Sometimes overshadowed in his collaborations with Martin Scorcese, writer-director Paul Schrader was a singular voice of the New Hollywood generation who managed to define a style all his own and maintain an auteurist commitment to and repetition of themes spiritual, intellectual, and macabre within the context of the commercial film to present day.
Raised in a fundamentalist Calvinist community in Grand Rapids, Michigan, film was forbidden throughout his childhood, and he relays his first film going experience at 17 as being a hallucinatory episode wrought with guilt and fear. But it didn’t take long before this forbidden pleasure asserted itself in his life and leaving behind plans to become a minister he began studying film and writing criticism, eventually attending UCLA where many of the New Hollywood generation were getting their starts, and writing Transcendental Style in Film, a study of the films of Bresson, Ozu, and Dreyer that posited a shared film structure Schrader would use as a model for many of his most iconic screenplays.
earned her the death penalty. during that time, she was involved in numerous assaults on staff. >> rude dude with attitude. that's what they call me. the officers. >> in fact, travino told us she couldn't even remember how many times she had been tased. >> my whole back, i have, like, scars. this is a big one. this one's where i could put my finger -- see how big it is? i just didn't care. i was in here for the death penalty case. i didn't have nothing to lose. i mean, i have my family, don't get me wrong and my son and everything like that. but i just had that mentality. i was like, [ bleep ] that. i'm going to give them hell. >> sometimes you get the nice, sweet rosie, if she wants to be nice and sweet. and sometimes you get the crazy, i'm going it kill you rosie. >> travi proved both rosies could be equally dangerous. >> i want to touch it. >> staff warned me about this. she can actually draw people in. which she did on many occasions.