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Other authors named Paul:
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Vote: | I still think like a critic, and I still analyze films like a critic. However, it's not possible to write criticism if you're making films. |
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Vote: | In the end it's a revenue stream. And all revenue streams eventually reach the sea. |
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Vote: | It's an old-fashioned romance of the highest order, a real melodrama, which I wrote and directed and financed. Nobody paid me to do this film. If a studio had made it, everyone would be saying that I had whored out, but in fact I had to fight to raise the financing, so if I did whore out, I whored out to my own melodramatic side. |
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Vote: | The problem with The Exorcist was that I wasn't holding any cards. They paid me for the movie, so they own the movie. It's like if you made this chair and I buy it from you. You want me to sit on the chair, and I want to put it in my fireplace. What are you gonna do? Time to go off and make another chair. |
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Vote: | Those artists who say that somehow therapy or analysis will thwart their creativity are completely misinformed. It's absolutely the opposite: it opens closed doors. |
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Vote: | Ultimately, it's an illusion that you can understand yourself. |
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Vote: | You know, when you're in your twenties you use a great deal of symbolism. You somehow think that a character standing beneath a cross is more interesting than a character standing underneath a billboard, but when you get a little older you realize that there's not much difference. |
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Biography
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Paul Schrader (born 22 July, 1946 in Grand Rapids, Michigan) is a screenwriter and film director, renowned for his characters that fall into desperation while their world crumbles around them. His influences are Robert Bresson, Yasujiro Ozu and Carl Dreyer, which he wrote a book of essays about in Transcendental Style in Film: Ozu, Bresson, Dreyer (ISBN 0306803356) in 1972. Despite his credentials as a director, Schrader has received more recognition for his screenplays directed by others.
Career History Raised as a strict Calvinist, Schrader did not see a film until he was 18. After studying at Calvin College, he went on to Columbia University and then UCLA's graduate film programme on the recommendation of Pauline Kael. Under Kael's mentoring he became a film critic, writing for LA Weekly Press and later Cinema magazine.
In 1975 Schrader co-wrote The Yakuza, a film set in the Japanese crime world directed by Sydney Pollack and starring Robert Mitchum. Although it flopped at the box office, it brought him to the attention of the new generation of Hollywood directors. In 1976 he wrote the screenplay of Obsession for Brian De Palma
Also that year, Martin Scorcese filmed his script of Taxi Driver which was nominated for a 1976 Golden Globe Award and provided the acclaim and funding that enabled Schrader to direct Blue Collar (1978), which had been written by his brother Leonard Schrader. Starring Richard Pryor and Harvey Keitel, it was a story of car workers trying to get out of their rut through robbery and blackmail.
Martin Scorcese has also filmed Schrader's scripts for Raging Bull (1980), The Last Temptation of Christ (1988) and Bringing out the Dead (1999). In 1986, Peter Weir filmed his script of The Mosquito Coast.
Other films Schrader has directed include Hardcore (1979), American Gigolo (1980), the remake of Cat People (1982), and ' (1985), for which he was nominated the Palme d'Or at that year's Cannes Film Festival.
...(more on Wikipedia)
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This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Paul Schrader".
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