While doing the media rounds for his incredible new film “First Reformed,” Paul Schrader sat down for a one-on-one podcast with fellow filmmaker Sofia Coppola, at A24 studios. The talk was wide-ranging, focusing not only on Schrader’s newest release but also his career as a whole, which has been, for lack of a better word, varied. From writing critically-acclaimed films like “Taxi Driver” and “The Last Temptation of Christ” to directing his most recent direct-to-DVD films starring Nicolas Cage, Schrader hasn’t bee the most consistent filmmaker of the last few decades.
READ MORE: Paul Schrader’s ‘First Reformed’ Is A Gripping Spiritual Riff On ‘Taxi Driver’ [Review]
The conversation is unsurprisingly insightful as both filmmakers have been in the field for almost their entire lives. One particularly interesting topic of conversation is Schrader’s breakdown of how to get an independent film seen in today’s market. As he notes:
“Around 10 or 12 independent films a year rise above the crowd and are noticed by the general public … and how do you get to be one of those 12 is a very big question. And I’m starting to realize in the current marketplace, which changes every year, you have to first pass through the gatekeepers, which are the festivals and then the next stage is running the gauntlet.”
For Schrader, the gauntlet refers to a number of specialty screenings, to see how the film will play. For “First Reformed,” he went on a lecture tour with the film, screened it at various seminaries, and overseas festivals before A24 figured out a release strategy, six months after they purchased the film out of Toronto. Their release schedule worked, as “First Reformed” has become a breakout hit within the independent market, gaining Schrader some of his best reviews of his career.
A few other insights for the conversation include Schrader and Coppola discussing “binge-writing” at night, as opposed to keeping a set schedule. Schrader’s infamous preoccupation with Bresson’s “Pickpocket” is also brought up, as is his famous book “Transcendental Style in Film.” By being both a filmmaker and a critic, Schrader has always been able to discuss the connections between his films unlike any other and, in a telling moment, he connects the main characters in his films “Taxi Driver,” “American Gigolo,” “Light Sleeper,” and “First Reformed” as a progression of the same character.
The entire conversation is fascinating stuff and one final piece of advice from Coppola and Schrader: “If you’re going to steal, steal from the best.” Also, be sure to check out Schrader’s conversation with another fellow filmmaker Brian Koppelman, as that one dives more into Schrader’s screenwriting process.