All language subtitles for 00339

BICKLE:
/ go all over:

I take PSCOple to ine Bronx,
Brooklyn. | take them to Harlem.

| dont Care.
Dont make no cirerence to me;

Its aloout a GUly
sort of drifting around.

Ae Girl Ae wants, he cant have!

BICKLE:
TAS iS not so load.

Taking Mme to a place like tis
is as exciting as saying, “Let's fuck."

SCHIRADER: The girl he can have,
ne doesnt want.

BICKLE: lm not square. You're square.
You're full of shit, man.

SCRINAD ERS
Tries to kill the father figure of one:

(CROWD TESRING|

Pails.

Kills the father figure of tine other,
Decomes 2 ero.

KOLIKER: A lot of these tilms
of that decade are dealing with isolation,

Are dealing with figures
wito cant quite manage in the world:

Or if they do manage,
their managing comes to a load end:

BIGKLE: Loneliness has followed me
my whole life, everywnere.

I'm God's lonely man.

SCrINADERS
hatimechanisinn

Or NOL Naving what you can get...

Ald NOt wanting what you have...

| IS te mechanism of loneliness,

We are not lonely by nature

We make ourselves lonely.

Travis makes himseli lonely.

[SI]

BICKLE:
All the animals come out at nicht.

Whores, SKUNK-OUSSISS, buggers,
queens, fairies, dopers, junkies.

Sick, veneall.

Someday a real rainill come
MMOMIMAS MMA MUMISESCUMMONMUNERSUNCEUS)

iy Gaurch,
nine Christian Refomed Churci=

There Was a synodicall decreas
passed in 1922...

ool WIS ASIGIAT
of the, uh, religious reaction...

0 the Jazz Age, against wnat they
called worldly amusements.

Movies were not permitted!
by the Church.

But | really cidnt see movies
in a Serious way...

LUM | Got to College.

And then tell in love wit
the European cinema of the 60s.

[SI]

We started a til society wnere
the Bergman films were being shown...

Laalll 2 SOFt Of SON-COre porn theater...

_ lnat thought it could malke 2 louck
by showing some arthouse stuti.

SO We started reviewing these...

and, ula, this all caused a great furor,

Ane! SO it was proloalolly
te relellion of it all...

tat first attiracted me,
anc tien the iilms themselves.

[SI]

I'd been reading a lot aloout tilms
but | hadnt seen many.

‘SO, UlA, | took a SuMMMETF to Ga
to Columbia University...

and take some iil Courses,
just to see films.

And that summer,
through an odd serendipity...

CL | met Pauline Kael

And, uli, Pauline otrered
to become my mentor.

| corresponded with her.
She got me into UCLA Film School.

Not as 4 timmaler. J

L Jou 2s 4 til scnolarr

| was Irn the tlm studies program.

Would you like to come have
Some Cofiee and pie with me?

Winy’?)

I think youre a lonely person.

lula’? lula

And! || think you need someting:

SCRINAD ERS
| Got off a plane...

Lalli OF 1968 trom Grand Rapids.

| went over to UCLA, found people
who were looking for a housemate.

TASKS Were five OF US living
in. 2 house in the Fairiax district,

And that night somebody saids

YOU KHOW, WETS GOING UP to a parry
in Topanga.”

Ano on we went

Ane the very night | got there,
| was sitting in there at a party...

ner midnight wittn all trese
Topanga rats.

You know, wearing taloleclotns
and smoking joints.

Playing music ly canclleligit...

| _ano sort of culture shock...

Or that rapid relocation,
disloeaionr

| Was writing tairly soon
ror the LA. Free Press...

..Whlch was tie altemative paler...

L_wiich was involved in alll kinds of...

Al ANtier ACIVIES
and, ulA, drug promotions.

| got involved In an anwar...

Ul, Protest at UCLA. | got arrested.
So all of a sudden, | was in this world.

[PEOPLE CHEERING]

[SI]

i's just always that tecling that:

Yea, I'm here, I'm here with you.

And its 2 Groove ane we're alll
together, but I’m really not here.

This isn't reallly me.

rm really somewhere else.”

Not because of religious principles,
it's just because...

L iait'S Mot wo | was!

es Dot wao | was raiseo to pe!

mn hip.

ria. Funny, you don't look lio.

In retlection, | think,
the origins of that character...

, COMES trom tie Origins
of that dislocation.

Travis, wnat IS the One thing aloout
this country that bugs you the most?

BICKLE: You sell your littiie pussy
for nothing, man?

For some lowliie pimo?

This city here’s like an open sewer.
i's full of Tilia ancl scum.

Dont you wanna get out of here?

Whoever becomes the president...

, ~SiOUld just flush it right down
the fucking toilet.

SCHIRADER: There were things
tat it me at tine same time.

Collasekofealinamiace:

I len the All im protest against
George Stevens’ policies.

AP] was my home at that time.
It was my only place to be.

Ur

| ac igoulaies

The woman | lett my wire tor
(ihrew Mme Out.

And! || had no money:

Ourt of tigis tuk J

, merged this notion
of the calo driver.

ne tag drivers

This guy in a metal cofiin..4

-Oawng throug...

Le SEWSFS, YOU KNOW,
sort of NosferatuHlike....

mrougn thie streets of New Yori:

Someone who seemed to le
surrounded ly people...

Out WO Was Completely alone.

BICKLE:
June Sin

My Ine has taken another turn again.

Tne days move along wih
regularity, over and over.

One day indistinguishable
rom the Next

A\ long, continuous chain,
tnen suddenly...

Alera IS 2 CNange.

od been tinting with the idea
of being a screenwriter.

Over the years, there's a character...

-.- YOu know, that | have Kine of
written gloout anc come lack to...

Wo tirst emerged as lravis Bickle.

And tals is a Character
that | call "The Peeper"...

|_.wioaiclh is a kincl of an outsider!

TAS Guy who wanders around...

Cano looks Into tine wincows. 1

| Or 2 Culture or 2 civilization...

LU, OU Cant Guike get INSICe.

And that reeling, olviously,
comes through in Yad Driver...

. and as come through
over and over again...

| in Various male characters...

wool VO WItian alOOUT
or directed films aloout,

riley, Calobie, you can't parix here.

Come on! Cone on,
let's go! Let's go! Move ttl

SCrIRAD ERE
The immediate inspirations for itt...

, .loout the year loerore, there had
been that song by Harry Chapin...

Meallechairak

Oloviously | knew that song.

| had heared aloout Bremer.
‘The diaries weren't out yet,

[SI]

SO | just started
outing this together,

And, you know, the character
was that underground man...

Ll OUISICer, tHe SIANGEF.

| knew that’s wnere
nie Character came from.

SO before writing the Script,
| reread) L’ Etranger and La Nausée...

LUSK tO SOF OF get my mind...

alll (Ne Mindset
of those kinds of characters.

lravis, you know Doughisoy,
Charlie 1.2?

Comenancenomeannickelr

Doughboy! co anything tor a louck.

KOLKIER:
One of the remarkable things aloout...

Le films that Schrader writes
for Scorsesé....

lS tne Capturing or the raytam
of New York speech.

Fireen dollars, 15 minutes.
Twenty-five dollars, half an hour:

It never sounds like
t's imitating ordinary speech.

I's Got a kine! of almost...

--AOSUG SCNSS.
The sense of repetition.

| just WANnHaA GO OUT...

eral

| really wanna...

| got some bad ideas in my head!
[ just

| think that Is reallly important.

I think clalogue’s relatively easy.

| mean, if you think or some
particularly good lines...

,.-VOU |] put them In your Outline.

But clalogue ts relatively easy!

Swucture, this is tough.

| did then what | stall cdo today..4

L Which IS just ouwing
on a legal pad.

just list the scenes,
one, two, three, four.

First Outline said “Numloer one,
Travis gets a job.

Number two=" They were just listings
of what the scenes were, you know.

“Travis lOUyS 2 GUA, YOU KNOW.
"Travis meets Betsy,” you know. Ha, ha.

A\na So that when | look at thie outline,
| Know what the scenes were,

And as | perrected that tecnanique
over the yealrs...

Lol WOUlG Start TO PUL page Counts
clown there,

So that even at the outline level,
| would have a fairly clear idea...

La WACN YOU Cane to scene 18...

--- VOU Would know that that was
Gonna occur somewhere between...

,.OAge 43 anc 50, yOu KnOW...

..6VEN before yOu wrote tie Script.

BICKLE:
You know you have beautiul eyes?

RANSSENGERE
Do you see the woman in the window?

BETSY: | dont believe I've ever met
anyone quite like you.

-Jhat's my wit.
-[' NO pusher. I've never pushed:

SCrIRAD ERE
You know, the script came...

L-aCUMS GUIGKIY.

| dicln’t have any place to live
at te tine...

«80 | talked myselt loack
into the apariment...

.Oor tne girl | hac oroken up wit
DSCcaUsS SHS WAS OU Of town.

Ane sine let me stay there
for 2 couple weeks.

And in those couple or weeks,
[ just wrote continuously.

| cient wanna mess the Nouse UD...

--ADSCAUSS Se reallly cicihnt want
me there, so | just slept on the sofa...

Lao] worked] In tae iichen.

Slept on the sora,
worked in the kitchen.

Ano tien || finisinecl one drat...

L.winich was, | trlnk,
aloout 75, 80 pages.

| went riglit Into another clratt,
which was aloout a hundred pages.

[SI]

BICKLE:
June 29th,

| Goa Get In Shape now.
oo much sitting has ruined my bodly.

Oo much alouse has gone on
for too long.

From now on, itll! be
DO pushups each moming.

FPirigy [ouII-UpS.
here will be no more pills.

There will be no more bac food),
no more destroyers of my body.

From now on, itil be total organization.
Every muscle must be tight.

KOLIKIER: Botta Paul Scaracder
ano Scorsese share 2 love of film.

Schrader is specitically
interested in...

| French filmmaker,
Robert Bresson,

And in one particular til
of Bresson's called Pickpocket...

L..WIGA IS tiseli? an increciloly tig At...

..caretully structured, ul...

, AUKOnN-downed film in the sense
that it just delivers the most...

iinimal amount of iniormation
that it can at any particular point,

ANitekSciiacdemisralso
4 great fan of John Ford...

a8 Is Scorsese,

SO Jax Driver turns out
to have major influences...

AOL (WO tilms,
Psycho and The Searchers.

ne Searchers is tne great Joan Wayne
Westem, the great captivity story.

But also a story aloout
A vaguely psychotic hero...

-.WNOS Coralnly Sor of
monomaniacal in nis hatred...

and his oosessive Pursullt.

SO Schrader writes a script
which draws on Ford...

_ WhIGA draws On Bresson:
And it clearly ts otiiering...

--S Well, 2 SENSO Of lDottlec-uUp
and ultimately exploding violence:

[GUNSHOT

‘hat Scorsese has loeen interested in,
certainly we see it in Mean Streets...

wall WIIG things go along,
and go along and everybodly..4

oS SOF OF MOVING att
this rapid pace and then, bam.

[GUNSHOT

People get shot and there's lolooe
all over the place.

So it's an almost
IME MIAOERCOMMECHONE

Ks 4 connection tigi Survives. J

Over a number of iilis
that Schracler writes.

| miglit be going away ‘or a winille.

BICKLE: Tne idea had been growing
lin my brain for some time.

ue force.

All ne kings men cannot
jut it back together again:

LUIRIGGER CLICKS]

KOLIKER: | think, pernaps,
loot Scorsese ad Scaracler...

Are 2WAre OF what
Orson Welles once said.

Welles, the maker of some
of the most powerful images in film...

, Wio says that, “All tlm begins
with tine written word.”

I'ma Of thie belief that oy the time
the film started shooting...

[4] WIIKSrS jOld sSnould joe done:

liv 2 writer [Ss On & Set, It USUallly
means there's something wrong.

BeECAUSS the wrhier creates
this template...

and now other people
are actually living it...

Land i Shiould belong to them now.

And so | was here in New York
during preproduction...

wien | was actually usetul...

Lwnen the kinds of decisions
were Still in flu

But once thie film started shooting...

bool WANS tO GO loack to L.A,
| Waniec! tO...

WOK ON HANS tlm
| was trying to direct.

And | reallly dict teel
needed or useiuL,

KOLIKER: | think the tact
that Schrader was not there, again...

AIS An acknowledgment
on his part...

on tne part of a writerhilmmeaker...

All UNE MS tO Step aside
is when the writing is done...

Cano ie cirecior taxes Over,

| client tell you to write.
[ just said, “Pull over.”

We pulled over to tthe curio!
We're gonna sit here.

Were gonna sit.

SGHIRADIER: You know,
| dont remember having..¥

ANY FO

KING Of SChpt Conversations...

[wii entner De Niro or Scorsese

| mean, they knew exactly
who this guy was.

‘They knew it. hey knew this thing.

BICKILE: Listen, you fuckers,
you screwneads.

ere Is a man who would not
fake it anymore.

A man wno stood up
against the SCUMM...

Lol CUNUS, Ie GOS,
ine filth, the shit.

(ere IS SOMEONE WO StOOd UP.

Once during the shooting,
De Niro called me up...

"Would the character say this?”

And | saicl, “Look, Bob, I'm in LA,
im working on Blue Collar.

You're tin New Yori,
youre Shooting with Marty...

---VOUTS WEAFING My Oats,
youre wearing Travis’ jacket.

Ir you think he would say tt,
| bet you he would.”

And that's, | tink,
the ideal position to be as a writer.

Where you have so pluggec
Inthe actor...

Flan WAC LAC actor
does gO Ofi+5o0k...

L-ll@ GOSS Of-DoOk in exactly the way
that you would go...

Lal YOU Were Standing next to Ihin.

And usually, | tind that they go
Ofttoook prety damn well.

BECAUSS tine seript has deiinec
the character in such 2 way...

mnie When they Star Changing
Clialogue...

Ley re Changing It in Character.

BICKLE: Im stancing here.
You Make the Move,

You talking to me?

You talking to me?

Wino tine fuck Go you tninik
youre talking to?

Oh, yeahh? lun?

SCFIRADER: You write a scene ane you
get the dialogue right, anc it reallly works.

Bun tat doesnt mean.

lat thas tie Only way
nO Make that scene work,

| mean, tiie very tact of blocking.

You con't write blocking in a Script.

Blocking is fundamental
to the playing of any scene:

SO you have a scene
wit iwo characters.

All of a sudden,
they start moving around.

Ane! one Is going here
and one is going there.

Well, that changes tie clalogue
right there.

Ihe moment your characters
are moving around...

Lllnes that seem to work when theyre
looking at cach other aren"t working...

, LSCQUSS theyre Not looking
at each other anymore.

And mayne one or them
is in the other room now!

lif YOU SXPeCt tine actors to
Keep reading lines that, that don’t fit...

-- ADSCAUSS they relolocked the Scene.
No. You can come up with new lines.

The waly tt worked
With, Jad Driver is...

Its Say I'd write a scone
at three and a half cages.

Meaning ideally taree
and 2 halt minutes of screen time.

Marty would get there
and he would start to exoand it.

expand tt In relnearsalls.

three and-a-half pages...

olS MOW elng Shot
maybe att five pages.

MoaderancKaliraliinactsome now
gotten added as it went along.

And then Marty and the ealitor
sit there arenward.

hey have the Script and tt says,
according to the template...

LalllS IS a three-anc-a-halli
minute scene,

Kt works at tnree and a nal minutes!

Now, we have a iiive or sieminute
first Cut

SO let's go back and look att
the script and say what...

rom tne wrkers Point or view, Was
alosolutely necessary to get done here?

What exposition? Which character
development? Which comic relief?

Now, lhhow can we get
those things done...

Keep it at three and a hall
minutes...

- Wet CNEITY=DIGK tne loest
of the six minutes?

So tne final tree and a hal minutes...

Sit necessarily three and a hall
minutes that was in the script.

SPORT: Fiey, man!
Don't take out no money over here.

VOU WANNA tuck me?

Youre gonna Tuck her,
you give her the money.

BU It Is an equivalent
tree and 4 hal naimurtes|

[SIREN WAILING]

KVOMWANKSEREAMIS)

SCHIRADER: A story springs out
Of its environment.

Bu you Ope that the character
is strong enough...

L lat WASH LAS inimediate
environment changes...

wnen the Vienam War
GOSS WAY...

when limes Square
gets cleaned up...

Lie character Is sii] valici

[SI]

| Got Inko Screenwriting
as a form of self-therapy.

When | tirst was writing the script,
[ thought it was aloout loneliness.

What | learned while writing the script
is that this was aioout 4 man...

WO SUIiered tron
the pathology of loneliness.

rile wasn't lonely ly nature.

rie was lonely
ASHaICelenSeumechalniSinne

And Ae reiniiorced his own loneliness
by his own behavior.

And tie pathology grew
until it became malignant and violent.

TASrSeTore, It Is a very
American kine! of pathology:

And it's the study of a sick man,

You know, the underground man.

AAs Dostoyevsky sald);
"lam 2 sick man."

[SI]