Dog Eat Dog
This kind of frankness is not typical in film-making, where behind-the-scenes negotiations tend to be guarded like nuclear codes, but Schrader has a reputation for candour. A couple of years ago he made The Canyons , a film set in the louche backwaters of LA, where sex is a communal activity.
It was written by Bret Easton Ellis, financed by crowdfunding, and it starred the porn actor James Deen and the troubled actor Lindsay Lohan. It was a bizarre but fascinating confection. Lohan, he has said, was exhausting. As he commented at the time: Intriguingly for someone who has repeatedly returned to themes of moral and sexual transgression, Schrader grew up in a highly religious environment as a child of strict Calvinists.
He did not see his first film — The Absent-Minded Professor — until he was He was so anxious about sinning that he walked out of the cinema, before returning to watch the movie. It left a big impression upon him. Thereafter he started trying to make up for lost time by watching as many films as he could.
During summer school at Columbia University in , he met Pauline Kael, the pioneering film critic. He later recalled the encounter: Despite his alarm, he became one of her acolytes at a time when she wielded enormous influence in the film world. Having been both critic and film-maker, Schrader says now: He or she simply wants to get that cadaver on the table and figure out how it lived. A film-maker is like a pregnant woman. All the film-maker wants is to give birth to a living thing. So if you allow the medical examiner into the birthing room he will kill that baby.
In those early days in LA he was the ultimate film nerd, making notes on everything he saw.
Dog Eat Dog (band) - Wikipedia
But as I remind him, he later caught up with the sex and drugs with the same dedication he put into discovering cinema. First, though, he was intent on penetrating Hollywood. They were further ahead than him in their careers but what he lacked in experience he tried to make up for in networking. As his girlfriend at the time, a part-time publicist called Beverly Walker, complained to Biskind: But Schrader and his other film-maker friends sensed that Hollywood was ready to be taken over — they just needed a few contacts on the inside. They were both mega-budget films in the old way and they tanked and sent their companies to the edge of bankruptcy.
There was a real panic about what the young people wanted. And there was a period when the financiers were actually asking the artists what the young people wanted to see. He says that era, which produced masterpieces such as Taxi Driver , The Godfather and Chinatown , came to an end when Barry Diller went to Paramount and made market research the midwife of formulaic blockbusters. But before that happened, Schrader lived through a spate of successes that was matched only by his drive towards self-destruction.
Still deeply affected by his fundamentalist upbringing, he struggled with the moral free-for-all that money and attention brought. These were his years of catching up on sex and drugs. But he felt no more at ease with excess than he did with constraint. As he once put it: And that dislocation first showed up in Taxi Driver , where there literally was a pane of glass between the character and the world.
Richard looked at me and said: His brother, Leonard, with whom he wrote Blue Collar , was also in a crazed state, and the pair of them fell out in such a damaging way that they never really repaired the relationship before Leonard died 10 years ago. Things came to a head for Schrader in Hollywood with Cat People , the erotic horror film he directed starring Nastassja Kinski. Schrader was consuming a gram of cocaine a day. Everyone on the set was doing drugs aside from Kinski. Again as Schrader told Biskind: My AD [assistant director] came in to get me.
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He started doing drugs. The second AD came in to try and get us both out. Schrader also had an on-set affair with Kinski, which she broke off towards the end of the film, leaving Schrader embittered and obsessed. According to the writer-director John Milius, Schrader pursued Kinski to Paris, where he found her with a young stud.
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Carved from a lifetime of experience that runs the gamut from incarceration to liberation, Dog Eat Dog is the story of three men who are all out of prison and now have the task of adapting themselves to civilian life. The California three strikes law looms over them, but what the hell, they're going to do it, and they're going to do it their way. Troy, an aloof mastermind, seeks an uncomplicated, clean life but cannot get away from his hatred for the system. Diesel is on the mob's payroll and his interest in his suburban home and his nagging wife is waning.
The loose cannon of the trio, Mad Dog, is possessed by true demons within, which lead him from one situation to the next.
Dog Eat Dog
One more hit, one more jackpot, and they'll all be satisfied. Troy constructs the perfect crime and they pull it off, but in the aftermath, they keep finding the law surrounding them wherever they go. Starts out entertaining enough, the first 10 minutes or so offers some absolutely insane dark comedy from Willem Defoe. But eventually fairly early tbh the script runs out of steam and it takes a more serious not so comedic at least turn but more so goes all over the place with little to no coherency at times.
I can't help but to think that this movie must have been at least 30 minutes longer but edited down to the point where one minute for instance a person is caught by the police and the next he's free with no explanation as to how this happened. Not that I think that the movie being 2 hours instead of 90 would have helped it much though tbh because the editing is far from the only problem this movie has.
Dog Eat Dog review – nihilism with a smirk
Nicholas Cage's character appears to change from one scene to the next after a while, starting off as the more sensible criminal of the trio but eventually lashing off and appears to try to outcrazy Willem Defoe who is the crazy guy in the group. Why did I say trio you ask, well there's actually a third guy with the same importance as Cage and Defoe and that is the unknown Christopher Matthew Cook, I'm guessing he is good friends with the director or something because he just becomes 'the other guy' when put in to the same position as 2 stars like Cage and Defoe and doesn't have the acting-chops to rise above it.
Cook's character is said by Cage's character to be incredibly intelligent talking about how if he lived in another universe he would have been a Harvard student, but there's nothing that Cook's character says or does in the film that suggest that he is particularly smart.
There's a lot of random stuff like that that doesn't go anywhere and a lot of random stuff that doesn't come from anywhere, like the last 5 minutes, very random. Anyways all in all it just becomes a pointless and confusing Tarantino wanna be of a film. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet! Keep track of everything you watch; tell your friends. Full Cast and Crew.
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A crew of ex-cons are hired by a Cleveland mafioso to kidnap the baby of a rival mobster. Edward Bunker based on the novel by , Matthew Wilder. Share this Rating Title: Dog Eat Dog 4. Use the HTML below.