In 2002, a shift occurred in the structure and thematic concerns that inform the style, characters, and narratives of Paul Thomas Anderson’s films. Anderson’s fourth film, Punch-Drunk Love, clocking in at only ninety-four minutes (exactly half the length of his previous Magnolia) seemed a necessary exercise in modesty for the ambitious auteur, a means of proving himself capable of telling a story that focuses on the lives of less than a half dozen characters in a running time that is far from daunting. This film seemed, at the time, to be a momentary departure. Certainly Anderson, after working Adam Sandler toward what will certainly remain the greatest performance of his career, would return to constructing complex labyrinths depicting the intertwining lives of many memorable characters. After all, Punch-Drunk Love only featured two members of Anderson’s signature ensemble (Philip Seymour Hoffman and Luis Guzman). But as There Will Be Blood indicated, Anderson intended no such return to Altmanesque mosaics, opting instead to dive even further into the impenetrable psychologies of enigmatic leading men, an interest that has almost inevitably led Anderson’s trajectory to The Master.