Paul Schrader quotes:

Taxi Driver' wasn't autobiographical in terms of the actual events, but I did draw on my own mental state.

Those artists who say that somehow therapy or analysis will thwart their creativity are completely misinformed. It's absolutely the opposite: it opens closed doors.

I teach a course in screenwriting at Columbia, but I've never taken a course and I've never read a book about it!

Screenplays are not works of art. They are invitations to others to collaborate on a work of art.

As screenwriters, we struggle with our own success. We have wallpapered our world and now we can't get anyone to notice the picture we just hung.

I could be just a writer very easily. I am not a writer. I am a screenwriter, which is half a filmmaker... But it is not an art form, because screenplays are not works of art. They are invitations to others to collaborate on a work of art.

Ultimately, it's an illusion that you can understand yourself.

I was raised as a Calvinist, which is doctrine-driven. And though there are many things wrong with Calvinism, you are at least encouraged to argue about things.

If you write interesting roles, you get interesting people to play them. If you write roles that are full of nuance and contradiction and have interesting dialog, actors are drawn to that.

The secret of the creative life is to feel at ease with your own embarrassment.

The secret of the creative life is how to feel at ease with your own embarrassment. We're all in the dirty laundry business and we're being paid to take risks and look silly. Race car drivers get paid to risk their lives in a more concrete way; we get paid to risk our lives in an emotional way.

The only economic paradigm that movies have ever known is capitalism. There were no church sponsors or state patronage. The idea was that if you'd pay to see it, we'll make it for you.

People who act against their own best interests are interesting characters.

All the animals come out at night.

Contradiction is the heart and soul of character and drama. You're always looking for it. I loved her so much I hit her; that's character. I loved her so much I hit her again; that's even more character.

Don't ever let the viewer settle in and get ahead of you.

I don't think it's very useful to open wide the door for young artists; the ones who break down the door are more interesting.

Nobody has shot a strip club in black and white in a long time.

Now I see it clearly. My whole life has pointed in one direction. I see that now. There never has been any choice for me.

I still think like a critic, and I still analyze films like a critic. However, it's not possible to write criticism if you're making films.

Film noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood. It is a film 'noir', as opposed to the possible variants of film gray or film off-white.

I want to be happy; why do I do things that make me unhappy?

All these teachers and [screenwriting] books mean you see movies that have been worked over by more committees wielding more rules, that all originality and authorship is lost. That's why you're seeing superstars like Brad Pitt in THE FIGHT CLUB and Tom Cruise in MAGNOLIA. They're desperately searching for people writing and directing off-formula movies.

Anything that doesn't bore me I think is doable because it's keeping me awake.

Because many of the films I've made have had an intellectualedge, it's harder for me to lie. It's harder for me to go to peoplewith money and say I don't care about art, all I care about iscommerce; all I really want to do is make money.

I get bored very easily. I find most movies boring. I go to movies and ask, "How do they stay awake making this?"

I had this whole issue of doing a crime film in the 2010s. The genre's been mined very, very heavily. Post-Scorsese, post-Tarantino, post-Guy Ritchie, what do you do? I wasn't attracted to pulp so much as all of a sudden I had a pulp problem. I had to find a way to make this interesting, because there's a lot of crime films that come out on VOD every week, and a number of these star Nicolas Cage.

I was looking for people who didn't have any preconceptions about films, what I call the "post-rules" generation.

I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman, What he has left is a legacy greater than any other director.... I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that he probably did more than anyone to make cinema a medium of personal and introspective value.

Let's just shoot in black and white. Don't explain why. Have no reason for it. Just do it because it's interesting.

Once you have a situation that is fresh, then you sort of believe in it and it becomes normal. So you do end up with protagonists that haven't been in other movies before.

One of the things that I do like about filmmaking is that you find out how to solve new problems.

'Taxi Driver' wasn't autobiographical in terms of the actual events, but I did draw on my own mental state.

That's just my disposition - to create a situation where you have to come up with something.

There's no escape. I'm God's only man.

There's something wrong - the performance, the weather, the set design, the lighting. Something is not working. And so you say, "Give me 10 minutes." When you're first directing, you're terrified. But when you've been in that situation enough times, you know that under pressure, it will come to you.

There's the generation that made the rules, the generation that codified them. The generation that broke them - that's mine. The generation that laughed at them - that's Tarantino's. And now there's a generation that doesn't know that there were any.

You can't take contradiction away. Part of the fun of it is that the contradiction never really quite goes away.

You know, when you're in your twenties you use a great deal of symbolism. You somehow think that a character standing beneath a cross is more interesting than a character standing underneath a billboard, but when you get a little older you realize that there's not much difference.

You think it's a blessing to know what God wants?

The clock is impotent; mechanical time does not affect those living in an eternal present.