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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

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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: 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

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.