Paul Schrader is a hell of a character. As one the most iconic and notorious film folk to emerge out of the glory days of 1970s American cinema, whether it’s his screenwriting or directing, his work has always been something to devour. Of course, some work has been better than others—and in my mind nothing could quite beat Taxi Driver, but that’s a slightly unfair statement. However, after I ran into Paul two years ago and he urged me to look at his phone while a Facebook page for his new project, The Canyons loaded, I’ve been keeping a close and anxious eye on the smutty melodrama, penned by satirical writer of yuppie drama Bret Easton Ellis.
There is no style anymore. This guy from Montreal, this young kid, Xavier Dolan had made this film, Heartbeats. I liked the film and I looked at it again, and I realized, “He’s going from scene to scene, changing his style based on the scene. A Godard-ian thing, now he’s doing a Hollywood thing, now he’s doing kind of a Bertolucci thing … He keeps changing, and he doesn’t really care if one scene doesn’t match the scene before it. And I said, there’s nothing wrong with that, that’s where we are, that’s the new kind of style.”