Paul Thomas Anderson puts his fingerprint on this film in a specific way. He begins by creating 1970 Los Angeles in a way that has a depth of reality. The film doesn't feel like a period piece, but instead a piece of life pulled out of time and revealed to us in the present time. Anderson, along with cinematographer Robert Elswit create a palette that illuminates the characters with sunlight, making the colors vibrant and the characters seem as if they are standing before us. This style of lighting makes for a film that puts us, the audience, in the film rather than just outside participants.
Anderson uses his camera to reveal character and allow story to be revealed through the space he gives in the frame. We see this for instance when Doc goes to Channel View Estates and meets Jade, who brings another woman into the scene, before Doc leaves them and walks to the other end of the building - before he is hit over the head. What Anderson does is create multiple shots with one camera shot covering several beats of the scene, rather than cutting away to separate shots.
The film was created by Anderson who read Thomas Pynchon's novel of the same name and wanted to adapt it into a feature film. Anderson uses music in his films in a very specific way, and chooses many times to work outside the box of traditional film scoring. This film is no different, as Anderson employed Jonny Greenwood from Radiohead to score the film. This was Anderson and Greenwood's third time collaborating together on a film.
