《国际电影导演词典》书籍电子文献资料（英文版）International Dictionary of Films and Filmmakers Volume - 2（2-3 DIRECTORS）FOURTH EDITION

DIRECTORS, 4 EDITION SCHOEDSACK Hickethier, Knut, in EPD Film(Frankfurt), November 1993 variety of his subjects, Schlondorff is almost invariably drawn to Guerin, N,""Cannes 94, in Jetme Cinema(Paris), January/Febru- material that allows him expression as social critic. All the films cited above share this characteristic. Some of his projects have been Kino(Warsaw), June 1997. courageously political: Katharina Blum is an undisguised attack on Gerr On SCHLONDORFF: film- serves large-scale social repression. As notable are his leading contributions to three collaborative documentaries: Germany in autumn Private Conversation(doc about the making of Deathof a Salesman), a response to the authoritarian climate in the country in the wake of Blackwood. 1985 the baader-Meinhof affair; The Candidate, a work shot during the election campaign that examines the career of ultra-conservative Christian Social Unionist Franz Josef Strauss: and War and Peace. In discussions of the New german Cinema. Volker Schlondorffs agit-prop film essay on the deployment of new American nuclear missiles in the Federal Republic name generally comes up only after the mention of Fassbinder, Schlondorff's major theme is the temptation toward moral ar Herzog, Wenders, and perhaps Straub, Syberberg, or von Trotta. political equivocation within an ambiguous or malignant social order. Though his work certainly merits consideration alongside that of any and his films are wryly or skeptically realistic about any hoped-for of his countrymen, there are several reasons why he has stood apart from them solutions, even courting controversy. A Free Woman chastens unbri As a teenager, Schlondorff moved to France to study, earning dled feminist idealism; Circle of Deceit(made prior to the Israeli academic honors and a university degree in economics and political invasion of Lebanon) refuses to take sides in the lebanese conflict. science. He enrolled at IdhEC with an interest in film directing but Margarethe von Trotta, to whom Schlondorff is married, has hose instead to pursue an active apprenticeship within the French performed in a number of her husbands films and is a frequent film industry. Eventually he served as assistant director to Jean-Pierre collaborator on his scripts; interestingly, her own work as director is Melville. Alain Resnais and Louis malle. Schlondorff then returned characterized not only by a polish equal to Schlondorff's and similar to Germany and scored an immediate triumph with his first feature, political inspiration but also by a compelling intelligence and power Young Torless. Like his mentor Louis Malle, then, he ushered in his of evocation. ountry's new wave of film artists, but also like Malle, Schlondorffs hroughout the 1980s and early 1990s, Schlondorff has continued eclectic range of projects has defied easy categorization, causing his directing films based on fine literature. They feature characters in work to seem less personal than that of almost any other German moral conflict who are spooked by their pasts, uncertain of their filmmaker. The thorough professional training received during hi futures. and unable to control their im decade in france also set Schlondorff apart. His time there instilled in Love, based on Marcel Proust's Remembrances of him an appreciation for the highly-crafted, polished filmmaking that Things Past, is the elegantly sensual story of a wealthy gentlema marks his style. ( The quality of the photography in his work-both Jeremy Irons)who thrives in the finest circles of high society but black and white and in color, whether by Sven Nykvist, Franz Rath, or risks everything over his erotic obsession with a courtesan. Death of Igor Luther-has been consistently exceptional. )While most of his contemporaries declared their antipathy toward the look and produc- Salesman, superbly adapted from the 1984 Broadway revival of the tion methods of the declining German dustry of the 1960s. Arthur Miller play, is the saga of Willy Loman(Dustin Hoffman),the tragic, desperate travelling salesman to whom"attention must be Toward this end he helped form and continues to operate two paid. " The Handmaid's Tale, scripted by Harold Pinter from Marga- production companies-Hallelujah-Film and Bioskop-Film-and has regularly obtained financing from German television and a variety of from a womans point of view. It is set in the future, when white international producers. Yet he has met shooting schedules of just women are coerced into birthing babies who will make up a new three weeks and his wide career includes shorts documentaries and pure"generation. The story focuses on one such female(Natasha television films(one is a production of Brechts Baal with Fassbinder Richardson) who must contend with the advances of the powerful in the title role). In the mid-1970s he even turned to directing commander(Robert Duvall). Finally, Voyager, based on the Max Janacek's Karya Kabanova and a work by Hans Werner Henze Frisch book Homo Faber, is a pensive drama about two very different Intellectual, literate, and fluent in several languages, Schlondorff romances--one in the past, the other in the present-experienced by as chiefly been attracted to the adaption of literary works-a practice Walter Faber( Sam Shepard), a repressed American traveler which has yielded mixed results: Young Torless, from Robert Musil emains one of his best films, and there is much to praise in The Tin Drum. the New German Cinemas foremost commercial success -Herbert Reynolds, updated by rob edelman hich Gunter Grass helped to adapt from his novel. Despite strengths each, though, the directors adaptations of Kleist's Michael Kohlhaas and Marguerite Yourcenar's Coup de grace turned out unevenly for quite different reasons. The admirable Lost Honor of Katharina Blum SChOEdSACK. ernest B comes from a Heinrich Boll story, while the problematic Circle of Deceit was based on the novel by Nicolas Born Among"original,"projects, on the other hand, are A Degree of Nationality: American Born: Ermest Beaumont Schoedsack in Council Murder, a failure by all accounts; the fine A Free Woman; and the Bluffs, lowa, 8 June 1893. Military Service: Served in photographic excellent Sudden Wealth of the Poor People of Kombach. Despite the dept of U.S. Signal Corps in France, 1916, then captain in Red Cross

DIRECTORS, 4 SCHOEDSACK th EDITION 879 Hickethier, Knut, in EPD Film (Frankfurt), November 1993. Guerin, N., ‘‘Cannes 94,’’ in Jeune Cinéma (Paris), January/Febru￾ary 1995. Kino (Warsaw), June 1997. On SCHLÖNDORFF: film— Private Conversation (doc about the making of Death of a Salesman), Blackwood, 1985. *** In discussions of the New German Cinema, Volker Schlöndorff’s name generally comes up only after the mention of Fassbinder, Herzog, Wenders, and perhaps Straub, Syberberg, or von Trotta. Though his work certainly merits consideration alongside that of any of his countrymen, there are several reasons why he has stood apart from them. As a teenager, Schlöndorff moved to France to study, earning academic honors and a university degree in economics and political science. He enrolled at IDHEC with an interest in film directing but chose instead to pursue an active apprenticeship within the French film industry. Eventually he served as assistant director to Jean-Pierre Melville, Alain Resnais, and Louis Malle. Schlöndorff then returned to Germany and scored an immediate triumph with his first feature, Young Törless. Like his mentor Louis Malle, then, he ushered in his country’s new wave of film artists, but also like Malle, Schlöndorff’s eclectic range of projects has defied easy categorization, causing his work to seem less personal than that of almost any other German filmmaker. The thorough professional training received during his decade in France also set Schlöndorff apart. His time there instilled in him an appreciation for the highly-crafted, polished filmmaking that marks his style. (The quality of the photography in his work—both black and white and in color, whether by Sven Nykvist, Franz Rath, or Igor Luther—has been consistently exceptional.) While most of his contemporaries declared their antipathy toward the look and produc￾tion methods of the declining German film industry of the 1960s, Schlöndorff endeavored successfully to make larger-scaled features. Toward this end he helped form and continues to operate two production companies—Hallelujah-Film and Bioskop-Film—and has regularly obtained financing from German television and a variety of international producers. Yet he has met shooting schedules of just three weeks, and his wide career includes shorts, documentaries, and television films (one is a production of Brecht’s Baal with Fassbinder in the title role). In the mid-1970s he even turned to directing opera: Janaček’s Katya Kabanova and a work by Hans Werner Henze. Intellectual, literate, and fluent in several languages, Schlöndorff has chiefly been attracted to the adaption of literary works—a practice which has yielded mixed results: Young Törless, from Robert Musil, remains one of his best films, and there is much to praise in The Tin Drum, the New German Cinema’s foremost commercial success, which Günter Grass helped to adapt from his novel. Despite strengths in each, though, the director’s adaptations of Kleist’s Michael Kohlhaas and Marguerite Yourcenar’s Coup de grace turned out unevenly for quite different reasons. The admirable Lost Honor of Katharina Blum comes from a Heinrich Böll story, while the problematic Circle of Deceit was based on the novel by Nicolas Born. Among ‘‘original’’ projects, on the other hand, are A Degree of Murder, a failure by all accounts; the fine A Free Woman; and the excellent Sudden Wealth of the Poor People of Kombach. Despite the variety of his subjects, Schlöndorff is almost invariably drawn to material that allows him expression as social critic. All the films cited above share this characteristic. Some of his projects have been courageously political: Katharina Blum is an undisguised attack on Germany’s powerful right-wing, scandal-mongering press, which serves large-scale social repression. As notable are his leading contributions to three collaborative documentaries: Germany in Autumn, a response to the authoritarian climate in the country in the wake of the Baader-Meinhof affair; The Candidate, a work shot during the election campaign that examines the career of ultra-conservative Christian Social Unionist Franz Josef Strauss; and War and Peace, an agit-prop film essay on the deployment of new American nuclear missiles in the Federal Republic. Schlöndorff’s major theme is the temptation toward moral and political equivocation within an ambiguous or malignant social order, and his films are wryly or skeptically realistic about any hoped-for solutions, even courting controversy. A Free Woman chastens unbri￾dled feminist idealism; Circle of Deceit (made prior to the Israeli invasion of Lebanon) refuses to take sides in the Lebanese conflict. Margarethe von Trotta, to whom Schlöndorff is married, has performed in a number of her husband’s films and is a frequent collaborator on his scripts; interestingly, her own work as director is characterized not only by a polish equal to Schlöndorff’s and similar political inspiration but also by a compelling intelligence and power of evocation. Throughout the 1980s and early 1990s, Schlöndorff has continued directing films based on fine literature. They feature characters in moral conflict who are spooked by their pasts, uncertain of their futures, and unable to control their impulses and their fates. Swann in Love, based on Marcel Proust’s Remembrances of Things Past, is the elegantly sensual story of a wealthy gentleman (Jeremy Irons) who thrives in the finest circles of high society but risks everything over his erotic obsession with a courtesan. Death of a Salesman, superbly adapted from the 1984 Broadway revival of the Arthur Miller play, is the saga of Willy Loman (Dustin Hoffman), the tragic, desperate travelling salesman to whom ‘‘attention must be paid.’’ The Handmaid’s Tale, scripted by Harold Pinter from Marga￾ret Atwood’s bestseller, is an intriguing science-fiction chiller told from a woman’s point of view. It is set in the future, when white women are coerced into birthing babies who will make up a new, ‘‘pure’’ generation. The story focuses on one such female (Natasha Richardson) who must contend with the advances of the powerful ‘‘commander’’ (Robert Duvall). Finally, Voyager, based on the Max Frisch book Homo Faber, is a pensive drama about two very different romances—one in the past, the other in the present—experienced by Walter Faber (Sam Shepard), a repressed American traveler. —Herbert Reynolds, updated by Rob Edelman SCHOEDSACK, Ernest B. Nationality: American. Born: Ernest Beaumont Schoedsack in Council Bluffs, Iowa, 8 June 1893. Military Service: Served in photographic dept. of U.S. Signal Corps. in France, 1916, then captain in Red Cross

SCHOEDSACK DIRECTORS, 4 EDItION Publications By SCHOEDSACK: article- Grass: The Making of an Epic, in American Cinematographer (Hollywood ), February 1983 On SCHOEdSACK: books- Goldner, Orville, and George Turner, The Making of King Kong Cranbury, New Jersey, 1975 Gottesman, Ronald, and Harry Geduld, editors, The Girl in the Hairy Paw. New York, 1976. On SCHOedSACK. articles- Boone. andrew r ''prehistoric monsters roar and hiss for the Sound Film, in Popular Science Monthly(New York), 1933 The Making of the Original King Kong, in American Cinema- tographer (Los Angeles), January 1977 RKO: They Also Served, in Monthly Film Bulletin(London), December 1979 Goimard, J, ""Cooper et Schoedsack: une longue collaboration, in Avant-Scene du Cinema(Paris), November 198 Mould, D. H, and G. Veeder, The Photographer-Adventurers Forgotten Heroes of the Silent Screen, in Journal ilm and Television (w D.C. ) vol. 16, no. 3, Fall 198 Ernest B Schoedsack photographic unit. Family: Married actress Ruth Rose, 1926, one Ernest B. Schoedsack's initial fame as a filmmaker came from his Career: Worked with engineering road gangs in San Francisco york in the documentary mode directing"natural dramas, as he and area, then secured job as cameraman for Mack Sennett through his partner Merian C. Cooper called their films. Schoedsack's spirit brother Felix (G F)Schoedsack, early 1910s: freelance newsreel for adventure in these pictures can be traced to the kind of life he metaman,Europe, then returned to United States, 1922; collabo- himself led. He began his film career simply enough as a cameraman rated with Merian C. Cooper and newspaper correspondent Marguerite with the Mack Sennett Keystone Studios. When World War I broke Harrison on first film, Grass, 1925; suffered severe eye injury while out Schoedsack enlisted with the photographic section of the Signal testing photographic equipment for U.S. Army Air Corps, World War Corps. He was stationed in France, where he gained a great deal of IL. Died: 23 December 1979 film experience as a newsreel cameraman. With the signing of the Armistice, Schoedsack decided to remain in Europe and aid the poles in their battle against the russians. while in Poland schoedsack continued to make newsreels. This occupation, however, was prima Films as director: rily a cover to disguise the fact that he was smuggling supplies and Poles out of Russian-occupied territory. 925 Grass(doc)(co-d, co-pr, co-sC, co-ph) It was in Poland that Schoedsack met his future partner Merian C 1927 Chang(doc)(co-d, co-pr) Cooper. Like Schoedsack, Cooper was an American who wanted to 1929 The Four Feathers(co-d, co-pr) help the Polish people in their struggle for freedom. Coopers exploits during the Russian-Polish conflict resulted in his imprisonment by the 931 Rango(+ pr) Russians as a spy. Fortunately he managed to escape before he could 1932 The Most Dangerous Game(The Hounds of Zaroff( co-d, be executed. The true-life adventures of both Cooper and Schoedsack make it easy to see why these two sought out the most distant, 1933 King Kong(co-d, co-pr): Son of Kong: Blind Adventure difficult, and dangerous locations they could find for their films 1934 Long Lost Father Their first motion picture collaboration, titled Grass, concerned 1935 The Last Days of Pompeii yearly migration of the Bakhtiari tribes in Persia as they crossed 1937 Trouble in Morocco; Outlaws of the Orient over the Zadeh Kuh mountain range to find grazing land for their 1940 Dr. Cyclops sheep and cattle. Although the trip was long and treacherous, Coop 1949 Mighty Joe Young and Schoedsack made the journey with the tribesmen, filming every 52 This Is Cinerama(d prologue only, uncredited) step of the way. Back home Grass was an extremely successful film

SCHOEDSACK DIRECTORS, 4th EDITION 880 Ernest B. Schoedsack photographic unit. Family: Married actress Ruth Rose, 1926, one son. Career: Worked with engineering road gangs in San Francisco area, then secured job as cameraman for Mack Sennett through brother Felix (G.F.) Schoedsack, early 1910s; freelance newsreel cameraman, Europe, then returned to United States, 1922; collabo￾rated with Merian C. Cooper and newspaper correspondent Marguerite Harrison on first film, Grass, 1925; suffered severe eye injury while testing photographic equipment for U.S. Army Air Corps, World War II. Died: 23 December 1979. Films as Director: 1925 Grass (doc) (co-d, co-pr, co-sc, co-ph) 1927 Chang (doc) (co-d, co-pr) 1929 The Four Feathers (co-d, co-pr) 1931 Rango (+ pr) 1932 The Most Dangerous Game (The Hounds of Zaroff) (co-d, co-pr) 1933 King Kong (co-d, co-pr); Son of Kong; Blind Adventure 1934 Long Lost Father 1935 The Last Days of Pompeii 1937 Trouble in Morocco; Outlaws of the Orient 1940 Dr. Cyclops 1949 Mighty Joe Young 1952 This Is Cinerama (d prologue only, uncredited) Publications By SCHOEDSACK: article— ‘‘Grass: The Making of an Epic,’’ in American Cinematographer (Hollywood), February 1983. On SCHOEDSACK: books— Goldner, Orville, and George Turner, The Making of King Kong, Cranbury, New Jersey, 1975. Gottesman, Ronald, and Harry Geduld, editors, The Girl in the Hairy Paw, New York, 1976. On SCHOEDSACK: articles— Boone, Andrew R., ‘‘Prehistoric Monsters Roar and Hiss for the Sound Film,’’ in Popular Science Monthly (New York), 1933. ‘‘The Making of the Original King Kong,’’ in American Cinema￾tographer (Los Angeles), January 1977. ‘‘RKO: They Also Served,’’ in Monthly Film Bulletin (London), December 1979. Goimard, J., ‘‘Cooper et Schoedsack: une longue collaboration,’’ in Avant-Scène du Cinéma (Paris), November 1982. Mould, D. H., and G. Veeder, ‘‘The Photographer-Adventurers: Forgotten Heroes of the Silent Screen,’’ in Journal of Popular Film and Television (Washington, D.C.), vol. 16, no. 3, Fall 1988. *** Ernest B. Schoedsack’s initial fame as a filmmaker came from his work in the documentary mode directing ‘‘natural dramas,’’ as he and his partner Merian C. Cooper called their films. Schoedsack’s spirit for adventure in these pictures can be traced to the kind of life he himself led. He began his film career simply enough as a cameraman with the Mack Sennett Keystone Studios. When World War I broke out Schoedsack enlisted with the photographic section of the Signal Corps. He was stationed in France, where he gained a great deal of film experience as a newsreel cameraman. With the signing of the Armistice, Schoedsack decided to remain in Europe and aid the Poles in their battle against the Russians. While in Poland Schoedsack continued to make newsreels. This occupation, however, was prima￾rily a cover to disguise the fact that he was smuggling supplies and Poles out of Russian-occupied territory. It was in Poland that Schoedsack met his future partner Merian C. Cooper. Like Schoedsack, Cooper was an American who wanted to help the Polish people in their struggle for freedom. Cooper’s exploits during the Russian-Polish conflict resulted in his imprisonment by the Russians as a spy. Fortunately he managed to escape before he could be executed. The true-life adventures of both Cooper and Schoedsack make it easy to see why these two sought out the most distant, difficult, and dangerous locations they could find for their films. Their first motion picture collaboration, titled Grass, concerned the yearly migration of the Bakhtiari tribes in Persia as they crossed over the Zardeh Kuh mountain range to find grazing land for their sheep and cattle. Although the trip was long and treacherous, Cooper and Schoedsack made the journey with the tribesmen, filming every step of the way. Back home Grass was an extremely successful film

DIRECTORS, 4 EDITION SCHRADER and, along with Nanook of the North, helped to set the style for urmentarv trave Their next project together, Chang, was a documentary film set in China, but with a more centralized story line than Grass. This film dealt with one mans efforts to protect his family from the dangers of nature. In order to help dramatize the story, some events in the film were staged. For example, the climactic elephant stampede toward the end of the film was directed at a mock village so that no lives would be endangered. Audiences in America were none the wiser, however, and Chang played to large crowds on Broadway with each successive film Cooper and Schoedsack moved more and more toward fiction, although their films still retained a docu- mentary look. For example, their next film, The Four Feathers included background scenes filmed in Africa, while the princip actors were filmed on a Hollywood stage. Eventually Cooper and Schoedsack moved their filmmaking partnership entirely to Holly wood and away from real locations. They continued to make films i ocumentary style, though, as shown by their most famous film of all, King Kong. As a work of fiction, King Kong is a fantasy version of Cooper and Schoedsack's ultimate documentary adventure-a jour- ney to a faraway uncharted island in search of the ""Eighth Wonder of the World. The film was the box-office surprise of 1933 and it is still popular today After King Kong Schoedsack directed little of note. He directed two more giant ape pictures, Son of Kong and Mighty Joe Young.An accident during World War II left him partially blinded, but his documentary films alone earned Schoedsack an important place in the tradition of non -fiction filmmaking Paul Schrader Linda j. obalil SCHRADER. Paul 1985 Mishima: A Life in Four Chapters 1987 Light of Day 988 Patty Hearst(d only) Nationality: American. Born: Grand Rapids, Michigan, 22 July 1990 The Comfort of Strangers(d only) 1992 Light Sleeper Educated in Ministry of Christian Reformed religion at Calvin 1994 Witch Hunt(d only)(for TV College, Grand Rapids, Michigan, graduated 1968: took summer 1997 Touch; Affliction classes in film at Columbia University, New York; University of California at Los Angeles Film School, M.A., 1970. Family: Married actress Mary Beth Hurt, 1983, one daughter, one son. Career: Moved to Los Angeles, 1968: worked as a writer for the Los Angeles Free Other films Press, then became editor of Cinema magazine: first script to be filmed. The Yakuza. 1974: directed his first feature, Blue Collar 1977. Awards: First Prize Paris Festival. for Blue Collar. 1978 1974 The Yakuza(pollack(co-sc) 1976 Taxi Driver(Scorsese)(sc); Obsession (De Palma)(co-sc) Mention for Affiction. 1997: Writers Guild of America Laurel 1977 Rolling Thunder(Flynn)(sc): Close Encounters of the Third Award for Screen Writing Achievement, 1999. Address: Schrader Kind(Spielberg)(co-sc, uncredited) Productions, 1501 Broadway, Suite 1405, New York, NY 10019, 1978 Old Boyfriends(Tewkesbury)(co-SC, exec pr) .S A. Agent: Jeff Berg, International Creative Management, 8899 Beverly Blvd., Los Angeles, CA 90048, U.S.A. 1984 De Weg waar Bresson (The Road to Bresson)(De Boer, Rood)(doc)(ro as himself) 1986 The Mosquito Coast(Weir)(sc) 988 The Last Temptation of Christ (Scorsese)(sc) Films as director and scriptwriter 1995 City Hall (Becker(co-sc); The Hollywood Fashion Machine (Ely-for TV)(doc)(ro as himself) 1977 Blue Collar 1999 Bringing out the Dead (Scorsese)(sc) 1978 Hardcore 2002 Dino(Scorsese)(co-sc 881

DIRECTORS, 4 SCHRADER th EDITION 881 and, along with Nanook of the North, helped to set the style for documentary travelogues. Their next project together, Chang, was a documentary film set in China, but with a more centralized story line than Grass. This film dealt with one man’s efforts to protect his family from the dangers of nature. In order to help dramatize the story, some events in the film were staged. For example, the climactic elephant stampede toward the end of the film was directed at a mock village so that no lives would be endangered. Audiences in America were none the wiser, however, and Chang played to large crowds on Broadway. With each successive film Cooper and Schoedsack moved more and more toward fiction, although their films still retained a docu￾mentary look. For example, their next film, The Four Feathers, included background scenes filmed in Africa, while the principal actors were filmed on a Hollywood stage. Eventually Cooper and Schoedsack moved their filmmaking partnership entirely to Holly￾wood and away from real locations. They continued to make films in the documentary style, though, as shown by their most famous film of all, King Kong. As a work of fiction, King Kong is a fantasy version of Cooper and Schoedsack’s ultimate documentary adventure—a jour￾ney to a faraway uncharted island in search of the ‘‘Eighth Wonder of the World.’’ The film was the box-office surprise of 1933 and it is still popular today. After King Kong Schoedsack directed little of note. He directed two more giant ape pictures, Son of Kong and Mighty Joe Young. An accident during World War II left him partially blinded, but his documentary films alone earned Schoedsack an important place in the tradition of non-fiction filmmaking. —Linda J. Obalil SCHRADER, Paul Nationality: American. Born: Grand Rapids, Michigan, 22 July 1946; the brother of screenwriter Leonard Schrader. Education: Educated in Ministry of Christian Reformed religion at Calvin College, Grand Rapids, Michigan, graduated 1968; took summer classes in film at Columbia University, New York; University of California at Los Angeles Film School, M.A., 1970. Family: Married actress Mary Beth Hurt, 1983, one daughter, one son. Career: Moved to Los Angeles, 1968; worked as a writer for the Los Angeles Free Press, then became editor of Cinema magazine; first script to be filmed, The Yakuza, 1974; directed his first feature, Blue Collar, 1977. Awards: First Prize Paris Festival, for Blue Collar, 1978; Valladolid International Film Festival Youth Jury Award-Special Mention, for Affliction, 1997; Writers Guild of America Laurel Award for Screen Writing Achievement, 1999. Address: Schrader Productions, 1501 Broadway, Suite 1405, New York, NY 10019, U.S.A. Agent: Jeff Berg, International Creative Management, 8899 Beverly Blvd., Los Angeles, CA 90048, U.S.A. Films as Director and Scriptwriter: 1977 Blue Collar 1978 Hardcore Paul Schrader 1979 American Gigolo 1981 Cat People (d only) 1985 Mishima: A Life in Four Chapters 1987 Light of Day 1988 Patty Hearst (d only) 1990 The Comfort of Strangers (d only) 1992 Light Sleeper 1994 Witch Hunt (d only) (for TV) 1997 Touch; Affliction 1999 Forever Mine Other Films: 1974 The Yakuza (Pollack) (co-sc) 1976 Taxi Driver (Scorsese) (sc); Obsession (De Palma) (co-sc) 1977 Rolling Thunder (Flynn) (sc); Close Encounters of the Third Kind (Spielberg) (co-sc, uncredited) 1978 Old Boyfriends (Tewkesbury) (co-sc, exec pr) 1980 Raging Bull (Scorsese) (co-sc) 1984 De Weg waar Bresson (The Road to Bresson) (De Boer, Rood) (doc) (ro as himself) 1986 The Mosquito Coast (Weir) (sc) 1988 The Last Temptation of Christ (Scorsese) (sc) 1995 City Hall (Becker) (co-sc); The Hollywood Fashion Machine (Ely—for TV) (doc) (ro as himself) 1999 Bringing out the Dead (Scorsese) (sc) 2002 Dino (Scorsese) (co-sc)

SCHRADER DIRECTORS, 4 EDItION Publications Wells, J, "American Gigolo and Other Matters, in Film Comment (New Yo By SCHRADER: books- Sinyard, Neil, Guilty Pleasures: The Films of Paul Schrader, in Cinema Papers(Melbourne), December 1982 Transcendental Style in Film: Ozu, Bresson, Dreyer, Berkeley, 1972. Eisen, K,"The Young Misogynists of American Cinema, in Schrader on Schrader, edited by Kevin Jackson, London, 1989 Cineaste(New York), vol 13. no. 1, 1983 Cleopatra Club, New York, 1995 Gehr, Richard. ""Citizen Paul, in American Film(Los Angeles), vol. 1988 By SCHRADER: articles- Fraser, Peter,"American Gigolo and Transcendental Style, in Literature/Film Quarterly (Salisbury, Maryland), vol. 16 Schrader, Paul, "Robert Bresson, Possibly, in Film Comment(New York), September/October 1977 Combs, Richard, Patty Hearst and Paul Schrader: A Life and Interview with Gary Crowdus and Dan Georgakas, in Cineaste(New a Career in 14 Stations, in Sight and Sound (London), Sum- York), winter 1977/78. 'Paul Schrader's Guilty Pleasures, " in Film Comment(New York), Kennedy, Harlan, "" The Discomforts of Paul Schrader, in Film Comment(New York), July/August 1990. Interview with M.P. Carducci, in Millimeter (New York), Febru- Freedman,SG,"A Fallen Calvinist Pursues His Vision of True 1979 Heroism. in The New York Times, 25 August 19 Interview with Mitch Tuchmann, in Film Comment (New York), Prestor, U,"Paul Schrader, in Ekran(Ljubljana, Yugoslavia, no March/April 1980 8/9,1992. Truth with the Power of Fiction " interview with Tim Pulleine, in McDonagh, M, ""New Schrader Anti-Hero Awakens in Light Sleeper, Sight and Sound (London), Autumn 1984. in Film Journal(New York), August 1992. Interview with Michel Ciment, in Positif(Paris), June 1985 Lopate, Philip, With Pen in Hand, They Direct Movies, 'in New " The Japanese Way of Death, interview with David Thomson, in York Times, 16 August 1992. Stills(London), June/July 1985 Grimes, W, The Auteur Theory of Film: Holy or Just Full of Interview with Allan Hunter, in Films and Filming (London), Novem- Holes?, in New York Times, 20 February 1993 ber 1985 Mortimer, L, ""Desperately Seeking Union: Paul Schrader and Light Interview with Karen Jaehne, in Film Quarterly (Berkeley), Sleeper, 'in Metro Magazine(St. Kilda West, Victoria, Aus- tralia), Winter 1993 Interview with Glenn Rechler, in Cineaste(New York), no 1, 1989. Skal, DJ,"Touch, in Cinefantastique(Forest Park, Illinois), Interview with E. Anttila, in Filmihullu(helsinki), no. 2. 1989 8,1997. Dialogue on Film: Paul Schrader in American Film Los ange Webster, A," Filmography, in Premiere(New York), Febru les), July/August 1989 ary 1997. Schrader. Paul. *Does the Letter Still Rate? Porn Has the X. lets Use an A, in New York Times, 5 August 1990 Movie High, interview with Scott Macaulay, in Filmmaker(Los Angeles), no. 1, 1992. While it is doubtless fanciful and recherche to read paul schrader's A Spirit Looking for a Body, interview with H. Barlow, in movies as unmediated reflections of his own life and feelings, it is Filmnews(New South Wales, Australia), no 9, 1992. nonetheless true that the director/screenwriter's" religious fascina To Hell with Paul Schrader, interview with L. De Coppet, in tion with the redeeming hero"echoes his extreme fascination with Interview(New York), March 1992 himself. The incredible urge that his characters have to confess Awakenings, " interview with Gavin Smith, in Film Comment(New (Schrader frequently resorts to voice-overs and interior monologues), York), March/April 1992 exemplified by Travis Bickle's mutterings in Taxi Driver, Christs Interview with Michel Ciment, in Positif(Paris), April 1993. musings on the cross during his Last Temptation, and Patty Hearst's Schrader. Paul. " Paul Schrader on Martin Scorsese. in The Ney thoughts about her abduction, suggest that his films are firmly rooted rker 21 in self-analysis. The 1989 book Schrader on Schrader, and the chrader, Paul, "Pickpocket de Bresson, "in Positif(Paris), June 1994. filmmaker's enthusiasm for the bio-pic (Mishima, Patty Hearst), A Man of Excess, "interview with G. Smith, in Sight and Sound a genre that had been more or less moribund since the time of Paul ( London), January 1995. Muni, testify that he does indeed share the Calvinist urge to account Schrader, Paul, ""Babes in the Woods, 'in Artforum(New York), for everything, to make ut of the introspective inventory of his, or somebody elses, life Interview with A.. Navarro, in Dirigido Por(Barcelona), Novem- Appropriately, for a confirmed fan of the films of Bresson, the ber 1997 image of the condemned man/woman attempting to escape his/her fate is a leitmotif in Schraders work. He seems obsessed with prison On SCHRADER: articles- metaphors, with images of captivity. In Patty Hearst, Natasha Rich- andson is locked up in a cupboard In Cat People, Nastassia Kinski d L ends up behind bars, in a zoo-a human captive in a panther's body Schrader, in Cahiers du Cinema(Paris), November 1978 Richard Gere, in American Gigolo, is'framed'(he is""for Cuel, F, ""Dossier: Hollywood 79: Paul Schrader, in Cinematographe a murder he did not commit and"framed as the object of the gaze- Paris), March 1979. the camera seems to love him), and the last time we see him, he is

SCHRADER DIRECTORS, 4th EDITION 882 Publications By SCHRADER: books— Transcendental Style in Film: Ozu, Bresson, Dreyer, Berkeley, 1972. Schrader on Schrader, edited by Kevin Jackson, London, 1989. Cleopatra Club, New York, 1995. By SCHRADER: articles— Schrader, Paul, ‘‘Robert Bresson, Possibly,’’ in Film Comment (New York), September/October 1977. Interview with Gary Crowdus and Dan Georgakas, in Cineaste (New York), Winter 1977/78. ‘‘Paul Schrader’s Guilty Pleasures,’’ in Film Comment (New York), January/February 1979. Interview with M.P. Carducci, in Millimeter (New York), Febru￾ary 1979. Interview with Mitch Tuchmann, in Film Comment (New York), March/April 1980. ‘‘Truth with the Power of Fiction,’’ interview with Tim Pulleine, in Sight and Sound (London), Autumn 1984. Interview with Michel Ciment, in Positif (Paris), June 1985. ‘‘The Japanese Way of Death,’’ interview with David Thomson, in Stills (London), June/July 1985. Interview with Allan Hunter, in Films and Filming (London), Novem￾ber 1985. Interview with Karen Jaehne, in Film Quarterly (Berkeley), Spring 1986. Interview with Glenn Rechler, in Cineaste (New York), no. 1, 1989. Interview with E. Anttila, in Filmihullu (Helsinki), no. 2, 1989. ‘‘Dialogue on Film: Paul Schrader,’’ in American Film (Los Ange￾les), July/August 1989. Schrader, Paul, ‘‘Does the Letter Still Rate? Porn Has the X, Let’s Use an A,’’ in New York Times, 5 August 1990. ‘‘Movie High,’’ interview with Scott Macaulay, in Filmmaker (Los Angeles), no. 1, 1992. ‘‘A Spirit Looking for a Body,’’ interview with H. Barlow, in Filmnews (New South Wales, Australia), no. 9, 1992. ‘‘To Hell with Paul Schrader,’’ interview with L. De Coppet, in Interview (New York), March 1992. ‘‘Awakenings,’’ interview with Gavin Smith, in Film Comment (New York), March/April 1992. Interview with Michel Ciment, in Positif (Paris), April 1993. Schrader, Paul, ‘‘Paul Schrader on Martin Scorsese,’’ in The New Yorker, 21 March 1994. Schrader, Paul, ‘‘Pickpocket de Bresson,’’ in Positif (Paris), June 1994. ‘‘A Man of Excess,’’ interview with G. Smith, in Sight and Sound (London), January 1995. Schrader, Paul, ‘‘Babes in the Woods,’’ in Artforum (New York), May 1995. Interview with A.J. Navarro, in Dirigido Por (Barcelona), Novem￾ber 1997. On SCHRADER: articles— Toubiana, Serge, and L. Bloch-Morhange, ‘‘Trajectoire de Paul Schrader,’’ in Cahiers du Cinéma (Paris), November 1978. Cuel, F., ‘‘Dossier: Hollywood 79: Paul Schrader,’’ in Cinématographe (Paris), March 1979. Wells, J., ‘‘American Gigolo and Other Matters,’’ in Film Comment (New York), March/April 1980. Sinyard, Neil, ‘‘Guilty Pleasures: The Films of Paul Schrader,’’ in Cinema Papers (Melbourne), December 1982. Eisen, K., ‘‘The Young Misogynists of American Cinema,’’ in Cineaste (New York), vol 13, no. 1, 1983. Gehr, Richard, ‘‘Citizen Paul,’’ in American Film (Los Angeles), vol. 13, no. 10, 1988. Fraser, Peter, ‘‘American Gigolo and Transcendental Style,’’ in Literature/Film Quarterly (Salisbury, Maryland), vol. 16, no. 2, 1988. Combs, Richard, ‘‘Patty Hearst and Paul Schrader: A Life and a Career in 14 Stations,’’ in Sight and Sound (London), Sum￾mer 1989. Kennedy, Harlan, ‘‘The Discomforts of Paul Schrader,’’ in Film Comment (New York), July/August 1990. Freedman, S.G., ‘‘A Fallen Calvinist Pursues His Vision of True Heroism,’’ in The New York Times, 25 August 1991. Prestor, U., ‘‘Paul Schrader,’’ in Ekran (Ljubljana, Yugoslavia, no. 8/9, 1992. McDonagh, M., ‘‘New Schrader Anti-Hero Awakens in Light Sleeper,’’ in Film Journal (New York), August 1992. Lopate, Philip, ‘‘With Pen in Hand, They Direct Movies,’’ in New York Times, 16 August 1992. Grimes, W., ‘‘The Auteur Theory of Film: Holy or Just Full of Holes?,’’ in New York Times, 20 February 1993. Mortimer, L., ‘‘Desperately Seeking Union: Paul Schrader and Light Sleeper,’’ in Metro Magazine (St. Kilda West, Victoria, Aus￾tralia), Winter 1993. Skal, D.J., ‘‘Touch,’’ in Cinefantastique (Forest Park, Illinois), no. 8, 1997. Webster, A., ‘‘Filmography,’’ in Premiere (New York), Febru￾ary 1997. *** While it is doubtless fanciful and recherché to read Paul Schrader’s movies as unmediated reflections of his own life and feelings, it is nonetheless true that the director/screenwriter’s ‘‘religious fascina￾tion with the redeeming hero’’ echoes his extreme fascination with himself. The incredible urge that his characters have to confess (Schrader frequently resorts to voice-overs and interior monologues), exemplified by Travis Bickle’s mutterings in Taxi Driver, Christ’s musings on the cross during his Last Temptation, and Patty Hearst’s thoughts about her abduction, suggest that his films are firmly rooted in self-analysis. The 1989 book Schrader on Schrader, and the filmmaker’s enthusiasm for the bio-pic (Mishima, Patty Hearst), a genre that had been more or less moribund since the time of Paul Muni, testify that he does indeed share the Calvinist urge to account for everything, to make his art out of the introspective inventory of his, or somebody else’s, life. Appropriately, for a confirmed fan of the films of Bresson, the image of the condemned man/woman attempting to escape his/her fate is a leitmotif in Schrader’s work. He seems obsessed with prison metaphors, with images of captivity. In Patty Hearst, Natasha Rich￾ardson is locked up in a cupboard. In Cat People, Nastassia Kinski ends up behind bars, in a zoo—a human captive in a panther’s body. Richard Gere, in American Gigolo, is ‘‘framed’’ (he is ‘‘framed’’ for a murder he did not commit and ‘‘framed’’ as the object of the gaze— the camera seems to love him), and the last time we see him, he is

DIRECTORS, EDITIO SCHRADER ith the lush, magical opulence of New Orleans in Cat People, the uperficial hima. Edgy a sto gelism or his tedious drowning in his demons. Hollywood's mosttorh trresting y diso ort as he nd his problems are linked to his 883

DIRECTORS, 4 SCHRADER th EDITION 883 reaching out for Lauren Hutton but is separated from her by the glass panel in the prison interview booth. Christ, predictably, ends up on the cross: he too is trapped. A last, sad image of Raging Bull is of Jake La Motta (Robert De Niro) banging his head against his cell wall. Schrader’s work abounds in figures cabined, cribbed, and confined. Travis Bickle, that emissary from 1970s America, is a prisoner in the city, a prisoner in his own body, a prisoner behind the wheel of his taxi, a slave to pornography and junk food, and he is trying, in his mildly psychotic way, to free Jodie Foster’s child prostitute, who is similarly trapped. Season Hubley in Hardcore is whisked away from a Calvinist Convention, kidnapped by a snuff movie producer, and needs an Ahab/John Wayne figure (George C. Scott) from the suburbs to rescue her, to try to reincarcerate her within the family. Even Schrader’s Venice in The Comfort of Strangers, studio-built and full of interminable dark corridors, seems more like San Quentin than a beautiful European city on water. An American of Dutch/German extraction, Schrader had a strict religious upbringing in Grand Rapids, Michigan. He did not watch as much TV as one might expect, and when it came to the cinema, he was cruelly deprived: incredibly, he saw his first film, The Absent-minded Professor, when he was seventeen. Then came the revelation of Wild in the Country, a lurid Elvis Presley vehicle which gave him his vision on the Road to Damascus: he was captured by the celluloid muse. His Calvinist background, combined with his early career as film histo￾rian/critic, makes him among the more academically inclined of mainstream Hollywood filmmakers. He was a Pauline Kael protegé, a ‘‘Paulette’’ as he describes it, and it was Kael’s influence which got him into the film course at UCLA. Few of his contemporaries have been fellows of the American Film Institute or have written ineffably unfathomable monographs on transcendental style in the movies of Ozu, Bresson, and Dreyer. He straddles two mutually exclusive cultures, traditions, discourses. On the one hand, he is the film scholar and expert in European and Japanese cinema. On the other, he is the hack Hollywood director and screenwriter. It is a tension that he seems to enjoy. Is he the artist locked up in a commercial catacomb or is he the popular filmmaker, hampered by his own notions of art? Is he, perhaps, just plain religious freak and show-off? ‘‘The reason I put that Bressonian ending onto American Gigolo,’’ he noted, ‘‘was a kind of outrageous perversity, saying I can make this fashion￾conscious, hip Hollywood movie and at the end claim it’s really pure; and in Cat People I can make this horror movie and say it was about Dante and Beatrice.’’ Sometimes Schrader seems too clever by half. Kael, attacking Patty Hearst, suggested he lacked a basic instinct for moviemaking: ‘‘He doesn’t reach an audience’s emotions.’’ This is probably unfair. His own scripts have a relentless narrative drive, generally toward some kind of judgement day (witness his work with Scorsese). When he is directing another writer’s scenario, he can lose that obsessive will to destruction, salvation, damnation. Both Patty Hearst and The Comfort of Strangers—though it must be taxing for any director to try to animate a Pinter script—lack the momentum, the frenetic desire to tell a story, which may be found in the films he wrote himself. Apparently, he worked with Spielberg on early drafts of Close Encounters, but Spielberg elbowed him off the project because Schrader did not share his Capra-like love of the common man and wanted to make the protagonist a crusading religious fruitcake à la Travis Bickle. Whatever one’s reservations about Schrader’s evan￾gelism or his tedious self-obsession, he is undoubtedly one of Hollywood’s most formally arresting filmmakers. He pays enormous attention to set design. (He has worked frequently with Scarfiotti, Bertolucci’s designer on The Conformist.) He seems equally at home with the lush, magical opulence of New Orleans in Cat People, the sober, almost drama-doc look of Patty Hearst, the glossy, superficial Los Angeles, all hotels, restaurants, and expensive apartments, of American Gigolo, or the stagy, elaborate sets on Mishima. Edgy, prowling tracks (the opening shot of The Comfort of Strangers is a virtuoso effort in camera peripeteia to rival the first few minutes of Welles’ Touch of Evil), a predilection for high angle shots (humans as bugs), and his discerning use of music (he has worked with Philip Glass and Giorgio Moroder, among others) show him as a filmmaker with a consummate love of his craft. Yet Schrader thrives on controversy. He was sacked from his job as film critic for the Los Angeles Free Press because he gave a debunking review to Easy Rider. American Gigolo was attacked as being homophobic. Mishima provoked an outcry in Japan. The Last Temptation of Christ brought the moral majority out to the picket line. Apparently a student radical in the 1960s, Schrader caricatures the Symbionese Liberation Army, Patty Hearst’s abductors, as idiotic mouthers of revolutionary platitudes. His films seem to abound in right-wing visionaries (Travis Bickle, George C. Scott in Hardcore, Mishima, Christopher Walken in The Comfort of Strangers) and, while he does not straightforwardly endorse their viewpoints, he respects their right to be individuals and their struggle for redemption, a struggle which invariably leaves onlookers dead and dying in the crusading hero’s wake. Social historians of American culture and politics in the 1970s and 1980s will find rich pickings in the Schrader oeuvre. Schrader continued his cinematic explorations of characters attempting to purge themselves of their excesses and sins in Light Sleeper, a knowing, sobering film set amid the strata of the New York City drug culture. Symbolically, its scenario is set during a sanitation strike, allowing the streets to be strewn with garbage. Willem Dafoe plays John LeTour, a forty-year-old ex-junkie and ‘‘mid-level drug dealer’’ whose clientele consists of upscale New Yorkers willing to pay big bucks for top-quality product. Both LeTour and Ann (Susan Sarandon), his boss, are fascinating characters. Within the confines of her world, Ann is a celebrity, a legend: the Mayflower Madam of the drug trade. She dresses like a high-powered business executive, dines in fancy restaurants, and tools around town in a chauffeured limou￾sine. She also is shifting from drug dealing to marketing cosmetics. LeTour, too, yearns to go straight: he is having trouble sleeping, and he fears he has run out of luck. However, his redemption will not come easily, a fact that quickly becomes apparent when he runs into Marianne (Dana Delany), his ex-girlfriend and also a former junkie. On occasion in Light Sleeper, Schrader waxes nostalgic about the ‘‘good old days’’ of drug use, ‘‘before crack came,’’ when cocaine was the drug of choice. Otherwise, he graphically depicts the ravages of drugs. His junkies are unromanticized and ultimately pathetic. Despite its top-of-the-line cast, Light Sleeper was too unsexy a film to earn the widespread hype enjoyed by many of Schrader’s ear￾lier films. Touch, the story of a Christ-like character named Juvenal (Skeet Ulrich) who is exploited by various revivalists, fundamentalists, and hucksters, is another of Schrader’s films that may be directly linked to his upbringing. It also is one of his lesser films, as it wallows in understatement. He then reemerged in full force with Affliction, based on a novel by Russell Banks, the saga of Wade Whitehouse (Nick Nolte, in a performance that is a model of anguished intensity), a small-town New Hampshire sheriff who is drowning in his demons. His ex-wife despises him; his daughter feels only discomfort as he ineptly attempts to relate to her; and his problems are linked to his