
Personal Info
Known For
Writing
Birthday
1946-07-22
Place of Birth
Grand Rapids, Michigan, USA
Paul Schrader
Biography
Paul Joseph Schrader (/ˈʃreɪdər/; born July 22, 1946) is an American screenwriter, film director, and film critic. He first became known for writing the screenplay of Martin Scorsese's Taxi Driver (1976). He later continued his collaboration with Scorsese, writing or co-writing Raging Bull (1980), The Last Temptation of Christ (1988), and Bringing Out the Dead (1999). Schrader has also worked extensively as a director: his 23 films include Blue Collar (1978), Hardcore (1979), American Gigolo (1980), Mishima: A Life in Four Chapters (1985), Light Sleeper (1992), Affliction (1997), and First Reformed (2017), with the last of these earning him his first Academy Award nomination. Schrader's work frequently depicts "man in a room" stories which feature isolated, troubled men confronting an existential crisis. Raised in a strict Calvinist family, Schrader attended Calvin College before pursuing film studies at UCLA on the encouragement of film critic Pauline Kael. He then worked as a film scholar and critic, publishing the book Transcendental Style in Film: Ozu, Bresson, Dreyer (1972) before transitioning to screenwriting in 1974. The success of Taxi Driver in 1976 brought greater attention to his work, and Schrader began directing his own films, beginning with Blue Collar (co-written with his brother, Leonard Schrader). Schrader has described three of his recent films as a loose trilogy: First Reformed (2017), The Card Counter (2021), and Master Gardener (2022). Description above from the Wikipedia article Paul Schrader, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Known For

Dog Eat Dog
as El Greco

Hitchcock/Truffaut
as Self

Late Night with Seth Meyers
as Self - Guest

The Story of Film: An Odyssey
as Self

Easy Riders, Raging Bulls: How the Sex 'n' Drugs 'n' Rock 'n' Roll Generation Saved Hollywood
as Self

Richard Pryor: Omit the Logic
as Self

Milius
as Self

A Decade Under the Influence
as Self

Tales from the Script
as Self

Eames: The Architect and the Painter
as Self