Tag: Paul Schrader

Categories
Podcast

New Podcast Episode Available Now: “The Card Counter”

Paul Schrader directs his 22nd picture, “The Card Counter.”
Writer-director Paul Schrader in a press photo for “The Card Counter.”

On this week’s episode of The Filmography podcast, Bjorn and I take a deep dive into Paul Schrader’s 22nd picture, 2021’s “The Card Counter.”

Listen to The Filmography podcast on Spotify (with the above link), Apple, or wherever you get your podcasts. New episodes streaming Fridays.
Character Posters for Paul Schrader’s “The Card Counter.”

“The Card Counter” stars Oscar Isaac as William Tell, a gambler with a dark past, another of Schrader’s “man in a room” characters, which we know as soon as we see him sat at his table writing in his journal, as these men in rooms tend to do in Schrader pictures.

A man in a room writing in his journal.

Tell is seeking redemption through his relationship with a troubled young protégée, played by Tye Sheridan (“Ready Player One“).

Tye Sheridan as Cirk.

The relationship between the two men is a gender swap for the older man/younger woman (or girl) relationships we have seen in other Schrader pictures, from “Taxi Driver” (Jodie Foster) to “Hardcore” (Season Hubley).

The protégé and the mentor.

Rounding out the cast of principal players is Tiffany Haddish (“Girl’s Trip“) as La Linda, a manager of card players who recruits, then slowly falls for Isaac’s William Tell.

The Case for The Card Counter's Tiffany Haddish as One of 2021's Best Performances | Features | Roger Ebert
Tiffany Haddish as La Linda.
William Tell and La Linda fall into romance.
Fast Eddie returns in “The Color of Money“

La Linda reminds me of Paul Newman’s and Mary Elizabeth Mastrantonio’s characters from Scorsese’s “The Color of Money” combined, serving as both William Tell’s backer and his love interest.

Paul Newman and Mary Elizabeth Mastrantonio in Scorsese’s “The Color of Money.“

Incidentally, “The Color of Money” director (and frequent Schrader collaborator) Martin Scorsese also serves as Executive Producer of “The Card Counter.”

“The Color of Money” one-sheet.

And like “The Color of Money” the film is more pre-occupied with the interpersonal relationships of its central trio than the mechanics of the pool or poker.

In the villainous role of Major John Gordo, Willem Dafoe returns for his 8th collaboration with Schrader.

Willem Dafoe returns for his 8th Schrader picture.

Most of the Maj. Gordo storyline takes place in flashbacks to William Tell’s military past, a new approach to the “man in a room” picture, which have previously avoided the use of flashbacks.

Extreme wide angles used for the flashback sequences.

Another unusual component to the flashback sequences is the use of an extreme wide angle lens, something that would not have been out of place amongst the visual experimentations of Schrader’s “Dog Eat Dog” but feels new to these men in a room pictures.

Oscar Isaac in a still from “”The Card Counter.”

Like the endless musical variations on a theme that Schrader’s “Mishima” composer Philip Glass is able to create in ways that always feel fresh and new, Schrader’s variations on his “man in a room” stories continue to feel like discoveries of new territories rather than retreads of familiar grounds.

Schrader and Isaac enjoy a lighter moment on set.

After the success and accolades of “First Reformed,” it’s exciting to see Schrader follow it up with another powerful narrative about guilt and the search for love and redemption.

Schrader directs Isaac on set.

Though “First Reformed” is the more celebrated film, I prefer “The Card Counter” for reasons that are hard to articulate, and would require revealing some of the pictures biggest surprises. For that, and all of the highs and lows of one of Schrader’s best pictures, you’ll have to tune into the podcast and hear for yourself!

Schrader with his cast.

Watch the trailer for “The Card Counter” here:

The Card Counter trailer on YouTube

Listen to Philip Glass’ complete score for Schrader’s “Mishima”:

Glass’ “Mishima” score on YouTube.

Read the Guardian’s article on Schrader‘s and Dafoe’s creative partnership here:

https://www.theguardian.com/film/2016/may/27/paul-schrader-willem-dafoe-dog-eat-dog#:~:text=The%20director’s%20at%20his%20best,in%20seven%20of%20Schrader’s%20films.

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: “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
Podcast

New Podcast Episode Available Now: “The Walker”

Paul Schrader’s 16th feature, “The Walker.”

On this week’s episode of The Filmography, Bjorn and I discuss Paul Schrader’s return to his “man in a room” films with this 2007 crime drama starring Woody Harrelson as Carter Page III, the eponymous “walker,” a gay man who escorts the wealthy wives of Washington elites to the social functions that their husbands are too busy (or too disinterested in) to attend.

Woody Harrelson is “The Walker.”
Schrader directs Woody Harrelson, Lauren Bacall, Lily Tomlin, and Kristin Scott Thomas.

As these men in rooms tend to do, Carter becomes embroiled in a murder for which he becomes the prime suspect.

Not a still from Mitchell & Webb’s “Peep Show,” but could be!

The film co-stars screen legends Lauren Bacall and Lily Tomlin, along with Kristin Scott Thomas and (Schrader’s wife) Mary Beth Hurt, as the society women who take Carter’s arm, Ned Beatty, and Schrader regular Willem Dafoe, as two of their husbands.

“The Walker” cast group photo.

Though it may be my least favourite of the “man in a room” films (which is like saying “the least delicious chocolate”), “The Walker” is nonetheless a smart, nuanced character study that features strong performances all around, and some nice thriller moments (one very effective chase scene in particular), and depicts a world not often seen in the mainstream cinema of its era.

The one and only Lily Tomlin.
Woody with Hollywood legend, Lauren Bacall.

Listen to the podcast here:

Watch the trailer for “The Walker” here:

Trailer for “The Walker” on YouTube.

And just for fun, here’s a compilation of over an hour of Peep Show hilarity from the show’s YouTube channel:

Categories
Podcast

New Podcast Episode Available Now: “Dominion: Prequel To The Exorcist”

Stellan Skarsgard is the younger version of Father Merrin, and Billy Crawford is the boy possessed by the demon Pazuzu.

On this week’s episode of The Filmography podcast, Bjorn and I discuss Paul Schrader’s divisive 2005 prequel to William Friedkin’s 1973 horror classic, The Exorcist.

One of the greatest shots in cinema history (which also made for one of the all-time greatest film posters!) from William Friedkin’s 1973 original.

Listen to the podcast here:

The Filmography podcast is available on Spotify, Apple, or wherever you get your podcasts. New episodes streaming every Friday.
Director Paul Schrader on location.

Considering that Schrader was taken off the picture in post-production, and replaced by Die Hard 2: Die Harder‘s Renny Harlin, who re-cast, re-shot, and retitled it, it’s a miracle that this version ever saw the light of day.

Renny Harlin, director of the re-shoot, re-titled The Exorcist: The Beginning.

Starring Stellan Skarsgard in the role originally made famous by the late, great Max Von Sydow, (and though my esteemed co-host may disagree with me) it’s worth the price of admission alone for the gorgeous cinematography by master of light, shadow, and (especially) colour, Vittorio Storaro (pictured with Schrader below).


Paul Schrader with legendary cinematographer Vittorio Storaro.

The least successful elements of the picture are those which are meant to tie the film into the “Exorcist” franchise. The exorcism sequence itself feels like an afterthought, but where the film succeeds on its own terms is in the very Schrader-esque exploration of a deep crisis of faith. After successfully exploring the humanity of the son of God in Martin Scorsese’s “The Last Temptation of Christ,” I was intrigued by the potential flip side of that coin. When not slipping into the silliness of its supernatural elements, “Dominion” asks some profound questions about the nature of faith in the presence of evil. If the devil exists, then surely God must also exist, right?

Willem Dafoe as Jesus, wearing his crown of thorns, in Scorsese & Schrader’s “The Last Temptation of Christ” (1988).
A still from Dominion‘s harrowing WW2 prologue, which serves as the core wound for Father Merrin’s crisis of faith.

Watch the trailer for “Dominion: Prequel To The Exorcist” here:

2005 trailer for “Dominion: Prequel To The Exorcist” on YouTube.

Watch the full movie here:

“Dominion: Prequel To The Exorcist” full movie on YouTube.

Watch the trailer for Scorsese & Schrader’s “The Last Temptation of Christ” here:

Trailer for Martin Scorsese’s “The Last Temptation of Christ,” written by Paul Schrader.

Watch the trailer for the 4K release of William Friedkin’s 1973 original “Exorcist” picture here:

Watch the trailer for Renny Harlin’s version, “The Exorcist: The Beginning” here:

2004 trailer for “The Exorcist: The Beginning” on YouTube.

Watch the full Renny Harlin version here:

Full movie (Renny Harlin version) on YouTube.

Watch Renny Harlin discussing his version, retitled “The Exorcist: The Beginning” here:

Renny Harlin talks The Exorcist: The Beginning.

Watch the trailer for the first sequel, John Boorman’s “The Exorcist II: The Heretic” here:

Trailer for Scream Factory’s Blu-ray release of The Exorcist II: The Heretic on YouTube, featuring a score by Ennio Morricone (expect future post on that).

Watch the trailer for William Peter Blatty’s “The Exorcist III” here:

Trailer for Scream Factory’s Blu-ray release of “The Exorcist III” on YouTube.

Watch the trailer for David Gordon Green’s “The Exorcist: Believer” here:

And while we’re at it, watch the trailer for Renny Harlin’s “Die Hard 2: Die Harder” here:

Die Hard 2: Die Harder trailer on YouTube.

Categories
Podcast

New Podcast Episode Available Now: Auto Focus.

On this week’s episode of The Filmography podcast, Bjorn and I dive into Paul Schrader’s 2002 Bob Crane biopic, “Auto Focus,” a dark and funny portrait of the destabilizing effects of Crane’s twin addictions to sex and videotape. Greg Kinnear gives a performance of great depth, one that was only suggested by his most popular roles, such as his Oscar-nominated turn in “As Good As It Gets.” In a brilliant supporting part, Willem Dafoe plays Crane’s friend, enabler, and (possibly) murderer, John “Carpy” Carpenter. Their strange co-dependent relationship, and the chemistry between Kinnear and Dafoe, make for a fascinating psychological portrait of the destructive forces of addiction. It’s a lot funnier than it’s subject matter would suggest, thanks in no smart part to the influence of co-producers Scott Alexander & Larry Karaszewski, who practically invented this particular brand of empathetic but irreverent biopic with their script for Tim Burton’s “Ed Wood,” and perfected it with their scripts for Milos Forman’s brilliant Andy Kauffman and Larry Flynt biopics (“Man On The Moon” and “The People vs. Larry Flynt,” respectively).

Listen to the podcast here:

The Filmography podcast, streaming on Spotify, Apple, or wherever you get your podcasts.
Original theatrical poster.
Greg Kinnear giving the best performance of his life as sex and video-addicted Bob Crane.
Willem Dafoe having a blast as John “Carpy” Carpenter, Crane’s friend, enabler, and (possibly) murderer.

Watch the trailer here:

Trailer for “Auto Focus” on YouTube.

Listen to the DVD audio commentary here:

Paul Schrader’s audio commentary for “Auto Focus.”

Watch the trailer for “Ed Wood” here:

Trailer for “Ed Wood” on YouTube.

Watch the trailer for “The People vs. Larry Flynt” here:

Watch the trailer for “Man On The Moon” here:

“Man On The Moon” trailer on YouTube.

Categories
Podcast

New Podcast Episode Available Now.

DVD cover art for Paul Schrader’s “Forever Mine,” a film every bit as horny as critics said “The Comfort of Strangers” was.

On this week’s episode of The Filmography, Bjorn and I are joined by special guest Cameron Pulley for a discussion about Paul Schrader’s stylish and strange (and barely released!) 1999 neo-noir melodrama, “Forever Mine,” starring Joseph Fiennes, Gretchen Moll, and Ray Liotta.

Paul Schrader and Gretchen Moll on the set of “Forever Mine.”

The film is so strange in fact that rather than attempt to summarize the narrative myself, I’ll just re-post the synopsis from Paul Schrader’s website here:

“Forever Mine” synopsis from http://paulschrader.org
Joseph Fiennes and some very strange make-up choices.
(The greatly underrated) Gretchen Moll.

Listen to the podcast here:

Now streaming on Spotify, Apple, or wherever you get your podcasts.

Watch the trailer for “Forever Mine” here:

“Forever Mine” trailer on YouTube.

Watch the full movie here:

“Forever Mine” on YouTube.

Categories
Podcast

New Podcast Episode Available Now: Affliction

On this week’s episode of The Filmography, Bjorn Olson and I take a deep dive into Paul Schrader’s adaptation of Russell Banks’ harrowing account of the fallout from an abusive father-son relationship, featuring Oscar-nominated turns from Nick Nolte (who has only ever been better in Neil Jordan’s “The Good Thief“), and James Coburn. As the abusive father, Coburn won the Oscar.

Listen to the podcast here:

Now streaming on Spotify, Apple, or wherever you get your podcasts.

Watch the trailer for “Affliction” here:

Nick Nolte was Oscar-nominated, and James Coburn won, for their portrayals of an embattled father and son on a collision course.

See what Siskel & Ebert had to say about “Affliction” here:

Siskel & Ebert raise their thumbs for Schrader’s picture.
Categories
Podcast

New Podcast Episode Available Now

Original poster for "Touch."
Paul Schrader’s 1997 adaptation of Elmore Leonard’s “Touch.”

Happy Filmography Friday! In this week’s episode, Bjorn Olson and I are joined by returning special guest, Noah Taylor, for a discussion of Paul Schrader’s adaptation of Elmore Leonard’s strangest novel, “Touch,” the first of two films Schrader released in 1997 (followed by Affliction). Thank you for listening!

New episode now streaming on Spotify, Apple, or wherever you get your podcasts.

Watch the trailer for Touch here:

https://youtu.be/27YYTUZuUP8?si=2o6TwPkQKodt4qQy

Watch the film here:

https://www.youtube.com/watch?v=JMD7CNZbmVA&t=208s

Purchase the Elmore Leonard novel here:

Elmore Leonard’s strangest novel.