." While satisfying viewing experiences are subjective and dependent on

Of Myths and Monster Hunters, Part 2: The Divine Player and Visual Theology in the Films of Paul W.S. Anderson

Of Myths and Monster Hunters, Part 2: The Divine Player and Visual Theology in the Films of Paul W.S. Anderson

The following piece, using the theologian Friedrich Schleiermacher as a resource, is an auteur analysis of the visual grammar of Anderson’s films that argues his visuals invoke a sense of a “divine player” through their resemblance to the visual grammar of video games.

Of Myths and Monster Hunters, Part 1: Religion in the Films of Paul W.S. Anderson

Of Myths and Monster Hunters, Part 1: Religion in the Films of Paul W.S. Anderson

His films evoke a sense of the divine. In particular, they invoke a feeling of utter dependence on a mysterious Other.

A Feminine Kenosis in "Resident Evil: The Final Chapter"

A Feminine Kenosis in "Resident Evil: The Final Chapter"

It’s here, I think, where PWSA’s religious material is most radical.