Paul Schrader Felt Death Closing In, So He Made a Movie about It

 Director Paul Schrader poses for portrait photographs for the film "Oh, Canada", at the 77th international film festival, Cannes, southern France, Friday, May 17, 2024. (AP)
Director Paul Schrader poses for portrait photographs for the film "Oh, Canada", at the 77th international film festival, Cannes, southern France, Friday, May 17, 2024. (AP)
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Paul Schrader Felt Death Closing In, So He Made a Movie about It

 Director Paul Schrader poses for portrait photographs for the film "Oh, Canada", at the 77th international film festival, Cannes, southern France, Friday, May 17, 2024. (AP)
Director Paul Schrader poses for portrait photographs for the film "Oh, Canada", at the 77th international film festival, Cannes, southern France, Friday, May 17, 2024. (AP)

After a string of hospitalizations for long COVID, Paul Schrader had a realization.

“If I’m going to make a film about death,” Schrader told himself, “I’d better hurry up.”

The health of the 77-year-old filmmaker, whose films and scripts have covered half a century of American movies, from “Taxi Driver” to “First Reformed,” has since improved. But that sense of urgency only increased when Russell Banks, a friend of Schrader’s since he adapted Banks’ “Affliction” into the 1997 film, began ailing. Banks died in 2023.

Schrader resolved to turn Banks’ 2021 novel “Foregone” into a film. At the time, he imagined it would be his last. But Schrader, who’s been as prolific as ever in the past decade, has said that before.

In 2017, he surmised that “First Reformed” was his final cinematic statement. Then he made 2021’s “The Card Counter.” And, after that came 2022’s “Master Gardener.”

“The irony is every time you think, ‘Well, that’s about it,’ you have a new idea,” Schrader told The Associated Press in an interview at the Cannes Film Festival.

On Friday, Schrader was to premiere his Banks’ adaptation, now titled “Oh, Canada,” at Cannes. It’s his first time back in competition in 36 years. And, particularly given that he’s joined this year by Francis Ford Coppola and George Lucas — all of them central figures of the fabled New Hollywood — Schrader’s Cannes return comes with echoes of the heyday of ’70s American moviemaking. “Taxi Driver,” which Schrader wrote, won the Palme d’Or here in 1976.

Schrader, though, allows for only so much nostalgia.

“It’s gotten aggrandized in the collective memory. There were a lot of bad films. There were a lot of bad players,” Schrader says of the ’70s. “However, it was the birth of the self-starting movement in cinema. So people like George and Francis and I, all film-school graduates like Marty, we all started our careers in this environment. That was a kind of a golden moment, but that doesn’t mean all the films were golden.”

“Oh, Canada,” which is seeking a distributor, is a kind of bookend to one of the films from that era: the 1980 neo-noir “American Gigolo.” Schrader reteams with Richard Gere decades after “American Gigolo” made Gere a star. Until now, Schrader says, the two hadn’t much discussed reuniting.

“Richard had been developing some mannerisms that I wasn’t entirely comfortable with as a director, and roles I wasn’t comfortable with,” Schrader says. “I was thinking more in terms of Ethan (Hawke) and Oscar (Isaac).”

But the idea of “Oh, Canada” as a kind of spiritual sequel to “American Gigolo” appealed to him. In the film, Gere stars as a revered Canadian filmmaker named Leonard Fife who, nearly on his deathbed, grouchily sits for an interview with documentary filmmakers. His wife (Uma Thurman) watches on as Leonard tells his life story, seen in flashbacks with Jacob Elordi playing the younger Fife, in the 1960s. We have the impression that Fife, who fled to Canada during the Vietnam War, is speaking more honestly than ever before.

“I thought the dying Gigolo — that put some spin on it. People are going to be interested in that, even though it’s not the same character at all,” Schrader says. “I could see that he had come out of retirement. He needs this, therefore he’ll do it for nothing.”

Schrader approached Gere with a few stipulations.

“I said, ‘I’ll send it to you on three conditions: One, that you read it right away. Two, that I get an answer in two weeks. And, three, that you understand my financial parameters,’” Schrader says. “He agreed. I said the same thing to (Robert) De Niro. Bob said, ‘Well, I agree to the first two but not the third one.’”

“So I didn’t send the script to Bob,” Schrader says, laughing.

Since the 2013 film “The Canyons,” which he directed from a Bret Easton Ellis script, Schrader has found a way to make the economics of independent filmmaking work for him.

“People thought that was all a kind of desperate career failure, but it was a glimpse into a new world. It was a trial run of how you do a film yourself,” says Schrader. “After that, I knew that you could make a film and get final cut. You could say to an investor: ‘I’m not going to make you rich — get that dog out of your head. But I think I’m going to make you whole. And I’m going to give you a credit and I’m going to put you on a red carpet somewhere. You could put your money into toasters or tires, or you could put it into this film.’”

The significant caveat to that, Schrader says, is that he came up in the old system of Hollywood. He’s not sure the same strategy could work for someone less established in today’s digital landscape.

“I got my head above the crowd when there was only 400 people in the room,” he says. “Now there’s 40,000 people in the room.”

But few filmmakers remain as engaged with current cinema as Schrader. He goes at least once a week to the movies and often posts brief reviews on his Facebook page. Jane Schoenbrun of “I Saw the TV Glow,” he recently wrote, is “hands down the most original voice in film in the last decade.” He liked the tennis drama “Challengers” (“Zendaya is a star”) but wrote: “The studios would have never let this slight a story run so long — on the other hand, the studios aren’t making this movie anymore.”

“You usually go to the movies because it’s something you want to see in a crowd,” Schrader says. “Like, I went to see ‘Cocaine Bear’ because I knew it would be great to see with an audience.”

“It’s not a particularly good time for film,” Schrader concludes as the interview winds down. “It’s not a bad time. It’s very easy to get a film made. It’s very hard to make a living.”



Gaga, Green Day, Post Malone Primed to Headline Sweltering Coachella

Lady Gaga. (AFP/Getty Images)
Lady Gaga. (AFP/Getty Images)
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Gaga, Green Day, Post Malone Primed to Headline Sweltering Coachella

Lady Gaga. (AFP/Getty Images)
Lady Gaga. (AFP/Getty Images)

Music fans were descending on California's Coachella Valley for the premier arts festival that begins Friday and features headliners Lady Gaga, Green Day and Post Malone.

The opening day promises to be a scorcher, quite literally; a dome of high pressure is triggering a mini heat wave in southern California, with meteorologists predicting the temperature could crack 100 degrees Fahrenheit (37.8 degrees Celsius).

Organizers are urging the tens of thousands expected to arrive at the poorly shaded festival grounds to stay hydrated and use sunscreen as they gather to see other day-one lineup highlights including rapper Missy Elliott, Australian electropop band Parcels, and a rare stateside appearance from British punk ravers The Prodigy.

The sprawling desert weekend marks the unofficial start of music festival season, which Lady Gaga is priming to kick off with a bang. Fresh off the release of her latest album "Mayhem," the pop superstar has vowed "a massive night of chaos."

"Can't wait to hear you all singalong and dance dance DANCE till we drop," she posted when the lineup was announced.

South African star Tyla is also slated to perform Friday, one year after an injury forced her to pull out of the 2024 festival.

"Had many opportunities to go but swore to myself that the first time I go to Coachella, imma be performing... and look now!" she wrote on X when the lineups were announced last year.

And Blackpink's Lisa -- fresh off a role in HBO's hit show "White Lotus" -- will perform on her own Friday night, having twice taken the Coachella stage with her bandmates.

Later in the weekend Charli XCX is expected to turn the grounds her signature "brat" green, after a blockbuster year that saw her latest album propel her to new echelons of fame.

Travis Scott will play a special guest slot following Green Day's Saturday set, years after the hip-hop performer was slated to headline the 2020 festival, which was ultimately scrapped due to the Covid-19 pandemic.

- Rock revival -

Fresh off a Grammy win, Venezuelan band Rawayana is also primed to play a top slot on Saturday.

And celebrity conductor Gustavo Dudamel notably will lead the Los Angeles Philharmonic in a sunset concert.

There have been orchestral performances at Coachella before -- film composers Danny Elfman and Hans Zimmer were showcased over the past decade -- but Saturday's performance will be the first time a major professional orchestra has played there.

Hip-hop superstar Megan Thee Stallion will helm the main stage Sunday ahead of Post Malone's headlining performance, with Ty Dolla $ign also set to perform.

Also on Sunday French duo Polo & Pan will bring their tropicalia-infused electro set back to the Coachella Valley.

German electronic pioneers Kraftwerk are another draw, as are two of the 2025 Best New Artist Grammy nominees, Shaboozey and Benson Boone.

And while Coachella has leaned decidedly pop over the past decade, the 2025 edition will get back to the festival's rock roots.

Along with Green Day, rock acts including The Go-Gos, the original Misfits, Jimmy Eat World, and cult punk legends the Circle Jerks are slated to play.

"In this world gone sideways we know one thing for certain - rock 'n' roll is forever, and its spirit is needed now more than ever," said Green Day frontman Billie Joe Armstrong earlier this year in Billboard.

Coachella 2025 will take place on April 11-13 and 18-20.