Month: September 2024

Categories
Podcast

New Podcast Episode Available Now: “First Reformed”

Paul Schrader in press photo for “First Reformed.“

On this week’s episode of The Filmography podcast, Bjorn and I take a deep dive into Paul Schrader’s 21’s picture, “First Reformed,” for which he received his first Oscar nomination for Best Screenplay.

Listen to The Filmography on Spotify (link above), Apple, or wherever you get your podcasts.
Ethan Hawke as Reverend Toller in my favourite still from “First Reformed.” Just look at that pink and purple sky! Like something out of an impressionist painting.
Paul Schrader in a press photo for “First Reformed.”

With “First Reformed,” Paul Schrader’s wilderness years are finally over. It seems “Dog Eat Dog” did what it was supposed to do, blasted away all the cobwebs, cleansed the palate (especially of “The Canyons”), done away with all of the experimentations of genre and style, and returned Schrader to his transcendental roots, exploring the influence of austere filmmakers like Ozu, Bresson, and Dreyer, on whom Schrader wrote the book that launched his career as a film critic even before he became a celebrated screenwriter and director.

Paul Schrader’s classic text on the style of Ozu, Bresson, and Dreyer.

From the moment we see Ethan Hawke alone in a room, sitting at a table, writing in a journal, we know immediately that this is not just a Paul Schrader picture, but one of his “man in a room” stories, a cycle which began with “Taxi Driver,” and includes “American Gigolo” (no journal writing), “Light Sleeper,” “The Walker” (no journal), “First Reformed,” and following that, “The Card Counter,” and “Master Gardner.”

These films are linked with common themes of isolation and self-destructive violence.

Out of bullets, De Niro’s finger becomes a weapon.
Willem Dafoe goes kamikaze in “Light Sleeper,” and survives.
Ethan Hawke works out his Jesus complex in “First Reformed.”

“First Reformed” recalls “Taxi Driver” in many other ways, too. Some similarities are superficial, referencing specific shots, such as the Pepto Bismol in the whiskey glass in “First Reformed,” and the Alka Seltzer in water in “Taxi Driver.”

Breakfast of champions in “First Reformed.”
Martin Scorsese’s out-of-the-box Alka Seltzer ad from “Taxi Driver.”

Some references are more profound, such as the protagonists of both films attempting to save themselves by saving a young woman. In the case of “Taxi Driver,” that woman was initially a romantic interest, as played by Cybil Sheppard, before morphing into an actual rescue attempt, with the character played by Jodie Foster.

Cybil Sheppard as Betsy, a campaign worker De Niro’s Travis Bickle fixates on.
Jodie Foster as Iris, an adolescent sex worker that Travis attempts to rescue.

In “First Reformed,” both parts manifest in one character. Played by Amanda Seyfried, Mary is one of Reverend Tiller’s parishioners, a pregnant widow to whom he feels an immense sense of responsibility, since he blames himself for her husband’s suicide.

Amanda Seyfried as Mary in “First Reformed.”

Unlike Travis’ relationships with Betsy or Iris, Rev. Tiller’s feelings for Mary are reciprocated, fuelled by a shared sense of grief and trauma. It is Schrader’s most tender romance to date, culminating in a hyper-stylized “magical mystery tour” sequence (as Bjorn calls it) that would have eyes rolling in the hands of most other directors, but coming from such an unsentimental filmmaker as Schrader, is actually quite moving.

Amanda Seyfried in a still from “First Reformed.”
The “magical mystery tour” sequence in “First Reformed.”
Three men in a room (though two are pictured outside here!): Ethan Hawke, Oscar Isaac, and Joel Edgerton.

With the success and acclaim of “First Reformed” Schrader must have realized he had finally hit upon the winning formula. His next two pictures, “The Card Counter,” and “Master Gardner,” would complete an unofficial “man in the room” trilogy.

The “man in a room” trilogy.

Though “Light Sleeper” remains my favourite Schrader Picture, “First Reformed” may very well be his best. For the full breakdown on why, you’ll have to listen to the podcast!

Rare photo of Schrader smiling!

Watch the trailer for “First Reformed” here:

“First Reformed” trailer on YouTube.

Listen to Schrader’s audio commentary for “First Reformed” here:

Audio commentary by Paul Schrader for “First Reformed” on YouTube.

Watch the “magical mystery tour” sequence from “First Reformed” here:

Ethan Hawke takes Amanda Seyfried on a “magical mystery tour” in “First Reformed.”
“First Reformed” double exposure image from Mubi.com

Read Mubi’s article “Everybody Sacrifices” here:

https://mubi.com/en/notebook/posts/everybody-sacrifices-paul-schrader-discusses-first-reformed

Read the NY Times review, “First Reformed Is An Epiphany…” here:

https://www.nytimes.com/2018/05/17/movies/first-reformed-review-paul-schrader-ethan-hawke.html

Listen to the Variety podcast, “Paul Schrader reflects on the long journey of ‘First Reformed'” here:

https://variety.com/2019/film/podcasts/playback-podcast-paul-schrader-first-reformed-1203136319

Watch Alex Ross Perry’s portrait of Paul Schrader, “Man In A Room,” on the Criterion Channel here:

https://www.criterionchannel.com/meet-the-filmmakers-paul-schrader

Read the Interview Magazine article “Paul Schrader tells Nicolas Cage why ‘First Reformed’ is his masterpiece” here:

https://www.interviewmagazine.com/film/paul-schrader-nicolas-cage-april-issue-2018-interview

Categories
Podcast

New Podcast Episode Available Now: “Dog Eat Dog”

“I’ve made some important films. ‘Dog Eat Dog’ is not one of them.” –Paul Schrader

Paul Schrader directs “Dog Eat Dog.”

On this week’s episode of The Filmography podcast, Bjorn and I take a deep dive into Paul Schrader’s wildest picture yet, 2016’s bonkers neo-noir “Dog Eat Dog.”

Nicolas Cage sees red in “Dog Eat Dog.”

The film marks the second collaboration between Schrader and Nicolas Cage following their mutual dissatisfaction with the removal of Schrader as director in the botched post-production process of finishing their first picture together, 2014’s “Dying of the Light.”

Japanese poster.
“Dog Eat Dog” author Edward Bunker as Mr. Blue (with Michael Madsen) in Quentin Tarantino’s debut film, “Reservoir Dogs.”
Edward Bunker’s novel, on which Mathew Wilder’s screenplay is based.

Adapted from (most of) the novel of the same name by Edward “Mr. Blue” Bunker (“Reservoir Dogs”) , the film features a totally unhinged supporting turn from Willem Dafoe, who was absolutely riveting 17 years earlier opposite Edward Furlong in the excellent Eddie Bunker adaptation “Animal Factory,” directed by Bunker’s fellow “Reservoir Dogs” alum, Steve “Mr. Pink” Buscemi (who also played a small part).

Willem Dafoe tripping out in “Dog Eat Dog.”
Steve Buscemi and Edward Bunker as co-stars in Tarantino’s “Reservoir Dogs.”
Willem Dafoe with Eddie Furlong in Steve Buscemi’s adaptation of Edward Bunker’s “Animal Factory.”
Willem Dafoe in “Animal Factory”
Steve Buscemi in “Animal Factory”
Buscemi, stepping behind the camera into the director’s role on his debut picture, “Trees Lounge.”
Poster for “Animal Factory.”
The devil in Mr. Defoe: “Dog Eat Dog.”

Apparently, after playing smaller parts in “Affliction” and “The Walker,” Dafoe told Schrader not to bother casting him again unless he had a truly interesting character for him to sink his famous teeth into. Dafoe got his wish (and more!) in a role that sees him at his most uninhibited, crazed, and funniest best.

Dafoe freaking even himself out with his extreme behaviour.

It’s not the first time that Dafoe and Cage have brought out the extreme in each other on screen before, having previously co-starred in David Lynch’s brilliantly deranged ode to “The Wizard of Oz,’ 1992’s “Wild At Heart.”

Cage and Dafoe in Lynch’s “Wild at Heart.”
Cage as Troy in “Dog Eat Dog.”

In the lead role, Nicolas Cage demonstrates some of his best and worst thespian instincts. For instance, he spends much of the film impersonating Humphrey Bogart, an alternately amusing and distracting creative choice that he apparently surprised Schrader with on the day.

Cage in Humphrey Bogart mode.
The real thing: Bogart in his best and most iconic role in “Casablanca.”

Rounding out the trio of disorganized criminals at the heart of the film is Christopher Mathew Cook (“Treme,” “2 Guns”), who steals many scenes from his much more famous co-stars.

The three stooges: Dafoe, Cage, and Cook cosplay in their police uniforms.
Cook as “Diesel,” the muscle in Cage’s crew.

In particular, Cook is excellent in a scene with one of the few female characters in the film, played with great depth and tenderness (despite her limited screen time) by Louisa Krause (“Billions,” The Girlfriend Experience” series).

Krause and Cook in a standout scene.
Krause as Zoe in “Dog Eat Dog.”

With its midnight-black humour and outrageous violence, “Dog Eat Dog” is a lot of fun, and certainly a step up from the last Schrader–Cage flick, “Dying of the Light,” though it’s hardly a masterpiece.

Dafoe blows the audience away as Mad Dog in “Dog Eat Dog.”

If nothing else, it’s the shotgun-blast, who-gives-a-fuck picture that Schrader clearly needed to make before he was ready to return to his transcendental roots a year later for what is, arguably, his true masterpiece, “First Reformed.”

Poster for “First Reformed.”
Schrader in press photo for “Dog Eat Dog.”

Schrader even makes a rare (and entertaining) cameo in the film as “El Greco” (The Greek), a decidedly non-Greek mobster.

Paul Schrader as “The Greek.”

For the complete breakdown of all the highs and lows of Schrader’s 20th picture (including a debate on the meaning of that mad ending!), you will have to check out the full Filmography podcast episode below:

Listen to The Filmography on Spotify (with above link), Apple, or wherever you get your podcasts.

Watch the trailer for “Dog Eat Dog” here:

“Dog Eat Dog” trailer on YouTube.

Watch an interview with Paul Schrader on “Dog Eat Dog” here:

Paul Schrader interview on YouTube.

Read Paul Schrader’s Guardian newspaper interview here:

“I’ve made some important films. ‘Dog Eat Dog‘ is not one of them.”

https://www.theguardian.com/film/2016/nov/13/paul-schrader-ive-been-involved-in-important-films-dog-eat-dog-interview

Read The New Yorker’s review of “Dog Eat Dog” here:

“The Goofball Criminals of Paul Schrader’s ‘Dog Eat Dog.’

https://www.newyorker.com/culture/richard-brody/the-goofball-criminals-of-paul-schraders-dog-eat-dog

“Dog Eat Dog” Soundtrack album by We Are Dark Angels.

Listen to “Troy’s Theme” from the “Dog Eat Dog” soundtrack here:

https://www.youtube.com/watch?v=sqgnyfb2po8

Purchase Edward Bunker’s novel here:

“Dog Eat Dog” at amazon.ca

Watch the trailer for “Animal Factory” here:

“Animal Factory” trailer on YouTube.

Watch the trailer for “Wild at Heart” here:

Trailer for “Wild at Heart” on YouTube.

Watch the trailer for “The Wizard of Oz” here:

Trailer for “The Wizard of Oz” on YouTube.

And before next week’s episode of The Filmography where Bjorn and I will take a deep dive into “First Reformed,” check out Paul Schrader’s definitive treatise on “Transcendental Style in Film: Ozu, Bresson, Dryer” here:

“Transcendental Style in Film” on amazon.ca

Categories
Podcast

New Podcast Episode Available Now: “Dying of the Light”

“‘Dying of the Light,’ a film I wrote and directed, was taken away from me after the submission of the Director’s Cut (June 2014). Grindstone Pictures and the producers wanted a generic Nic Cage video-on-demand film, while my editorial instincts were pointing toward something more interesting. Grindstone recut, scored, and mixed the film without my input. Subsequently, actors Nicholas Cage and Anton Yelchin, executive producer Nic Refn and I distanced ourselves from the film… I remain hopeful that someday I will be allowed to finish the film.” –Paul Schrader

Paul Schrader with his “Dying of The Light” stars Anton Yelchin and Nicolas Cage.

In this week’s episode of The Filmography podcast, Bjorn and I are joined by very special returning guest (and noted Cage-o-holic) Mark Hanson for a discussion of Paul Schrader’s 2014 CIA spy thriller, “Dying of the Light,” the first of two back-to-back Schrader / Nic Cage collaborations, as well as Schrader’s own psychedelic bootleg cut of the film, “Dark.”

Nic Cage stars as Evan Lake, a CIA operative whose quest for revenge is hampered by the ravages of dementia.

Although the film was taken away from Schrader in post-production (echoes of his experience with “Dominion: Prequel to the Exorcist“), re-cut, and poorly marketed as just another anonymous Nicolas Cage Direct-To-Video (DTV) actioner, Schrader at least attempted to do something new with the spy genre, as evidenced by “Dark,” which takes a radical Tony Scott / “Man on Fire” approach to the material, re-framing shots as extreme-close-ups, with music video-style quick cutting, and featuring extended psychedelic sequences, as seen in the image below:

Nic Cage tripping out on dementia.

While it drove Bjorn nuts, the bootleg “Dark” cut suggests a much more expressionistic take on the story, aiming to put you in Cage’s POV, heightening the sensation of his deteriorating state of mind. In both cuts, the dementia angle is an interesting complication to what is otherwise a fairly straight-forward revenge thriller.

Cage losing his composure while delivering his big speech at CIA headquarters.

When the film was taken away from Schrader, he and his stars, Nic Cage and Anton Yelchin, and executive producer Nicolas Winding Refn (who was originally slated to direct before he signed on to “Drive” instead, with Harrison Ford and Channing Tatum cast in the Cage and Yelchin roles, respectively) were photographed wearing their NDA agreements on their t-shirts as a silent protest.

The cast and filmmakers of “Dying of the Light” in their protest apparel.

“Because we were threatened with lawsuits if we spoke ill of the Grindstone version, our protests took the form of wearing T-shirts bearing the “non-disparagement” clause that prohibited public statements. For now, that’s the only photo I’ll include on this web page.” –Paul Schrader

The released cut of “Dying of the Light” is nowhere near as bad as one might expect from a picture that has been taken away from its writer/director and re-cut by its meddling producers, but it’s disappointing to see another Schrader picture barely get released.

Cage and a very large (but cozy-looking) hat in “Dying of the Light.”

“I made Dog Eat Dog to redeem myself from the humiliation of Dying of the Light, which was taken away from me. Nic and I disowned it, I subsequently did my own edit, put it on torrent, but it was a career killer.” –Paul Schrader

Cage with less than all of his ear in “Dying of the Light.“

It turned out not to be a career-killer, neither for Cage, who is currently having a resurgence after his stellar turn in this years’ Oz (son of Anthony) Perkins‘ directed serial-killer thriller “Longlegs,” nor for Schrader, who would re-team with Cage on the above-mentioned “Dog Eat Dog” before his own resurgence with, arguably, his finest picture yet, 2017’s “First Reformed.”

A barely recognizable Nic Cage in Oz Perkins‘ “Longlegs.”
Ethan Hawke in Schrader’s comeback picture, “First Reformed.”

Deserving special mention here is the supporting performance by Anton Yelchin, who brings a deep level of compassion and decency to his role as Cage’s young espionage protegé.

Cage and Yelchin as mentor and protégé.

Yelchin was an extremely likeable actor who made all of his characters highly relatable with an abundance of natural charm and thoughtfulness, who was tragically killed in a freak accident much too young. I would have liked to have seen many more films from him, having watched him mature into a very fine actor in the years since his auspicious debut as a child actor in the under-appreciated 2001 Stephen King adaptation “Hearts in Atlantis,” starring Anthony Hopkins, and directed by Scott Hicks.

Yelchin as a boy in the 2001 Anthony Hopkins picture “Hearts in Atlantis.”

“Dark” is an interesting cinema artifact in that it hints at the film Schrader might have made had he been allowed to finish his cut of “Dying of the Light.” However, it’s too rough around the edges (made from DVD rough cuts of Schrader’s unfinished workprint) to really satisfy as a picture on its own terms.

Still from “Dark.”
Poster for the bootleg cut.

What we are ultimately left with in “Dying of the Light” is a movie that is neither the total disaster Schrader seems to think it is, nor one that transcends the DTV action-thriller limitations of the genre that Cage has all-too-often dipped his toes in (with a back catalogue of mediocre and disposable pictures to his credit with interchangeable titles like “Stolen,” “Kill Chain,” “Vengeance,” “Primal,” “Rage,” “Seeking Justice,” etc., etc, etc).

Three forgettable Nicolas Cage DTV action thrillers.
Three more forgettable Nicolas Cage DTV action thrillers.

Knowing that both Cage and Schrader would independently go onto make much better pictures in the years following this one takes a little of the bad taste out of your mouth, though their next film together, “Dog Eat Dog,” isn’t quite the redeeming palate-cleanser that Schrader suggests. Of course, for more on that, you’ll have to tune into next week’s episode! Until then, thanks for listening!

Listen to the podcast here:

Listen to the latest episode of The Filmography on Spotify (with the above link), Apple, or wherever you get your podcasts. New episodes released every Friday.

Read IndieWire’s article on “Dark,” Paul Schrader’s recut of “Dying of the Light” here:

https://www.indiewire.com/features/general/paul-schrader-dying-of-the-light-nicolas-cage-dark-new-cut-1201905124

IndieWire’s article on “Dark.”

Watch the trailer for “Dying Of The Light” here:

Trailer for Schrader’s “Dying Of The Light” on YouTube.

Watch Schrader’s full bootleg cut, “Dark,” here:

https://ok.ru/video/6785931414200

Still from Schrader’s bootleg cut.

Watch the trailer for Schrader’s and Cage’s follow up collaboration, “Dog Eat Dog” here:

“Dog Eat Dog” trailer on YouTube.

Watch the trailer for Cage’s comeback picture, “Longlegs” here:

“Longlegs” trailer on YouTube.

Watch the trailer for Schrader’s comeback picture “First Reformed” here:

“First Reformed” trailer on YouTube.

Watch the trailer for Tony Scott’s genre-benchmark, “Man On Fire” here:

Trailer for Tony Scott’s “Man On Fire” on YouTube.

Categories
Podcast

New Podcast Episode Available Now: “The Canyons”

On this week’s episode of The Filmography, Bjorn and I find a rare opportunity to truly disagree on a picture!

Lindsay Lohan looking appropriately miserable with James Deen glaring at her.

While Bjorn found much to praise about Paul Schrader’s 2013 Lindsay Lohan-starring, Bret Easton Ellis-scripted, self-financed, psycho-sexual thriller, “The Canyons,” I found myself wanting a lot more from (as the poster reminds us) the creators of “American Psycho” and “Taxi Driver.”

Paul Schrader with his screenwriter Bret Easton Ellis.

There is no way to detail my number one complaint without a major spoiler, so suffice it to say that the story doesn’t get interesting until the last 15 minutes of this movie. Although it doesn’t look anywhere as cheap as it’s actual budget, it lacks the polish of Schrader’s other pictures, is his least ambitious piece of filmmaking, and the most compelling thing about it is the fact that Schrader and Ellis self-financed. That should have resulted in a picture of great artistic vision, where two iconoclasts who have pushed the boundaries of what is acceptable (or even advisable) in mainstream cinema and literature, respectively, are freed from the constraints of studio interference. But there is nothing particularly revolutionary about the film itself.

Lindsay Lohan looking adrift in a still from “The Canyons,” a picture that ultimately wastes her talents.

Lohan is (unsurprisingly) much better than her part calls for, but everyone else is beyond wooden. Notorious pornstar (and accused rapist) James Deen’s casting in particular reeks of a publicity stunt. It’s only in the last couple of scenes that he gives off even a glimmer of whatever Schrader and Ellis must have seen to cast him in the first place. The bottom line is that Schrader and Lohan both deserve far better material than this.

Schrader directing Lohan, Deen, et al.

Listen to the latest episode of The Filmography podcast here:

Listen to the episode on Spotify, Apple, or wherever you get your podcasts.
Producer Braxton Pope, writer Bret Easton Ellis, and director Paul Schrader on location with Lohan and one of her co-stars.

Watch the trailer for “The Canyons” here:

“The Canyons” trailer on YouTube.

Watch the Q&A from the world premiere of “The Canyons” at the Film Society of Lincoln Center here:

Paul Schrader’s “The Canyons” Q&A on YouTube.

Read the NY Times Magazine’s article “Here Is What Happens When You Cast Lindsay Lohan In Your Movie” here:

https://www.nytimes.com/2013/01/13/magazine/here-is-what-happens-when-you-cast-lindsay-lohan-in-your-movie.html

Screenshot of the NY Times Magazine’s snooty article on Lindsay Lohan and the making of “The Canyons.”

And in the spirit of fairness, here is an IndieWire article, which like my dear pal Bjorn does, inexplicably praises the picture:

https://www.indiewire.com/features/craft/the-canyons-paul-schrader-bret-easton-ellis-lindsay-lohan-1234898432

Screen capture of Jim Hemphill’s article of appreciation.

And finally, as a very special treat, here is an excerpt from the excellent Paul Schrader interview with my pals over at The Seventh Art:

The Seventh Art’s interview with Schrader on YouTube.

Categories
Morricone

The Morricone Collection: “Teorema” (1968)

Album Cover Art
Theatrical poster.
The Maestro conducts.
Limited Edition Clear Vinyl Sticker
Reverse album sleeve
Facciata 1
Facciata 2

With one side dedicated to Morricone’s original score to Pier Paolo Pasolini’s surrealist psychological drama, “Teorema,” and the other dedicated to Mozart’s “Messi da Requiem,” listeners are treated to two of the greatest (if not THE two greatest) composers of any era.

Ennio
Amadeus

Morricone’s score starts heavy and foreboding, with sharp strings and otherworldly voices, before turning ebullient and playful halfway through with bouncy harmonies, twangy guitar and poppy drum beats, including some bittersweet horn arrangements along the way that would not have felt out of place on any number of the Maestro’s Spaghetti Western scores.

Japanese poster for “Teorema.”
Pasolini: man with a movie camera.

Pier Paolo Pasolini’s 6th film, “Teorema,” which the Criterion Channel describes as “a cooly cryptic exploration of bourgeois spiritual emptiness,”stars Terrence Stamp (“The Limey“) as the mysterious “visitor” who seduces an entire Milanese family.

Teorema, Pasolini: T. Stamp interview; Desire & the Sacred - Mara Marietta
Object of an entire family’s desire, Terrence Stamp in “Teorema.”
Teorema, Pasolini: T. Stamp interview; Desire & the Sacred - Mara Marietta
Stamp looking happy to be between two feet.
Stamp finds time between seductions to get a little reading in.

Links:

Listen to the “Teorema” score here:

“Teorema” score on YouTube.

Watch the BFI trailer for “Teorema” here”

“Teorema” BFI trailer on YouTube

Watch “Teorema” on the Criterion Channel here:

https://www.criterionchannel.com/teorema

Watch “Teorema” on Mubi here:

Watch “Teorema” for free on YouTube here:

https://youtu.be/0CijWgjcJFE?si=LOgmdPpgq5PG0Kc9

Read Roger Ebert’s review of “Teorema” here:


rogerebert.com/reviews/teorema-1969