1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:06,650 --> 00:00:09,289 [Paul Schrader] So much of the arts is about 3 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 4 00:00:09,290 --> 00:00:10,910 being the right place at the right time. 5 00:00:11,690 --> 00:00:14,510 I think I've been involved in four great films 6 00:00:15,860 --> 00:00:18,559 and I thank them for extremely good 7 00:00:18,560 --> 00:00:20,600 films and the rest fall behind. 8 00:00:21,500 --> 00:00:23,809 And the great ones are Taxi Driver, 9 00:00:24,410 --> 00:00:25,481 Mishima, Affliction, and, now, First Reformed. Then 10 00:00:28,160 --> 00:00:29,899 they've all come about 20 years apart. 11 00:00:31,340 --> 00:00:33,349 So you think to yourself, if you're a good 12 00:00:33,350 --> 00:00:35,150 artist, why can't you make 13 00:00:36,500 --> 00:00:37,669 something great every time? 14 00:00:38,030 --> 00:00:40,060 Why do you have to wait 20 fucking years before 15 00:00:40,080 --> 00:00:41,080 you're doing again? 16 00:00:41,810 --> 00:00:43,070 Well, that's what it is. 17 00:00:43,850 --> 00:00:46,369 And sometimes you wait 20 years and 18 00:00:46,370 --> 00:00:47,850 you don't ever do it again. 19 00:00:49,640 --> 00:00:52,360 If it's a matter of luck 20 00:00:52,370 --> 00:00:54,039 and preparation and 21 00:00:54,040 --> 00:00:54,292 serendipity. 22 00:00:55,344 --> 00:00:57,598 [Alex Ross Perry] You know, I would argue that 23 00:00:57,622 --> 00:00:59,467 American Gigolo is as great as it gets. 24 00:01:03,410 --> 00:01:05,979 Mean, what's interesting to me as a director 25 00:01:06,490 --> 00:01:07,617 is to keep trying to do 26 00:01:08,950 --> 00:01:09,950 things A. 27 00:01:11,310 --> 00:01:12,310 Could I make a horror film? Could 28 00:01:13,860 --> 00:01:15,397 I make a working class movie? 29 00:01:17,320 --> 00:01:20,190 How do you make a gangster film in 2015? 30 00:01:20,880 --> 00:01:21,880 Could I do a DIY movie? I'm 31 00:01:24,610 --> 00:01:25,610 could I do a spiritual movie? 32 00:01:27,660 --> 00:01:30,479 There always has to be something 33 00:01:31,380 --> 00:01:34,500 that sparks the imagination and a challenge. 34 00:01:34,800 --> 00:01:36,019 Can I do this? 35 00:01:36,210 --> 00:01:37,500 Will I pull this off? 36 00:01:43,090 --> 00:01:44,168 Ethan is a damaged guy 37 00:01:45,800 --> 00:01:46,800 who is sort of on 38 00:01:48,850 --> 00:01:51,203 a certain Diary 39 00:01:51,398 --> 00:01:52,398 of a Country Proest trajectory, 40 00:01:53,900 --> 00:01:55,443 you know, there's a bit of 'Country Priest in 41 00:01:56,330 --> 00:01:58,030 this, a bit Winter Light sort of premise 42 00:01:58,770 --> 00:02:01,120 And then Ordet and then 43 00:02:01,550 --> 00:02:02,972 some of Ida here 44 00:02:04,080 --> 00:02:05,599 as well. Like, you know, winter 45 00:02:06,580 --> 00:02:08,535 like for the young couple comes and the Max Von 46 00:02:08,536 --> 00:02:09,536 Sydow character kills 47 00:02:12,010 --> 00:02:14,264 himself. Well, in this case, the young couple, 48 00:02:14,442 --> 00:02:16,647 the girls pregnant, who's Amanda Seyfried and 49 00:02:17,170 --> 00:02:20,139 her husband wants her to have abortion because 50 00:02:20,140 --> 00:02:22,529 he's an eco warrior or he doesn't believe that he 51 00:02:22,530 --> 00:02:24,882 can bring people into the world with it to be in 52 00:02:24,960 --> 00:02:26,350 the world in 2050. 53 00:02:26,970 --> 00:02:27,970 And and 54 00:02:29,960 --> 00:02:31,810 so they are counseling him, but he kills himself 55 00:02:31,811 --> 00:02:33,962 anyway. And he has a, he 56 00:02:34,900 --> 00:02:36,256 has an explosive vest, which our 57 00:02:37,570 --> 00:02:38,570 character and 58 00:02:40,140 --> 00:02:43,479 starts to take on his personality and 59 00:02:43,480 --> 00:02:45,990 starts working in soup kitchens and 60 00:02:46,170 --> 00:02:47,969 going around with the explosive vest on. 61 00:02:48,270 --> 00:02:51,689 And it's all building to the 62 00:02:51,690 --> 00:02:53,412 250th consecration of the little church, which is 63 00:02:53,413 --> 00:02:54,610 being financed by the big church, which is being financed 64 00:02:56,740 --> 00:02:58,300 by environmental horrors. 65 00:02:58,450 --> 00:02:59,450 So it's ecology 66 00:03:01,210 --> 00:03:03,322 and God. This is literally a pop -- we will 67 00:03:03,970 --> 00:03:05,270 be out of here in a flash. 68 00:03:06,580 --> 00:03:07,707 Ethan is sitting at the 69 00:03:09,230 --> 00:03:10,350 sushi bar with 70 00:03:12,960 --> 00:03:14,432 an insert miso. 71 00:03:15,200 --> 00:03:17,013 So then we're going to cheat him over 72 00:03:18,100 --> 00:03:20,569 there, shoot across him and he's going 73 00:03:20,570 --> 00:03:22,187 to look back and we're gonna find 74 00:03:23,050 --> 00:03:23,379 two. 75 00:03:23,380 --> 00:03:24,654 And Balk and some business 76 00:03:26,060 --> 00:03:28,569 men will be in that both and 77 00:03:28,780 --> 00:03:30,005 throw focus back to that. 78 00:03:30,823 --> 00:03:32,763 And those are the only, the 79 00:03:35,530 --> 00:03:36,530 only shots we need here. 80 00:03:36,900 --> 00:03:39,195 Part of the slow cinema 81 00:03:40,480 --> 00:03:41,851 experience is committing yourself to 82 00:03:43,450 --> 00:03:44,470 the experience. 83 00:03:44,750 --> 00:03:46,509 It's like going to church. 84 00:03:46,580 --> 00:03:48,559 You know, you don't leave halfway through a 85 00:03:48,560 --> 00:03:50,110 service because you think it's boring. 86 00:03:50,130 --> 00:03:51,680 You want a tombstone? 87 00:03:51,830 --> 00:03:52,400 Yeah. 88 00:03:52,401 --> 00:03:54,067 You went you made a commitment and 89 00:03:55,090 --> 00:03:57,310 you're gonna have to stay over so 90 00:03:58,960 --> 00:04:00,161 that when people watch at home, they don't have 91 00:04:00,162 --> 00:04:01,162 quite that sense of 92 00:04:02,800 --> 00:04:04,439 commitment that they do in the theater. 93 00:04:04,440 --> 00:04:06,969 And I've made an effort to go to the 94 00:04:06,970 --> 00:04:07,970 theater. 95 00:04:08,240 --> 00:04:09,460 So it is harder to hold them. 96 00:04:09,486 --> 00:04:10,486 Certain of these slow films 97 00:04:12,100 --> 00:04:14,940 really are designed for museums, 98 00:04:14,980 --> 00:04:17,322 you know, they're installation pieces, you know. 99 00:04:17,323 --> 00:04:19,869 It's such 100 00:04:19,870 --> 00:04:21,151 a tricky balance of how to keep a viewer coming at you, while 101 00:04:26,420 --> 00:04:27,339 you're pushing them away. 102 00:04:27,340 --> 00:04:30,509 Well, we're spending 103 00:04:30,620 --> 00:04:31,650 a lot of time in this room. This is Toller's sort 104 00:04:33,580 --> 00:04:36,319 of monastic cell that the desk he 105 00:04:36,320 --> 00:04:39,279 writes his journal on the bed is 106 00:04:39,280 --> 00:04:42,489 here, mirrors there and 107 00:04:42,570 --> 00:04:43,648 of some shelves with a 108 00:04:45,490 --> 00:04:46,490 little bit of a closet there. 109 00:04:46,870 --> 00:04:47,870 But basically, it's just barren 110 00:04:54,520 --> 00:04:56,529 This room is going to be basically empty. 111 00:04:57,940 --> 00:04:59,889 He lives in that room. 112 00:05:01,360 --> 00:05:03,819 I think we're going to have to take out 113 00:05:03,820 --> 00:05:06,339 that table and I would put a chair in here and 114 00:05:06,490 --> 00:05:07,749 I'm going to be up for this room. 115 00:05:08,110 --> 00:05:10,879 Maybe know maybe something on the walls. 116 00:05:11,620 --> 00:05:13,531 You know, the whole, the whole strategy 117 00:05:14,560 --> 00:05:16,079 behind this film is if it moves 118 00:05:17,200 --> 00:05:18,200 take it away. 119 00:05:18,550 --> 00:05:19,550 So we are dealing 120 00:05:21,040 --> 00:05:23,500 with as many empty spaces as we can. 121 00:05:31,160 --> 00:05:32,459 What set this all in motion. 122 00:05:32,500 --> 00:05:33,958 It's two years ago I had dinner with Pawel 123 00:05:34,831 --> 00:05:36,170 Pawlikowski, who did Ida, you know? 124 00:05:37,620 --> 00:05:39,580 I was talking to him and I had written a 125 00:05:40,110 --> 00:05:42,629 lot in the past about spiritual set among 126 00:05:42,710 --> 00:05:43,710 transcendental cinema. 127 00:05:44,580 --> 00:05:46,393 And I left that dinner with him and I 128 00:05:47,100 --> 00:05:48,410 said, it's time. 129 00:05:48,920 --> 00:05:51,449 Well, I never tried to 130 00:05:51,450 --> 00:05:52,640 work in this field before. 131 00:05:53,000 --> 00:05:55,500 And I said "you're going to be 70 and 132 00:05:55,980 --> 00:05:58,038 it's time you make a film like this." So I 133 00:05:58,470 --> 00:06:00,283 wrote one and then now I'm making it. 134 00:06:00,694 --> 00:06:01,694 Perfect. 135 00:06:03,030 --> 00:06:04,859 Good. It's a good film to make for your last 136 00:06:04,860 --> 00:06:05,569 film. 137 00:06:05,570 --> 00:06:06,570 Is that what this is? 138 00:06:07,140 --> 00:06:08,909 Well, I mean, obviously, when you get to a 139 00:06:08,910 --> 00:06:11,189 certain age, you know, you're always thinking 140 00:06:11,190 --> 00:06:11,469 that. 141 00:06:11,470 --> 00:06:11,575 Yeah. 142 00:06:11,576 --> 00:06:12,517 You know. 143 00:06:12,690 --> 00:06:14,849 You know, if this was it, it's a good place to 144 00:06:14,850 --> 00:06:15,289 stop. 145 00:06:15,290 --> 00:06:15,949 Yeah. 146 00:06:15,950 --> 00:06:18,253 I think it's like that quote from Ride the High 147 00:06:18,360 --> 00:06:19,592 Country. Joel McCrae says to Scott. 148 00:06:19,593 --> 00:06:22,170 He says, "What do you want?" 149 00:06:23,420 --> 00:06:25,769 His character's name is Steve Judd. "What do you 150 00:06:25,770 --> 00:06:28,139 want, Steve?" Steve says, "All I want 151 00:06:28,230 --> 00:06:29,290 is to enter my house. 152 00:06:29,310 --> 00:06:30,310 Justified." So 153 00:06:33,970 --> 00:06:36,309 that's sort of what First Reformed is -- I 154 00:06:36,700 --> 00:06:38,268 guess I'd like to into my house, 155 00:06:39,350 --> 00:06:40,350 justified. 156 00:06:40,460 --> 00:06:42,062 I want, want to walk in, standing upright 157 00:06:43,970 --> 00:06:44,970 and proud of myself. 158 00:06:46,280 --> 00:06:48,387 I don't want to sleek in, Isneak in covered 159 00:06:48,920 --> 00:06:49,920 with grime. 160 00:06:58,110 --> 00:07:00,382 So these are the kind of tableaus in this film 161 00:07:01,970 --> 00:07:04,010 so so 162 00:07:04,630 --> 00:07:06,989 like this is, this is the angle 163 00:07:07,240 --> 00:07:09,763 and this thing goes on for like 10 minutes and 164 00:07:09,862 --> 00:07:11,757 people get up, people leave, bababa like that. 165 00:07:13,530 --> 00:07:15,120 But, no, there are is other cutting. 166 00:07:16,410 --> 00:07:18,839 And it really goes to this whole idea 167 00:07:18,930 --> 00:07:21,239 of putting the onus 168 00:07:21,600 --> 00:07:23,880 on the viewer, what is important to watch, 169 00:07:24,540 --> 00:07:26,865 because obviously editing creates lazy viewing, 170 00:07:27,890 --> 00:07:30,149 because you're being constantly told by the 171 00:07:30,150 --> 00:07:31,320 editor what's important. 172 00:07:31,650 --> 00:07:33,757 OK. This is important, his reaction is more 173 00:07:34,260 --> 00:07:35,759 important than her statement now. 174 00:07:36,720 --> 00:07:37,949 Well, if you feel anything 175 00:07:39,450 --> 00:07:41,399 as a viewer, you sit there and say, well, 176 00:07:42,490 --> 00:07:43,519 that's more interesting. 177 00:07:43,550 --> 00:07:45,545 In 4, 3, 2 ... what's more interesting, the girl 178 00:07:45,546 --> 00:07:48,359 talking about the abortion 179 00:07:48,540 --> 00:07:50,537 or the girl listening to her talk about the 180 00:07:50,538 --> 00:07:52,743 abortion? Because they're both on either side 181 00:07:53,040 --> 00:07:55,649 of the room and we're not 182 00:07:55,650 --> 00:07:56,569 cutting. 183 00:07:56,570 --> 00:07:58,608 And so, you know, you just you track people back 184 00:07:58,609 --> 00:07:59,609 and forth 185 00:08:17,350 --> 00:08:19,563 Dog Eat Dog 186 00:08:19,887 --> 00:08:21,014 before this. Our mantra 187 00:08:22,480 --> 00:08:23,670 was "never be boring." And 188 00:08:25,670 --> 00:08:26,670 the whole film was paced to 189 00:08:29,720 --> 00:08:30,945 never have a dull moment. 190 00:08:31,181 --> 00:08:32,181 And this film is 191 00:08:33,870 --> 00:08:37,079 the opposite because it's boredom 192 00:08:37,240 --> 00:08:38,590 as an aesthetic tool. 193 00:08:39,520 --> 00:08:40,520 And how to use boredom the 194 00:08:42,340 --> 00:08:44,744 same way you use action. 195 00:08:44,908 --> 00:08:46,280 The pace is gonna be so slow 196 00:08:47,590 --> 00:08:49,103 and people are gonna walk slow. 197 00:08:50,520 --> 00:08:52,529 You know, if somebody enters frame right, which 198 00:08:53,670 --> 00:08:56,229 you know, now you're not going 199 00:08:56,230 --> 00:08:58,979 to cut 'til they exit frame left and 200 00:08:58,980 --> 00:08:59,980 they're not going to walk fast. 201 00:09:00,860 --> 00:09:02,918 People don't go to movies to be bored, you 202 00:09:03,780 --> 00:09:05,103 know? So, look, it's a very 203 00:09:06,310 --> 00:09:07,310 delicate little dance. 204 00:09:09,090 --> 00:09:10,919 How do you distance a viewer? 205 00:09:12,540 --> 00:09:14,370 How do you push the viewer away in a way 206 00:09:15,450 --> 00:09:18,119 that makes him lean 207 00:09:18,120 --> 00:09:20,669 in? Just the fact that it's a different format 208 00:09:21,300 --> 00:09:23,760 unsettles the viewer. You get different 209 00:09:24,330 --> 00:09:24,519 freedoms. 210 00:09:24,520 --> 00:09:25,455 Rehearsal. Action. 211 00:09:43,930 --> 00:09:45,285 They shoot a single shot. 212 00:09:45,337 --> 00:09:46,337 I'm not crazy about. They'll 213 00:09:50,360 --> 00:09:52,149 fix this up and we'll shoot it on Tuesday. 214 00:09:52,800 --> 00:09:53,800 What are you doing instead? 215 00:09:54,470 --> 00:09:55,850 We're doing getting them in place and they're 216 00:09:55,880 --> 00:09:56,880 singles. 217 00:09:57,250 --> 00:09:58,393 So you're covering this scene in how many shots? 218 00:09:58,488 --> 00:09:59,488 Four. Establisher to 219 00:10:03,320 --> 00:10:05,479 get them in place, the master, which is really 220 00:10:05,480 --> 00:10:06,480 the main thing. 221 00:10:07,040 --> 00:10:09,196 And wide definition of the singles, which is 222 00:10:09,440 --> 00:10:09,921 right about here. 223 00:10:09,922 --> 00:10:10,922 The Delayed 224 00:10:13,760 --> 00:10:14,760 cut. 225 00:10:14,820 --> 00:10:16,382 You know, normally you cut when the door opens. 226 00:10:16,383 --> 00:10:18,740 Delayed Cut and you cut to the door. 227 00:10:18,920 --> 00:10:19,943 One, two, three. Person walks in, person leaves. 228 00:10:22,790 --> 00:10:24,350 One, two, three. 229 00:10:24,730 --> 00:10:27,499 YOU HOLD. It throws the viewer completely off 230 00:10:27,950 --> 00:10:30,259 because you are not servicing the viewer's 231 00:10:31,040 --> 00:10:33,649 emotional and visual needs anymore. 232 00:10:34,070 --> 00:10:35,929 You're making them stare at this doorway in a way 233 00:10:35,930 --> 00:10:38,270 that they would never stare at it in real life. 234 00:10:38,690 --> 00:10:40,729 Once that person left in real life, they would be 235 00:10:40,730 --> 00:10:41,730 looking somewhere else. 236 00:10:41,930 --> 00:10:43,519 They wouldn't just be standing there looking at 237 00:10:43,520 --> 00:10:44,520 the door. 238 00:10:46,790 --> 00:10:47,917 So you have to withhold 239 00:10:49,340 --> 00:10:51,610 and then give, make a rule, break rule, 240 00:10:51,930 --> 00:10:54,049 you know, and keep them interested with 241 00:10:55,430 --> 00:10:57,620 the belief that it's going to pay off. 242 00:11:02,380 --> 00:11:04,890 How much does an actor withhold? 243 00:11:06,080 --> 00:11:07,354 You know, these movies are 244 00:11:08,730 --> 00:11:11,529 always ... Bresson used Non-Actors, but 245 00:11:11,530 --> 00:11:13,690 they always have restrained performances. 246 00:11:13,691 --> 00:11:14,510 [Scene from Diary of a Country Priest]. 247 00:11:31,325 --> 00:11:33,510 When an actor starts showing emotion, 248 00:11:34,500 --> 00:11:36,803 the viewer doesn't have to, you want the viewer 249 00:11:36,840 --> 00:11:38,330 to show that emotion that the actor is showing. 250 00:11:39,780 --> 00:11:42,233 So you keep tampering them 251 00:11:42,276 --> 00:11:43,276 now, pushing them down. 252 00:11:43,950 --> 00:11:45,609 [Scene from First Reformed, Ethan Hawke: "I wish I had not used the word pride. 253 00:11:46,770 --> 00:11:48,039 But I cannot cross it out. 254 00:11:53,670 --> 00:11:54,929 If only I could pray."] 255 00:11:55,570 --> 00:11:57,929 [Paul] You know, this film is full of self 256 00:11:57,930 --> 00:11:59,129 -references as well. 257 00:11:59,400 --> 00:12:01,409 I mean, you know a lot of kids are going to be 258 00:12:01,410 --> 00:12:03,757 able to write their term paper on this 259 00:12:04,080 --> 00:12:06,600 film because it's just full 260 00:12:06,690 --> 00:12:07,866 of references both to my 261 00:12:09,330 --> 00:12:11,339 own work and to work of other filmmakers, 262 00:12:12,420 --> 00:12:13,029 you know? 263 00:12:13,030 --> 00:12:15,149 But what I found in this film is we've had, 264 00:12:17,280 --> 00:12:19,394 I think, maybe four or five Taxi Driver shots 265 00:12:21,480 --> 00:12:22,480 that are right straight out of Taxi Driver and 266 00:12:25,710 --> 00:12:28,169 two of the five was intended to 267 00:12:28,170 --> 00:12:30,571 be a straight out of Taxi Driver. The other three 268 00:12:30,720 --> 00:12:33,179 just fell in because of 269 00:12:33,180 --> 00:12:34,649 the nature of what I was shooting. 270 00:12:36,060 --> 00:12:38,849 I'm shooting Ethan putting on a suicide vest 271 00:12:38,880 --> 00:12:41,360 in front of a mirror and watching him do this 272 00:12:41,366 --> 00:12:42,366 and I said well this is like Travis. 273 00:12:43,780 --> 00:12:44,980 It's the same shot. 274 00:12:45,630 --> 00:12:46,652 The only thing he's not doing twirling the gun. 275 00:12:48,740 --> 00:12:49,875 Ethan's stomach is bothering him, but he's also 276 00:12:51,380 --> 00:12:52,380 a drinker. 277 00:12:53,290 --> 00:12:55,035 The shot where he pours himself some whiskey, 278 00:12:55,036 --> 00:12:56,702 because his stomach is not feeling 279 00:12:57,700 --> 00:12:58,927 well, so he pours Pepto Bismol into 280 00:13:00,520 --> 00:13:01,520 the whiskey. 281 00:13:02,110 --> 00:13:04,231 And then we did a high speed shot like Marty did 282 00:13:05,410 --> 00:13:07,468 in the Alka Seltzer, which was stolen from 283 00:13:07,570 --> 00:13:08,570 Godard's Two or Three Things I Know About Her. 284 00:13:14,745 --> 00:13:15,753 [Shot from Two or Three Things I Kniw About You] 285 00:13:37,230 --> 00:13:40,049 You do incorporate other people's work because 286 00:13:40,110 --> 00:13:41,110 you know it works. 287 00:13:46,338 --> 00:13:48,250 There was a point in my career where 288 00:13:49,330 --> 00:13:51,379 I can lie and say, you know, 289 00:13:52,810 --> 00:13:54,004 I'm just a carpenter, I'll build anything 290 00:13:55,270 --> 00:13:56,270 you want. 291 00:13:56,640 --> 00:13:58,472 But at this point, no one believes that lie 292 00:13:58,473 --> 00:13:59,473 anymore. I've 293 00:14:01,120 --> 00:14:02,639 gotten into two films now where 294 00:14:03,580 --> 00:14:04,890 I wasn't a good boy. 295 00:14:30,280 --> 00:14:31,720 So I've been here 296 00:14:32,880 --> 00:14:33,880 editing First Reformed 297 00:14:35,410 --> 00:14:36,580 and we're sort done with that. 298 00:14:37,150 --> 00:14:38,710 We locked picture yesterday. 299 00:14:40,670 --> 00:14:43,140 But we're also editing a second film, which I'm 300 00:14:43,154 --> 00:14:44,154 calling Dark. 301 00:14:49,056 --> 00:14:50,056 [Alex] That's incredible, that's great. 302 00:14:54,400 --> 00:14:56,589 [Paul] I didn't realize what technique I should 303 00:14:56,590 --> 00:14:58,783 have been using until I worked with Ben here on 304 00:14:58,784 --> 00:15:01,429 Dog Eat Dog and we 305 00:15:01,430 --> 00:15:02,430 started to do some stuff on Dog Eat Dog. And 306 00:15:04,410 --> 00:15:06,090 I said, you know, that's what I should have been doung on Dying of the Lifgt. So 307 00:15:07,990 --> 00:15:10,391 when the First Reformed came about, which is the 308 00:15:11,050 --> 00:15:13,255 opposite film, a very quiet film, not heavily 309 00:15:14,440 --> 00:15:16,989 involved in gonzo editing. I said to 310 00:15:16,990 --> 00:15:19,809 Ben, you I'll edit First Reformed, but 311 00:15:19,810 --> 00:15:20,923 on the side we will redo Dying of the Light and we'll 312 00:15:22,710 --> 00:15:23,710 call it Dark, a new 313 00:15:25,240 --> 00:15:27,028 film and we'll be editing two contra-posed 314 00:15:28,231 --> 00:15:29,231 movie simultaneously, you 315 00:15:31,840 --> 00:15:32,840 know, doing an 316 00:15:34,330 --> 00:15:35,330 al-right film and an alt-left film at 317 00:15:37,170 --> 00:15:38,170 the same time. 318 00:15:38,190 --> 00:15:40,789 I just always 319 00:15:40,790 --> 00:15:42,358 try to do something new and keep 320 00:15:44,200 --> 00:15:46,340 awake and I 321 00:15:48,460 --> 00:15:49,460 never thought I'd make a spiritual film. 322 00:15:50,200 --> 00:15:51,719 Now I made one. I never thought 323 00:15:52,680 --> 00:15:53,999 I'd make an experimental film. 324 00:15:54,000 --> 00:15:56,350 But now all of a sufden that that's 325 00:15:56,470 --> 00:15:57,693 where this film should have gone. 326 00:15:58,220 --> 00:16:00,327 That's why I just came to realize this film 327 00:16:00,970 --> 00:16:03,534 here is the film I should have been making. 328 00:16:03,606 --> 00:16:04,606 [Scene from Dark] 329 00:16:12,220 --> 00:16:14,759 Five years ago, I was directing a film with 330 00:16:14,790 --> 00:16:16,402 Nic Cage and Anton Yelchin, called Dying of the 331 00:16:16,403 --> 00:16:17,403 Light. I'd 332 00:16:19,150 --> 00:16:20,178 gotten involved with people, 333 00:16:21,610 --> 00:16:24,070 who basically not make movies 334 00:16:24,100 --> 00:16:26,146 and don't like movies and were working 335 00:16:26,620 --> 00:16:27,779 on an economic formula. 336 00:16:28,940 --> 00:16:31,240 And they took the film away from me. 337 00:16:33,690 --> 00:16:34,690 It's about a 338 00:16:38,160 --> 00:16:40,539 man in the CIA who had dementia. 339 00:16:41,480 --> 00:16:43,880 I realized that the film, rather than 340 00:16:44,030 --> 00:16:45,059 have a linear kind of 341 00:16:46,580 --> 00:16:49,429 visual structure, should follow 342 00:16:49,430 --> 00:16:52,450 the arc of his disintegration 343 00:16:53,790 --> 00:16:54,949 and it finally ends up being a Stan Brackhage 344 00:16:54,950 --> 00:16:55,950 film. 345 00:16:57,090 --> 00:16:58,090 Nic Cage stars in a Stan Brackhage movie. 346 00:17:02,050 --> 00:17:04,630 And so I was playing with more and more 347 00:17:06,010 --> 00:17:08,639 experimental elements in the cut. 348 00:17:10,308 --> 00:17:12,640 But I don't know, I still didn't have it. 349 00:17:12,910 --> 00:17:13,910 I'm not complaining. We're not ... we gotta 350 00:17:15,790 --> 00:17:16,790 go further, gotta go further. 351 00:17:18,430 --> 00:17:20,259 I think that's why they took it away from me 352 00:17:20,380 --> 00:17:22,095 because they wanted to go the other 353 00:17:22,900 --> 00:17:23,900 direction. 354 00:17:23,901 --> 00:17:24,258 [Scene from Dark. 355 00:17:25,480 --> 00:17:26,576 Nic Cage: "Everything up here. Rotting. Bit by 356 00:17:28,490 --> 00:17:29,913 bit, it slips away." 357 00:17:31,330 --> 00:17:32,258 [Anton Yelchin] "You've known this?" 358 00:17:32,259 --> 00:17:34,321 [Nic Cage] "I suspected. About a year ago, 359 00:17:34,398 --> 00:17:35,546 something in my head just fell. 360 00:17:38,570 --> 00:17:40,530 By the time you start showing symptoms, the 361 00:17:40,749 --> 00:17:41,809 atrophy has done its damage. 362 00:17:41,950 --> 00:17:43,069 You know, I want to know something. 363 00:17:43,100 --> 00:17:44,252 Were they asking about me?" 364 00:17:50,395 --> 00:17:51,395 "Not to me directly. You're angry?" 365 00:17:51,790 --> 00:17:52,839 "Well, actually, maybe at them. 366 00:17:52,870 --> 00:17:54,130 But this whole damn thing. 367 00:17:54,690 --> 00:17:55,690 Why me? 368 00:17:55,920 --> 00:17:57,769 Why the fuck me? I didn't do anything wrong. 369 00:17:58,190 --> 00:18:00,279 It wasn't like I was butt-fucking chimpanzee 370 00:18:00,280 --> 00:18:02,440 asshole in the Congo and I invented AIDS." 371 00:18:03,890 --> 00:18:06,339 [Paul] Last year, I went to the producers and 372 00:18:06,340 --> 00:18:07,340 offered to reedit it. 373 00:18:07,930 --> 00:18:09,449 Score it. Mix it, all at my own 374 00:18:10,480 --> 00:18:13,180 expense and give them 375 00:18:13,330 --> 00:18:15,250 whatever profits I accrued. 376 00:18:15,640 --> 00:18:16,640 They turned me down. 377 00:18:18,160 --> 00:18:19,160 So 378 00:18:20,890 --> 00:18:23,920 I'm rediting it without permission. 379 00:18:25,670 --> 00:18:27,579 I mean, I don't have access to 380 00:18:28,960 --> 00:18:29,960 the original materials. 381 00:18:33,020 --> 00:18:35,540 I don't have access to the 382 00:18:35,570 --> 00:18:37,489 high rez dailies. 383 00:18:37,520 --> 00:18:38,644 I don't have access to unmixed 384 00:18:40,820 --> 00:18:42,599 footage. All I have is a 385 00:18:43,340 --> 00:18:45,528 three or four C.D.'s of the various 386 00:18:46,340 --> 00:18:48,859 cuts I was working on, which meant that I 387 00:18:48,860 --> 00:18:50,291 had to go more experimental 388 00:18:51,980 --> 00:18:53,479 because all I had 389 00:18:54,440 --> 00:18:57,109 was essentially degraded 390 00:18:57,110 --> 00:18:58,110 materials. 391 00:18:59,540 --> 00:19:01,250 "There is a problem with the toilet." 392 00:19:06,340 --> 00:19:08,369 But if I had the original materials, 393 00:19:09,210 --> 00:19:11,069 I think I would have 394 00:19:12,030 --> 00:19:14,640 been tempted to make a higher quality 395 00:19:15,210 --> 00:19:16,582 film than we are now making. 396 00:19:16,689 --> 00:19:19,319 We're now making a film essentially 397 00:19:19,470 --> 00:19:20,470 for folk. 398 00:19:20,760 --> 00:19:21,776 You know, when this goes 399 00:19:24,410 --> 00:19:25,880 up on screen just really, you know, it's gonna 400 00:19:25,980 --> 00:19:26,980 look like crap. 401 00:19:27,660 --> 00:19:29,012 But fortunately, the story 402 00:19:31,490 --> 00:19:33,849 is being told through the mind of someone 403 00:19:34,790 --> 00:19:35,790 who, whose life 404 00:19:37,660 --> 00:19:38,660 is starting to look like crap. 405 00:19:41,198 --> 00:19:42,430 [Alex] What part of this were you doing now with 406 00:19:42,440 --> 00:19:44,155 this obvious additional documentary 407 00:19:44,156 --> 00:19:44,492 that you're ...? 408 00:19:45,143 --> 00:19:46,143 What this here? 409 00:19:47,482 --> 00:19:48,766 Are you pulling images from this? 410 00:19:48,971 --> 00:19:51,189 Yeah, we're pulling images from this documentary 411 00:19:51,190 --> 00:19:53,829 about the CIA and to 412 00:19:54,850 --> 00:19:56,260 meld them into that 413 00:19:59,080 --> 00:20:00,080 collage of, well, what 414 00:20:02,650 --> 00:20:04,479 happens when an entire lifetime 415 00:20:05,190 --> 00:20:06,913 gets scrambled in front of your eyes. 416 00:20:10,010 --> 00:20:12,549 Now, you're probably going to ask, why would I do 417 00:20:12,550 --> 00:20:14,679 this? Since I have no rights to it, and it can 418 00:20:14,680 --> 00:20:17,550 never be shown. What I'm doing is not illegal. 419 00:20:18,040 --> 00:20:20,529 Well, you can make a match up of one of my films 420 00:20:20,560 --> 00:20:22,239 and I can make a match up of Stanley Kubrick's 421 00:20:22,240 --> 00:20:23,240 film. 422 00:20:23,560 --> 00:20:24,560 That's not illegal. 423 00:20:25,360 --> 00:20:27,759 Soderbergh made the half hour version of Heaven's 424 00:20:27,760 --> 00:20:30,249 Gate. So this is just something that I 425 00:20:30,250 --> 00:20:31,250 could do. 426 00:20:31,510 --> 00:20:34,480 But then on the other hand, I have archives 427 00:20:34,900 --> 00:20:37,799 so I can send this to my archives 428 00:20:38,200 --> 00:20:40,420 and then anyone who 429 00:20:40,960 --> 00:20:42,012 has a reason to see it can write the archive and 430 00:20:42,013 --> 00:20:43,013 see it and I 431 00:20:44,770 --> 00:20:47,024 will have effectively made the hardest film to 432 00:20:47,140 --> 00:20:48,140 see ever. 433 00:20:51,620 --> 00:20:54,220 Also, I have added things that 434 00:20:55,390 --> 00:20:56,524 even though this isn't being made for an audience. You 435 00:21:00,490 --> 00:21:02,597 know, young people are now visually rewired 436 00:21:03,047 --> 00:21:05,570 to actually watch something like this. 437 00:21:09,360 --> 00:21:11,049 Just because of the way that they've grown up 438 00:21:11,050 --> 00:21:13,789 with images every corner of their lives? 439 00:21:14,070 --> 00:21:16,226 Yeah and at such a fast pace and overlapping 440 00:21:16,660 --> 00:21:17,660 images. 441 00:21:18,330 --> 00:21:19,330 So Texi wanted to watch picture and picture. 442 00:21:23,000 --> 00:21:24,696 Was losing control of this movie incredibly 443 00:21:24,697 --> 00:21:25,824 emotionally frustrating 444 00:21:27,730 --> 00:21:28,730 or is it just like ... ? 445 00:21:31,825 --> 00:21:33,279 It changed my life. I've been so creative ever 446 00:21:33,280 --> 00:21:35,500 since. I mean, these people tried to kill me. 447 00:21:36,970 --> 00:21:39,639 I fell into 448 00:21:40,260 --> 00:21:41,260 alcoholism, depression. 449 00:21:42,610 --> 00:21:44,420 I thought, you know. 450 00:21:45,770 --> 00:21:46,770 And 451 00:21:48,670 --> 00:21:50,170 I thought that was it. 452 00:21:50,700 --> 00:21:51,700 And 453 00:21:53,560 --> 00:21:54,560 and then. 454 00:21:56,990 --> 00:21:58,754 And I said to Nic Cage, you know, we 455 00:21:59,540 --> 00:22:01,745 got to work together again and yet we have to 456 00:22:01,830 --> 00:22:03,006 take this, this 457 00:22:06,360 --> 00:22:07,360 thing off of me. 458 00:22:07,860 --> 00:22:08,860 And in that Nietszchean way, because 459 00:22:13,240 --> 00:22:16,200 it didn't kill me. Maybe it's 460 00:22:16,210 --> 00:22:17,210 strong enough to make Dog Eat Dog. 461 00:22:18,590 --> 00:22:19,850 And then I made First Reformed and make this and make things 462 00:22:21,890 --> 00:22:22,890 I'm thinking of. 463 00:22:23,450 --> 00:22:25,210 I also it freed me from 464 00:22:27,620 --> 00:22:30,061 that dreadful group think of commercial 465 00:22:32,150 --> 00:22:33,150 entertainment. 466 00:22:34,049 --> 00:22:35,479 "But that's not what Jesus teaches. 467 00:22:36,680 --> 00:22:37,803 That's not what Jesus lived. There's no dollar 468 00:22:37,804 --> 00:22:38,804 sign on this pulpit. There's 469 00:22:40,640 --> 00:22:41,640 no American flag. 470 00:22:41,690 --> 00:22:44,209 I think, Cynthia, what your 471 00:22:44,210 --> 00:22:45,381 father is experiencing ...". 472 00:22:45,382 --> 00:22:47,390 "Christians shouldn't succeed. 473 00:22:47,660 --> 00:22:48,836 He means Christianity is 474 00:22:50,380 --> 00:22:51,380 for losers." 475 00:22:52,049 --> 00:22:54,122 "Jake. Jake, I just get tired of turn the 476 00:22:54,890 --> 00:22:56,722 other cheek. Jesus didn't turn the other cheek, 477 00:22:56,723 --> 00:22:57,899 why stand for anything?" 478 00:22:58,360 --> 00:23:00,459 You know, it's part of the editorial process that 479 00:23:00,460 --> 00:23:02,930 at some point you have a bad screening and 480 00:23:02,990 --> 00:23:04,561 you learn so much more from your bad screenings 481 00:23:04,562 --> 00:23:06,819 than you learn from the good screenings. 482 00:23:07,710 --> 00:23:08,901 But I've never had a bad screening on this one. 483 00:23:08,902 --> 00:23:09,902 Like with Dog Eat Dog. I 484 00:23:12,160 --> 00:23:13,849 showed it up at Columbia and I had a bad 485 00:23:13,850 --> 00:23:14,239 screening. 486 00:23:14,240 --> 00:23:17,019 And boy, that 487 00:23:17,020 --> 00:23:18,072 made the film so much better, because 488 00:23:19,640 --> 00:23:20,858 I had a screening with a bunch of film intellectuals. They 489 00:23:27,830 --> 00:23:29,959 didn't get that it was a joke. 490 00:23:31,360 --> 00:23:33,529 Afterwards, I went to the bar with the editor and 491 00:23:33,530 --> 00:23:35,973 said, "we gotta go, we gotta go 492 00:23:36,800 --> 00:23:39,349 GONZO, because, you know, 493 00:23:39,770 --> 00:23:41,872 very clearly we're being too subtle and people 494 00:23:44,070 --> 00:23:45,070 are trying to take this seriously. 495 00:23:46,520 --> 00:23:49,040 Every year there are six to eight 496 00:23:49,250 --> 00:23:50,912 independent films that get into the awards hunt. 497 00:23:52,610 --> 00:23:54,289 I think we have a shot at being 498 00:23:55,280 --> 00:23:57,319 one of those films this year just because of 499 00:23:57,320 --> 00:23:58,660 political climate now. 500 00:23:59,120 --> 00:24:00,440 You know that there's going to be 501 00:24:02,120 --> 00:24:05,210 at least one or two very 502 00:24:05,880 --> 00:24:08,119 downbeat, serious films about 503 00:24:09,080 --> 00:24:10,109 the world we live in now. 504 00:24:10,840 --> 00:24:11,960 And I hope we get to be 505 00:24:13,310 --> 00:24:14,849 one of those, one or two. 506 00:24:29,960 --> 00:24:31,216 This is an old dog, he is way 507 00:24:32,720 --> 00:24:34,309 past his due date. 508 00:24:34,310 --> 00:24:34,604 How old is he? 509 00:24:36,940 --> 00:24:37,940 He's about eleven, twelve. 510 00:24:43,280 --> 00:24:45,890 The due is about nine, nine 511 00:24:45,910 --> 00:24:46,910 years for this dog, so I'm waiting for 512 00:24:50,240 --> 00:24:52,660 him to not get up one morning. 513 00:24:53,550 --> 00:24:55,849 We have you over the span of two years, basically 514 00:24:55,850 --> 00:24:58,309 pointing at the outfield and calling your shot. 515 00:24:58,610 --> 00:25:00,178 Is there anything about the last two years of 516 00:25:00,179 --> 00:25:00,914 First Reformed that was a surprise? 517 00:25:00,915 --> 00:25:02,308 The first time I screened it for 518 00:25:03,260 --> 00:25:04,550 a handful of friends. 519 00:25:05,390 --> 00:25:07,640 I said, now this is a slow movie. 520 00:25:08,060 --> 00:25:10,118 This movie takes it's time. Don't pressure 521 00:25:10,910 --> 00:25:12,200 it. Just let it be. 522 00:25:12,490 --> 00:25:13,490 OK. 523 00:25:13,970 --> 00:25:15,062 And then I screened it and afterword, it was minutes 524 00:25:16,640 --> 00:25:17,640 longer than it is now, and someone 525 00:25:19,850 --> 00:25:21,380 said to me, that's not a slow movie. 526 00:25:22,400 --> 00:25:23,970 And I thought it was a slow movie. 527 00:25:24,620 --> 00:25:27,349 And now I've seen it with audiences around 528 00:25:27,350 --> 00:25:29,624 the world and no one says it's a slow movie. 529 00:25:32,990 --> 00:25:35,540 And that was the Travis Bickle effect, 530 00:25:35,840 --> 00:25:38,420 which is you have a slow style and 531 00:25:38,630 --> 00:25:39,806 slow subject matter, but 532 00:25:41,150 --> 00:25:43,340 the throbbing intensity 533 00:25:43,730 --> 00:25:46,203 of an obsessive at the center, who is 534 00:25:46,226 --> 00:25:47,226 Narrating This 535 00:25:48,740 --> 00:25:50,602 film just keeps driving it and driving 536 00:25:50,603 --> 00:25:50,666 it. 537 00:25:51,200 --> 00:25:53,799 First Reformed would still be a good film, 538 00:25:53,900 --> 00:25:55,079 even if people didn't like it. 539 00:25:55,720 --> 00:25:57,890 You can never predict the degree to which 540 00:25:59,560 --> 00:26:02,179 you hope people will come 541 00:26:02,180 --> 00:26:05,190 around like a film like Canyons, 542 00:26:05,210 --> 00:26:08,030 which is a smart little film, 543 00:26:08,530 --> 00:26:10,392 you know, got caught up in a negative blast of 544 00:26:10,429 --> 00:26:11,429 the zeitgeist with 545 00:26:13,070 --> 00:26:14,070 Lindsay Lohan. 546 00:26:14,150 --> 00:26:15,409 And as I said to Eric Kohn of Indiewire, I 547 00:26:17,060 --> 00:26:18,206 said, "you really fucked up your review." He 548 00:26:19,000 --> 00:26:21,019 said, "Well, how do I do that?" I said, "you made 549 00:26:21,020 --> 00:26:23,372 a mistake that reviewers often make you reviewed 550 00:26:23,740 --> 00:26:24,740 the phenomenon. 551 00:26:24,890 --> 00:26:26,997 You didn't review the film." And that's one 552 00:26:27,380 --> 00:26:29,869 of the dangers when you get into this or that, 553 00:26:30,200 --> 00:26:32,209 you can make a film that gets reviewed for all 554 00:26:32,210 --> 00:26:33,210 the wrong reasons. 555 00:26:33,850 --> 00:26:36,319 And then, lo and behold, 10 years later, 556 00:26:36,350 --> 00:26:38,555 people say, well, you know, we never gave the 557 00:26:38,690 --> 00:26:39,690 film a fair shake. 558 00:26:39,691 --> 00:26:40,888 [Montage of Headlines about Paul Schrader Set to Music]. 559 00:27:18,552 --> 00:27:20,990 [Alex] I mean, it made news Schrader is back 560 00:27:21,020 --> 00:27:22,780 on facebook last month. 561 00:27:23,090 --> 00:27:25,880 It does seem to be sort of at the moment 562 00:27:26,660 --> 00:27:27,899 other than being the writer-director of First Reformed, the 563 00:27:28,610 --> 00:27:29,919 thing you are most well known for ... 564 00:27:30,279 --> 00:27:32,689 [Paul] I've been sent a script by the last days 565 00:27:32,690 --> 00:27:33,690 of Sinatra. 566 00:27:33,800 --> 00:27:35,239 It's a terrific script. 567 00:27:35,690 --> 00:27:37,993 It after his fights with Martin and Sammy Davis 568 00:27:38,540 --> 00:27:40,386 and his son, the last days, and 569 00:27:41,330 --> 00:27:43,039 the script, said Kevin Spacey all over it. 570 00:27:43,550 --> 00:27:45,619 It was just like a big fast ball coming right 571 00:27:45,620 --> 00:27:46,868 down the center of the plate and Kevin just 572 00:27:46,869 --> 00:27:49,329 standing right there. He's just going 573 00:27:49,340 --> 00:27:50,340 to clock it. 574 00:27:50,440 --> 00:27:53,480 And so I said to the financier, 575 00:27:53,510 --> 00:27:54,529 they want me to direct it. 576 00:27:55,130 --> 00:27:57,384 I said, I'll do it if you hire Kevin, and they 577 00:27:57,680 --> 00:28:00,540 said, "we can't do that." And 578 00:28:00,920 --> 00:28:02,760 so I posted that on at Facebook and A24 called me 579 00:28:05,910 --> 00:28:07,454 within 15 minutes and said: "Get 580 00:28:08,720 --> 00:28:09,890 off Facebook today. 581 00:28:10,360 --> 00:28:12,082 And then said, no, don't get off Facebook today. Get off Facebook NOW or we're not 582 00:28:15,470 --> 00:28:16,470 gonna be pushing your film" There is 583 00:28:18,170 --> 00:28:20,277 just too many things that can go wrong when 584 00:28:20,390 --> 00:28:21,517 you're on social media. 585 00:28:21,621 --> 00:28:24,489 A24 said, you know, "we can't be supporting 586 00:28:24,490 --> 00:28:27,380 your film when we don't have control 587 00:28:27,410 --> 00:28:29,990 over so erratic thing that you may say 588 00:28:30,260 --> 00:28:32,220 at 2 o'clock in the morning while you're 589 00:28:32,240 --> 00:28:33,990 drinking. So get off." You know, so get off! 590 00:28:34,207 --> 00:28:36,016 Is that mostly when you're on Facebook? 591 00:28:36,017 --> 00:28:38,298 No. I mean, but, because 592 00:28:40,400 --> 00:28:42,589 of what had happened right after I posted that 593 00:28:42,590 --> 00:28:45,109 thing about Kevin, someone else picked it up and 594 00:28:45,110 --> 00:28:47,630 said, "director wants to work 595 00:28:47,750 --> 00:28:48,750 with pedophile." 596 00:28:48,950 --> 00:28:51,259 My theory when you were posting about Taylor 597 00:28:51,260 --> 00:28:52,729 Swift was that you were potentially trying to 598 00:28:52,730 --> 00:28:54,200 cast her in something. Is that correct? 599 00:28:54,230 --> 00:28:55,230 No, no, no, no, no. 600 00:28:55,310 --> 00:28:57,740 I was just kind of mesmerized 601 00:28:58,310 --> 00:29:00,799 by the well oiled machinery 602 00:29:00,950 --> 00:29:01,970 of her life. 603 00:29:02,240 --> 00:29:04,339 How you never hear anything bad. 604 00:29:05,000 --> 00:29:06,349 Every picture is great. 605 00:29:06,770 --> 00:29:08,630 Everything works like a machine. 606 00:29:09,370 --> 00:29:10,370 And you're talking about a 607 00:29:12,920 --> 00:29:13,920 corporation, 608 00:29:15,530 --> 00:29:18,319 of probably 500 to 600 employees 609 00:29:18,320 --> 00:29:19,320 in the Swift Nation. 610 00:29:20,150 --> 00:29:22,609 How do they keep ... How do they keep 611 00:29:22,610 --> 00:29:25,460 that machine running so efficiently without ever 612 00:29:25,520 --> 00:29:27,470 having an embarrassing moment? 613 00:29:27,830 --> 00:29:30,079 First Reformed is often, you were saying "if this 614 00:29:30,080 --> 00:29:31,893 is my last film," now here we are ... 615 00:29:32,510 --> 00:29:32,569 ? 616 00:29:32,570 --> 00:29:34,481 Well you know that was almost two years 617 00:29:35,180 --> 00:29:37,430 ago and and 618 00:29:37,820 --> 00:29:40,099 could very well have better 619 00:29:40,640 --> 00:29:41,640 still be my last film. 620 00:29:42,490 --> 00:29:44,058 And I'm very happy with it being 621 00:29:45,170 --> 00:29:46,738 my last film.But that's over now 622 00:29:47,630 --> 00:29:49,400 and I want to get back to work. 623 00:29:50,390 --> 00:29:53,029 I had written a script about 20 624 00:29:53,030 --> 00:29:54,890 years ago for Arnold Schwarzenegger 625 00:29:55,730 --> 00:29:57,392 and it was a remake of a Bud Boetticher western 626 00:29:57,393 --> 00:29:58,393 Seven Men From Now. In those 627 00:30:02,840 --> 00:30:05,570 films, there was always a standup 628 00:30:06,080 --> 00:30:07,556 guy, Sheriff Randolph Scott, and then 629 00:30:08,810 --> 00:30:11,750 there is some weaselly, smarmy 630 00:30:11,990 --> 00:30:15,049 antagonist who's always testing his morals. 631 00:30:15,410 --> 00:30:18,019 No movie is a deconstructed thing. 632 00:30:18,500 --> 00:30:20,889 You know, as I said to somebody, it's 633 00:30:20,990 --> 00:30:22,939 like you took a B western from the 50s 634 00:30:23,500 --> 00:30:25,999 and asked Terry Malick and David Lynch to 635 00:30:26,000 --> 00:30:27,000 take a shit on it. 636 00:30:27,470 --> 00:30:29,470 You know, what would you what would you have? 637 00:30:29,890 --> 00:30:32,030 I mean, I remember when Marty was in 638 00:30:33,020 --> 00:30:34,020 Taiwan for Silence he 639 00:30:37,070 --> 00:30:39,560 was talking to me because he had to 640 00:30:40,220 --> 00:30:41,809 shoot in nature out there 641 00:30:42,680 --> 00:30:43,680 and how he had 642 00:30:45,200 --> 00:30:47,140 to have somebody with him 643 00:30:47,810 --> 00:30:49,849 when he went up and downhill, because 644 00:30:50,520 --> 00:30:52,718 it would be too risky for him just to walk on his 645 00:30:52,719 --> 00:30:53,719 own. And, 646 00:30:56,330 --> 00:30:58,760 you know, you get to that point and, 647 00:30:59,070 --> 00:31:01,650 William Wyler said, you know, 648 00:31:01,850 --> 00:31:03,699 "once the wheels go, you gotta quit." 649 00:31:05,060 --> 00:31:07,145 And so, at some point, it gets too 650 00:31:08,000 --> 00:31:08,989 hard to get around. 651 00:31:08,990 --> 00:31:09,990 I feel like 652 00:31:11,900 --> 00:31:13,099 I've done what I came to do, 653 00:31:16,130 --> 00:31:17,130 you know, Vince Gill has this song "Go rest 654 00:31:22,010 --> 00:31:24,619 high on that mountain, son, your 655 00:31:24,620 --> 00:31:25,795 work on earth is done." So, who 656 00:31:27,740 --> 00:31:29,209 knows? There maybe a few, 657 00:31:31,840 --> 00:31:33,939 you know, desserts, you know, 658 00:31:35,120 --> 00:31:37,130 some fun yet to be had. 659 00:31:37,790 --> 00:31:40,160 But I don't have that feeling that 660 00:31:41,210 --> 00:31:42,210 I haven't finished my work. 661 00:32:34,430 --> 00:32:36,530 [Montage of Paul Schrader's Facebook posts set to Vince Gill's song "Go Rest High On That Mountain"] 662 00:32:47,030 --> 00:32:48,089 Oh, sweet.