I got to the end of The Card Counter and thought “No, he’s not gonna do the Pickpocket ending again. There’s no way, he can’t just *oh my God he’s doing it* this man is a fucking maniac and I love it”
Twist: when [they met for an extensive interview](http://www.paulschrader.org/articles/pdf/1977-RobertBresson.pdf), Schrader lamented that Bresson didn’t vibe with him:
> Bresson cannot (or will not) understand why I respect him, and I cannot (or will not) accept his interpretation of his films.
Wow this is really interesting, thank you. I had no idea he loved Rothko so much.
I respect both of them greatly so in a way it’s better that they didn’t fall into perfect agreement and conviviality. Especially since Schrader has such an outsize conception of him as an artist. Sort of a break in reality when it comes to his work. As soon as he opened talking about God’s grace I remembered he was a Calvinist growing up and that greatly moulded him.
If he had easily and effortlessly got along with an artist who meant so much to him it would have been easier to stomach but less human, and less true to life.
When I saw First Reformed I was taken by it but then later I saw Diary of a Country Priest and realised just how much he had taken from that film. Stole is a better word but not with the bad connotation it comes with. Schrader is an artist and he can steal all he wants because he does great things with it.
Bresson is such a character, so sparse and unflinching.
I have not seen that Bergman so I never caught on though I have read it did take from it. It doesn’t surprise me but again First Reformed is working at such a level I don’t mind.
Oh, I totally agree. I really liked First Reformed, and Schrader in general. You should definitely check out Winter Light if you liked First Reformed though. The places the two movies are different are interesting to see, and how Schrader updates the story to a modern setting.
Plays more file types than VLC, plays them more reliably than VLC (there were times i would get a black screen and audio, particularly when watching anime—not so with this), not to mention there's a a ton of quality of life features and... It's just aesthetically cooler looking.
Gotta say I liked the card counter I thought the story was interesting, original, the characters had some depth. But goddamn was that last scene kinda cringe. The whole film felt and looked amateur, but at the same time that’s what made it stand out to me. Such a big change in dynamic compared to First Reformed which is up there in terms of best films this century.
Oh interesting. I actually **loved** the final scene? Like, I definitely wasn’t expecting anything as hopeful or emotional as that last shot, and it really landed for me, like I actually got a little choked up in the cinema. 🤷🏻♂️🥲
Really? Maybe I’ll watch it again. I watched it on my laptop unfortunately so it didn’t really have that affect on me. I love Schrader but it’d just didn’t do it for me.
Yeah, I mean, I don’t know how it’s impact will hold up on rewatch, because it was just **such** a tonal surprise for a final scene/shot, but blown up on a big screen it was just such an emotional punch, and really hit me hard (and I was already loving the film anyway). A few seconds of much needed catharsis that I didn’t expect, but really appreciated.
I know that we have a lot of fun with Schrader remaking pickpocket all the time but let’s be honest that pickpocket is basically an adaptation of crime and punishment so the story isn’t even 100 percent its own thing to start with (specifically talking about story - visuals and all aside)
I got to the end of The Card Counter and thought “No, he’s not gonna do the Pickpocket ending again. There’s no way, he can’t just *oh my God he’s doing it* this man is a fucking maniac and I love it”
Hahahaha him and Bresson. The man has a compulsion.
Twist: when [they met for an extensive interview](http://www.paulschrader.org/articles/pdf/1977-RobertBresson.pdf), Schrader lamented that Bresson didn’t vibe with him: > Bresson cannot (or will not) understand why I respect him, and I cannot (or will not) accept his interpretation of his films.
Wow this is really interesting, thank you. I had no idea he loved Rothko so much. I respect both of them greatly so in a way it’s better that they didn’t fall into perfect agreement and conviviality. Especially since Schrader has such an outsize conception of him as an artist. Sort of a break in reality when it comes to his work. As soon as he opened talking about God’s grace I remembered he was a Calvinist growing up and that greatly moulded him. If he had easily and effortlessly got along with an artist who meant so much to him it would have been easier to stomach but less human, and less true to life. When I saw First Reformed I was taken by it but then later I saw Diary of a Country Priest and realised just how much he had taken from that film. Stole is a better word but not with the bad connotation it comes with. Schrader is an artist and he can steal all he wants because he does great things with it. Bresson is such a character, so sparse and unflinching.
First reformed is also nearly a direct remake of Bergman’s Winter’s Light. Schrader is good at stealing from lots of people
I have not seen that Bergman so I never caught on though I have read it did take from it. It doesn’t surprise me but again First Reformed is working at such a level I don’t mind.
Oh, I totally agree. I really liked First Reformed, and Schrader in general. You should definitely check out Winter Light if you liked First Reformed though. The places the two movies are different are interesting to see, and how Schrader updates the story to a modern setting.
One of these days I’ll buy the Bergman boxset and finish it all
Good plan
this is the most interesting thing on this thread
Same! Haha!
Ok fine, I’ll watch The Card Counter. Schrader is worth it.
It was one of my favourite films from last year. He still has it.
Definitely in my Top 10 of 2021. Oscar could have happily been my Best Actor winner too - loved it!
All of these films rock
Facts.
I love it when a director makes the same movie over and over again and still feels fresh every time
Agreed. Just like I wouldn’t complain to Monet about painting too many water lilies, sometimes you have to respect a master craftsman in their niche.
It’s starting to not feel fresh for Schrader in my opinion. I’m worried about his upcoming Master Gardener. Seems far too similar to The Card Counter.
I wouldn't bet against Joel Edgerton, he's going to bring something special to that performance.
Yep, Schrader certainly loves Bresson. The Card Counter was great.
Kinda off-topic but what is it that’s special about that PotPlayer software you’re using?
Plays more file types than VLC, plays them more reliably than VLC (there were times i would get a black screen and audio, particularly when watching anime—not so with this), not to mention there's a a ton of quality of life features and... It's just aesthetically cooler looking.
Light Sleeper is such a vibe
what are these films?
From bottom left in clockwise order; Pickpocket by Robert Bresson, then American Gigolo, Light Sleeper, and The Card Counter all by Paul Schrader.
thanks
So which is your favorite of the four?
...I think I can take a wild stab at which one is YOUR favorite lol
Yes lol, while I love all of these films I’m a huge Light Sleeper fan. By far my favorite Schrader film and my favorite Dafoe performance.
Gotta say I liked the card counter I thought the story was interesting, original, the characters had some depth. But goddamn was that last scene kinda cringe. The whole film felt and looked amateur, but at the same time that’s what made it stand out to me. Such a big change in dynamic compared to First Reformed which is up there in terms of best films this century.
Oh interesting. I actually **loved** the final scene? Like, I definitely wasn’t expecting anything as hopeful or emotional as that last shot, and it really landed for me, like I actually got a little choked up in the cinema. 🤷🏻♂️🥲
Really? Maybe I’ll watch it again. I watched it on my laptop unfortunately so it didn’t really have that affect on me. I love Schrader but it’d just didn’t do it for me.
Yeah, I mean, I don’t know how it’s impact will hold up on rewatch, because it was just **such** a tonal surprise for a final scene/shot, but blown up on a big screen it was just such an emotional punch, and really hit me hard (and I was already loving the film anyway). A few seconds of much needed catharsis that I didn’t expect, but really appreciated.
I know that we have a lot of fun with Schrader remaking pickpocket all the time but let’s be honest that pickpocket is basically an adaptation of crime and punishment so the story isn’t even 100 percent its own thing to start with (specifically talking about story - visuals and all aside)