Joaquin Phoenix appears in a feature for the October issue of Interview magazine to promote The Master (which, by the way, is still in theaters), and we had some requests for coverage in yesterday’s Amy Adams story. You know that I’m happy to oblige when it comes to Joaquin, so here we go.

The interview was conducted by Elvis Mitchell, who is a big-time film critic that gets lots of perks like being interviewed during the Hunger Games special features and was also (interestingly enough) fired from Movieline last year after it was discovered that he reviewed Source Code based upon not watching the movie but upon an old script of the movie. Somehow (and I don’t know how this happened), his career has recovered, and he’s still making big bucks in some new film curating gig. That’s not really important, I guess, but it’s interesting that he was partnered up with Joaquin for this talk. Here are some excerpts:

No good actors, only good directors? “I’m very fortunate because I’ve worked with these amazing directors that I’m able to do that with and really find the truth with, because that’s what they’re after as well. But if the director’s not after it, then forget it. There aren’t f–king good actors. It’s all the director. It’s so funny when people say it’s good actors–and actors really believe it and sh-t. You’re completely hostage to the director. So the director is the most important person to me. I work for them. My job is to help them fulfill their vision. But I like being an employee. I like making somebody happy–and if they’re not, then I’m crushed.”

He’ll never be happy with his performances: “Here’s a guarantee: If I’m happy about something that I’ve done, then it’s going to be very bad. That’s a guarantee. Without fail, if I ever go onto a scene and say, ‘I’ve f–king got it,’ then it’s the worst thing in the world. [T]hat’s one of the things that I hate more than anything: nailing it. He nailed it. Well, that guy came in, he said, ‘Ladies and gentlemen of the jury,’ and . . . boom! He f–king nailed it. And part of me is impressed with that–one of my favorite actors can f–king nail it–but it’s just something that I don’t want to do. I can appreciate that ability in other people, but I don’t want to be that actor. I don’t want to nail it. I want to go into the courtroom and feel like I might lose the case. I want it to be scary–and it still is. I’m almost 38. I’ve been acting for 30 years. But I still get nauseous the day before and have weeks of incredible anxiety. They have to put f–king pads in my armpits because I sweat so much that it just drips down my wardrobe. For the first three weeks of shooting, I’m just sweating. It’s pure anxiety, and I love it.”

On The Master script: “I was just confused. You know, you start a movie out and you read the script and you’re so nervous and you just want to please your director so badly. But the first time I sat down with Paul [Thomas Anderson] and Phil [Seymour Hoffman] and we went through a scene, I was convinced that they weren’t going to hire me. I was convinced it was over. I was like, ‘I can’t believe it.’ I got up at five o’clock in the morning and f–king studied through the processing scene on the boat because I knew we were going to rehearse that. I had to try and get it down. It literally felt like an audition. So we went in for the next rehearsal and I was like, ‘I’m basically auditioning today,’ because the day before I was pretty sure Phil was like, ‘This is not working,’ and Paul was going, ‘I know. I don’t know what to do.’ No joke because, dude, for real, here’s the thing: Phil is such a g-ddamn genius. So you’re sitting there with this f–king genius, and he starts talking, and I’m like, ‘I can’t follow this guy. I’m not saying anything after him!’ It was incredible to be around him. So I was like, ‘F–k, man. They ask me to do this movie, and we do rehearsal, and it’s so bad and Paul is probably doubting it . . .’ But, yeah, then we just went back and rehearsed again, and that day I think we talked a bit more and maybe he was like, ‘Okay, I’ll give him a shot.’”

PTA hired him because of I’m Still Here: “Maybe it was just like, ‘Oh, well, this guy’s obviously a moron. I’ll cast him.’ Sort of just, ‘This f–king monkey will do anything. I’ll just let that monkey sling sh-t at himself. That will be great.’ And that was essentially what I was. Near the end of the movie, he was just calling me Bubbles.”

When he claimed to be done with acting: “I thought Casey [Affleck] and I had actually achieved ultimate success with I’m Still Here, if your definition of success is completely destroying your career-which was somewhat the intent. But doing that movie was one of the best things that I’ve done and that I’ll ever do. It’s the best thing I’ve ever done in terms of helping me grow as an actor and having a deeper appreciation for acting. But for a while, it was bad. I was so worried. Casey and I were getting into big fights about it-really intense-and I was like, ‘F–k, I’ve worked for years and this movie cost me money and I’m going to lose my house.’”

On awards season: “I think it’s bullsh-t. I think it’s total, utter bullsh-t, and I don’t want to be a part of it. I don’t believe in it. It’s a carrot, but it’s the worst-tasting carrot I’ve ever tasted in my whole life. I don’t want this carrot. It’s totally subjective. Pitting people against each other . . . It’s the stupidest thing in the whole world. It was one of the most uncomfortable periods of my life when Walk the Line was going through all the awards stuff and all that. I never want to have that experience again. I don’t know how to explain it–and it’s not like I’m in this place where I think I’m just above it–but I just don’t ever want to get comfortable with that part of things.”

He doesn’t want huge paychecks: There was this period after I’m Still Here when I was getting a lot of big-money offers because they were crap things. I think a lot of people were like, “He’s f–ked. He’s desperate.” These offers were, like, a lot of money–maybe not for other actors, but definitely for me. But I don’t want that power. I don’t want $20-million power.”

[From Interview Magazine]

Well, I guess we don’t have to worry about listening to Joaquin campaign for an Oscar this awards season, right? Harvey Weinstein will be so disappointed to hear this news, and it’s really too bad — it might have been more interesting than, say, George Clooney’s dull as snot campaigns. Then again, Joaquin has been through it twice before (he was nominated for Best Actor in Walk the Line and Best Supporting Actor for Gladiator), and he’s not interested in faking enthusiasm for a gaudy golden statuette. Of course, I love the Oscars because, you know, pretty dresses, but I can see why Joaquin wouldn’t be excited by that prospect either.

On a more refreshing note, hearing about Joaquin’s anxiety and distress over his performance in the processing scene of The Master is quite surprising because — in a lot of people’s minds (including my own) — that was the very best part of the movie. It sounds like the huge amount of work that went into the scene really paid off in the end.

Photos courtesy of Interview magazine and WENN

Here are some photos from the premiere of Paul Thomas Anderson’s The Master at the Venice Film Festival. Naturally, Joaquin Phoenix and Philip Seymour Hoffman were the big stars on the red carpet, and they did the deed with aplomb. Phoenix looks very ready to earn his rep back, but I’m not sure about those (strategic?) grey stripes that are resting atop his temples. Sadly, Amy Adams was not on hand, and I bet producer Harvey Weinstein was kicking himself for not making her come just so that someone — anyone — would have to wear one of Georgina Chapman’s awful Marchesa dresses. You know, if I was a famous movie star with a lot of power, “absolutely NO Marchesa” would be one of my contract stipulations. I still can’t believe Kristen Stewart got wrangled into one of those hot messes. At this point, Joaquin and Philip have probably never been happier in their entire lives to not be a chick.

As for the premiere itself, things appeared to go quite well, and The Master is currently enjoying a 100% rating on the Rotten Tomatoes aggregator. If the full trailer is any indication, the movie will be a treat for critics of Scientology, and we’ve already heard that Tom Cruise “had issues” with the film after PTA gave him a private screening (they previously worked togeter in Magnolia, so PTA may have figured that Tom at least deserved a “heads up”). PTA himself has given a new interview to The Daily Beast, and he wants people to know that while the movie bears striking similarities to the CO$ origin story, that’s not all that’s going on. I think PTA was ultimately aiming to examine the lives of WWII vets and their reinsertion into society. Here are some excerpts:

On The Master‘s subject matter: Anderson freely acknowledges that this flamboyant character–a self-described author, sea captain, physicist, and philosopher-was inspired by L. Ron Hubbard. Once word of this leaked out, The Master immediately got tagged as Anderson’s “Scientology movie.” “I was naive,” the director says, somewhat ruefully. “I should have known that’s what people would latch onto.” But if you’re expecting to see an exposé of that controversial “religion,” you’ve come to the wrong movie. This is not to say Scientologists are going to like what they see. But Anderson, who gets a bit stressed when the subject comes up, finds himself “much more defensive and protective of [Scientology] than I would have thought.”

On Hoffman and Phoenix: He knew from the start he wanted Hoffman to play the Master, and his actor-friend was an integral part of the writing process. “He was my first audience. I’d hand him chunks and hear what he responded to.” For the longest time Anderson wasn’t even sure whose story it was. It was Hoffman who clarified it for him: “This is Freddie’s [Joaquin Phoenix's character] story.” He also had Phoenix in mind as he was writing, and he knew the actor would keep his writing from sounding too literary. “At a certain point, Joaquin is just incapable of faking it.” Anderson was amazed by Phoenix’s discipline on set. “He’s like Daniel [Day-Lewis], his level of concentration. He just got in character and stayed there-for three months he didn’t stop. Joaquin is very unpredictable. A lot of the time I didn’t know what he was going to do.” In one scene Freddie has to be restrained by a cluster of policemen. He laughs remembering the head of the stunt crew advising his men to take it easy on the star. “Six of these stunt guys couldn’t hold him down!”

[From The Daily Beast]

The entire interview is well worth reading, and at one point, PTA even laments that he wishes he possessed “more diversity as a filmmaker.” Wait, what? Another new revelation — PTA has recycled some of the unused scenes from There Will Be Blood for use in the The Master. This movie is sounding better and better with each passing newsbite.

Here’s some photos from the earlier photocall in Venice. These guys can’t wait for the film to be unleashed, right? Oh Harvey. Why you so sexy?

Photos courtesy of WENN

Paul Thomas Anderson’s rumored anti-Scientology film, The Master, has already been tickling the anti-CO$ and serious film audiences with two teaser trailers, one featuring Joaquin Phoenix’s lost disciple character and the other one showcasing Philip Seymour Hoffman’s charismatic yet menacing movement leader. Both trailers have established that the movie is set in the 1950s and revolves around a faith-based organization that is pretty much Scientology by a different name, “The Cause.” I especially appreciate the second trailer’s dialogue, including “I am a writer, a doctor, a nuclear physicist, a theoretical philosopher, and above all, I am a man. A hopelessly inquisitive man, just like you,” which is totally L. Ron Hubbard under a different name, Lancaster Dodd. We’ve also heard that Anderson screened the movie for Tom Cruise, and Tom “had issues” with the movie. And for good reason! Check out the full-length trailer below, and you’ll see why Tom’s been throwing his cute little lift-throwing tantrums:

First off, PTA throws out a very clear signal that Joaquin’s on a ship (as in the origins of the Sea Org) as he and his disciples are told “upon your shoulders rests the responsibility of a post-war world.” Joaquin is further seduced by both Hubbard Dodd (metaphorically) and various women (literally), and then things grow more sinister with a critic saying “Good science, by definition, allows for more than one opinion, otherwise you merely have the will of one man, which is the basis for a cult.” Dodd’s wife is heard saying, “The only way to defend ourselves is to attack.” Still others tell the disciple, “He’s making all this up as he goes along, don’t you see that?” and “You are an everlasting spirit.” There’s more creepy footage of Joaquin’s character in the jail cell and also riding motorcycles with Dodd (a veiled reference to Cruise and Miscavige’s bro rides?) before he tries to make his escape.

Naturally, this trailer is only a taste of what is to come. The Daily Beast has provided a comprehensive chart (written by those who have read the full screenplay) of many, many similarities between PTA’s rendering of “The Cause” and Scientology. Just to name a few tidbits — alien invasions, prenatal memories, auditing (by a different name) and billion-year contracts — they’re all in there. If the CO$ thinks that they need a new PR strategy after Katie Holmes blew their roof off, well, they haven’t seen anything yet. This movie is sure to be an event.

Screencaps from YouTube; poster courtesy of AllMoviePhoto

The Hunger Games sequel, Catching Fire, is down to the wire in terms of casting with shooting set to begin this fall and several key roles still technically up for grabs. There’s still been no firm decision for the part of Finnick Odair, but we definitely know it won’t be Robert Pattinson, and Garrett Hedlund is still very much a possibility. As for Johanna Mason, Mia Wasikowska and Zoe Aggeliki have been floated as candidates, but it looks like Jenna Malone is currently the front runner for that role. Now at least we have some (mostly) definite news about the very important part of Plutarch Heavensbee, the replacement Head Gamemaker who — if he’s lucky — will avoid the same fate as Seneca Crane. In all likelihood, Phillip Seymour Hoffman (who a lot of people were hoping would have played Haymitch Abernathy, but I think Woody Harrelson was perfect in the first movie) will play Plutarch. Here’s a mildly spoiler-laden announcement from E! Online, who says that the offer was made and has now been accepted:

The odds are definitely in Philip Seymour Hoffman’s favor!

Sources tell E! News exclusively that the Oscar winner has signed on to play Plutarch Heavensbee in Catching Fire, the much anticipated second movie in the Hunger Games trilogy.

“The deal was made right before the Fourth of July holiday,” one source said.

Lionsgate does not comment on casting until something is official. An announcement about Hoffman is expected to be released any day now. The Hollywood Reporter reported that Hoffman, 44, was offered the role on June 11.

Heavensbee is the new Head Gamemaker who may (or may not) be more loyal to reigning champ Katniss (Jennifer Lawrence) than the diabolical President Snow (Donald Sutherland).

Catching Fire is set to start shooting in the fall with director Francis Lawrence replacing Gary Ross.

Hoffman was most recently seen on Broadway with The Amazing Spider-Man star Andrew Garfield in the hit revival of Arthur Miller’s Death of Salesman.

[From E! Online]

Speaking of Phillip Seymour Hoffman (and for some reason, I always like to type his full name when possible), Kaiser thinks that the marketing for Paul Thomas Anderson’s The Master “is going to have to be very, very careful” in light of all of the new information about CO$ being stirred up by the Katie Holmes-Tom Cruise divorce proceedings. I definitely agree, but at this point, the movie’s two excellent trailers have already set the stage, and there’s no turning back. It’s fairly obvious (especially from the stunning impression of L. Ron Hubbard on the part of Phillip Seymour Hoffman himself) that this movie is about Scientology. Hell, there probably doesn’t even need to be any more marketing of this movie at all aside from the odd poster. The crazy, damage-control antics of the CO$ will sell this movie on their own!

Photos courtesy of Fame/Flynet and WENN

I’m growing very excited about The Master, which will not only see Joaquin Phoenix’s grand return to non-douchetastic acting but will also bring one of my favorite directors, Paul Thomas Anderson, back to the big screen. Of course, I’ve been stoked about this movie ever since it was announced as a rumored anti-Scientology film. Then we saw the first trailer where Joaquin seriously brought his former intensity to the forefront again in the midst of fleeting glimpses of a creepy, foreboding film.

Of course, the first trailer (wisely) didn’t really tell us anything about the titular character and served to build suspense until further clues were revealed. Now there’s a new trailer that heavily features Philip Seymour Hoffman as the charismatic yet menacing cult leader who can only be L. Ron Hubbard by another name. Hoffman is so good in this trailer that it’s easy to see how Phoenix’s troubled character falls under his spell, and Amy Adams plays the Master’s wife. Now let’s check out this trailer and discuss below:

“I am a writer, a doctor, a nuclear physicist, a theoretical philosopher, and above all, I am a man. A hopelessly inquisitive man, just like you.” Yep, that is totally L. Ron Hubbard with a few well-placed adjustments. Now if there was any further doubt at all that this movie is “loosely based” upon Scientology, Anderson has already screened the movie for Tom Cruise (they previously worked together in Magnolia, which was made during Tom’s period of CO$ inactivity). According to The Wrap, Tom “had issues” with the movie, which pretty much means that it pushes a lot of CO$ buttons.

(Confession time: I have a bit of a crush on Jonny Greenwood (Radiohead), who scored this movie and has previously worked with Anderson on There Will Be Blood. Where Greenwood is involved, the score is destined to be great.)

Screencaps courtesy of YouTube

It’s only been a little over a year since we first reported that Joaquin Phoenix was preparing to return to “serious” acting in the latest Paul Thomas Anderson project — the rumored anti-Scientology film also starring Philip Seymour Hoffman that is now known by its proper name, The Master. If all goes as planned, then Anderson will probably end up reinvigorating Joaquin’s career after a few years of willful douchiness. Remember back in 2009 when he looked like this?

Poor Casey Affleck’s bank account will never be the same after he collaborated with Joaquin on their coke-snorting, hooker-hiring, faux documentary, I’m Still Here. Whatever happened to Casey? He’s been in a few indie movies since directing (and financing) Joaquin doing a poor imitation of Andy Kaufman, and now Joaquin himself is poised to make a comeback. Just check out his face (!) in the trailer for The Master below:

This trailer gives me the same creepy feeling of impending dread that I felt while watching There Will Be Blood and Magnolia. The movie is set in the 1950s and revolves around a disciple of a faith-based organization that is pretty much Scientology in its infancy. I suspect that a lot of people who watch the trailer aren’t picking up on the CO$ vibes, but they’re definitely hidden in there quite nicely. Of course PTA isn’t dumb enough to actually make a movie that simply shouts, “Hey, this is about Scientology!” Yet I’ll bet some of you who’ve done extensive reading on the cult will know what I’m talking about without me getting all pedantic about the details.

Certainly, Paul Thomas Anderson has geared this movie to focus upon his own views of religion in general, which he’s made no secret of in the past. Even for those who aren’t completely into the subject matter, it’s sure to be a compelling film. PTA, who is a true auteur in every sense of the word, even shot this thing on on 65 mm film, which is basically unheard of these days. For the curious, Blackbook has some behind the scenes photos of several of the movie’s supporting players, and here are some peeks at the gorgeous set on Mare Island, California.

Now back to the trailer: does Joaquin Phoenix bring it after years of Unabomber-esque ridiculousness, or is he past redemption? Not everyone loves a comeback kid, but I think Joaquin will do just fine (great even) in The Master.

Screencaps courtesy of YouTube; photo of Joaquin in 2009 courtesy of WENN

I’ve mentioned this before, but I love Maya Rudolph, and I love that she’s with genius auteur filmmaker Paul Thomas Anderson, director of films like Magnolia, Boogie Nights and There Will Be Blood. Maya and PTA keep a low profile, couple-wise, and I always forget how many kids they have because it seems like Maya is in a constant state of gestation, much like Amy Poehler. Anyway, Maya and PTA have just welcomed their third kid together – and it’s a boy! Finally. They had two girls already.

It’s a boy for Maya Rudolph. The Bridesmaids star, 38, and director Paul Thomas Anderson welcomed their third child, son Jack, on July 3, her rep tells PEOPLE.

Jack – who is home and doing great – joins big sisters Pearl, 5½, and Lucille, 20 months.

While pregnant, Rudolph said she was especially excited to discover the sex of the baby, which she and Anderson chose not to find out prior to the delivery.

“The exciting part is not knowing who’s coming,” she explained. “You have to wait nine months for a surprise, but then it’s a good payoff because it really is a surprise.”

Rudolph next appears in Up All Night, premiering this fall on NBC.

[From People]

Pearl, Lucille and Jack? Interesting. Everybody and their publicist names their son “Jack” these days, so little Jack will be in good company. As for Pearl and Lucille… well, I’m sure they’re happy to meet their little brother.

By the way, I’m pretty sure that I know how PTA and Maya got together: Maya’s dear friend Gwyneth Paltrow introduced them, I believe. Dame Goop and PTA worked together on Hard Eight, and Goop went to school with Maya in NYC. Once PTA and Fiona Apple were done, I think Goopy fixed him up with Maya.

Photos courtesy of WENN.

Last month, we discussed Joaquin Phoenix’s return to acting with his prospective involvement in director/writer Paul Thomas Anderson’s (and somehow, until looking at the above photo, I never noticed how good looking he is) untitled religious drama that looked to present a disciple’s horrific experiences with a faith-based movement that very closely resembled Scientology. At that point, Philip Seymour Hoffman was tapped to play “The Master” while Phoenix was circling the role of the disciple who begins to question the cult-like ways of his faith. Now, Deadline has confirmed that both Phoenix and Hoffman are “locked” into their roles, and the Weinsteins have acquired Anderson’s project. Here are even more details:

The Weinstein Company has won a quiet but fevered bidding battle for worldwide distribution rights to the untitled next film by Paul Thomas Anderson. The film begins production June 13, with Philip Seymour Hoffman and Joaquin Phoenix so far set to star. Megan Ellison is financing. It is Anderson’s first trip behind the camera since There Will Be Blood.

Hoffman and Phoenix are locked. As for the actresses, I’m told that Anderson is eyeing such women as Madisen Beaty (The Curious Case of Benjamin Button) for a role, with Amy Adams, The Girl With the Dragon Tattoo‘s Lena Endre and Laura Dern also mentioned as actresses Anderson is interested in. The auction was held at CAA headquarters late last week, with Fox Searchlight also squarely in the mix.

This is the project that Anderson has worked on for a long time, once under the title The Master. He has greatly overhauled the script and now, Hoffman stars as a man who returns after witnessing the horrors of WWII and tries to rediscover who he is in post-war America. He creates a belief system, something that catches on with other lost souls. The film is fully financed by Ellison’s Annapurna banner.

[From Deadline]

Considering what an amazing job that Anderson did with helming There Will Be Blood (that movie also took an interesting and very cynical view of religion and resulted in a Best Actor Academy Award for Daniel Day Lewis), this could do wonders for getting Joaquin Phoenix’s career back out of the gutter. As for the Scientology aspects of the faith-based movement at the center of the film, a few notes on Anderson’s ongoing script development indicate that the year 1952 shall be of the utmost importance, which, interestingly enough, was the year that Dianetics really took off and L. Ron Hubbard founded the Hubbard College to train auditors. While the movie obviously won’t mention Scientology by name, I think it’s pretty clear that Anderson was motivated to write this script to expose what happens behind the scenes when a movement transforms into a religion. And the resulting fallout should be rather delicious.

Photos courtesy of WENN and AllMoviePhoto

Hey, remember that actor-turned-Unibomber-twin, Joaquin Phoenix? Well, he’s looking to officially end that “retirement” phase from a few years ago and has already sought to make amends by apologizing to David Letterman, but he has yet to secure any real acting work after he and Casey Affleck gave the finger to the world with I’m Still Here. Now, Phoenix is said to be circling a project that’s unofficially called The Master (but is still officially untitled) and will be directed by Paul Thomas Anderson, who previously helmed an amazingly horrific tale of greed in There Will Be Blood. If Phoenix signs on, he’ll endear himself to the world with an anti-Scientology message:

Joaquin Phoenix, who hasn’t acted since his “retirement” that precipitated I’m Still Here, is in early talks to join Philip Seymour Hoffman in Paul Thomas Anderson’s untitled religious drama.

Anderson is directing from his own original script, which chronicles a disaffected disciple’s relationship with the founder of a new faith that closely mirrors Scientology.

Hoffman will play Lancaster Dodd, a charismatic intellectual known as The Master, while Phoenix would play Freddie Sutton, an alcholic drifter who becomes his right-hand man only to begin questioning his manipulative mentor.

[From Variety]

This would be a very interesting development in Phoenix’s career and might possibly put him on the path of redemption after that notorious Casey Affleck mockumentary. It must also be noted that Joaquin grew up as a member of the Children of God “movement,” which undoubtedly gave him plenty of life experience from which to draw concerning the mindset of cult members. Slashfilm notes that Joaquin’s prospective role was originally to be played by Jeremy Renner, who dropped out due to scheduling conflicts and also (and this is key) because he joined Mission: Impossible – Ghost Protocol. Naturally, Renner couldn’t join a Tom Cruise film while still intending to act within an anti-Scientology film, right? This is a slightly disappointing realization about Renner, who is truly a talented actor and an all-around likeable guy, so if the CO$ truly gets their claws into him … the gloves come off.

Photos courtesy of WENN.

There are few artists I love more than director Paul Thomas Anderson. He’s the wunderkind auteur director of Magnolia, Boogie Nights and There Will Be Blood, and I wish I could marry him. I’m totally serious, too. If Paul Thomas Anderson and Gerard Butler were in front of me, both of them on bended knee with blinged-out engagement rings, I would choose P.T. Anderson every time. But I can’t have him! Because P.T. is with one of the funniest Saturday Night Live cast members of all time, Maya Rudolph. They have a daughter together, a three-and-half year-old named Pearl Minnie Anderson, and Maya just announced that she’s pregnant again!

In the upcoming summer film, Away We Go, Maya Rudolph’s character is pregnant. Well, off-screen, the actress is pregnant too!

The Saturday Night Live star, 36, is expecting her second child with her partner, director Paul Thomas Anderson, she reveals in an interview slated to air Monday on ET Canada.

“I wasn’t planning on sharing it, but yes I am pregnant!” she tells the show. In a nod to the irony of playing pregnant, followed by actually being pregnant, she says, “I know it’s really weird timing.”

Already mom to daughter Pearl, 3, Rudolph says her current pregnancy is “totally different” than her first one. “The first time you are like wide-eyed: ‘What are we doing?, Who’s coming?, How do we take care of them?’ But this time, I’m like I have to sit down, I’m pregnant.’ ”

She adds, “When you have a three-and-a-half-year-old, you don’t have time to rest and nap and do all the those sweet pampering type things you did for yourself the first time. You are like, ‘I got to get to bed!’”

As for adding to her family, Rudolph says she’s psyched. “I feel like everyone who has had more then one [child], says you should do it. It’s nice to have this experience.”

[From People Magazine]

Paul Thomas Anderson famously dated Fiona Apple for years and years, and then suddenly, they were broken up and he was with Maya Rudolph. I’ve never heard what happened between P.T. and Fiona, but I would love to know, if any commenters have some insight. Fiona and P.T. were the cutest little indie couple, but I really like that he and Maya are together. They make a lovely couple, and I’m sure they’re both thrilled with the new pregnancy. Congratulations!

Maya Rudolph and Paul Thomas Anderson are shown at the BAFTA Awards on 2/10/08. Credit: WENN.com