Along with the beautiful restoration that has been provided, what’s also present are a plethora of extras that range from an interview with Jon Brion, and curators Michael Connor and Lia Gangitano about the usage of Jeremy Blake’s artwork as interludes used all throughout Punch-Drunk Love. The extensive Jon Brion interview about the music for the film is perhaps one of the biggest perks to be offered by this release, as it covers what Paul Thomas Anderson’s intentions were with the score and the visuals. Brion’s account of what Anderson was developing for Punch-Drunk Love offers a great perspective into the making of the film, almost as if one were speaking with Anderson himself. Adding more to that is a recording session for the film’s distinctive score, and it doesn’t get any lovelier than that.

Previous DVD features such as the Mattress Man Commercial, Scopitones, and Paul Thomas Anderson’s experimental Blossoms and Blood do return. What’s new to the disc includes footage from the Cannes Film Festival premiere, together with a fun tidbit that inspired the pudding subplot (David Phillips, “The Pudding Man”, on The Today Show). The Cannes portion features an in-studio interview showing the actors having fun with one another; we also have a near 40-minute long Cannes press conference that features Paul Thomas Anderson, Adam Sandler, Emily Watson, Philip Seymour Hoffman, and producer JoAnne Sellar. It’s a bit disappointing if you want to hear more from Anderson because his answers are somewhat blank, although hearing Sandler during the press conference talking about his experience makes for something satisfactory.

What’s also a bit of a letdown is the discussion that covers the art of Jeremy Blake, which includes a slideshow, which is somewhat disinteresting and there is very little connection made towards the film. New interviews with Adam Sandler, Emily Watson, or Paul Thomas Anderson would’ve been an interesting inclusion; it would be intriguing hearing about the experiences making the film from those three. At the very least you’ll find a lot of that in the Cannes panel. But given how Anderson’s answers during the panel are often vague as noted above, it’s a missed opportunity in this regard especially if you want to hear the artist speaking for his own work. You’ll get a load out of Jon Brion’s session, so there’s that.