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According to Scorsese it was Brian De Palma who introduced him to Schrader. In Scorsese on Scorsese, edited by David M. Thompson and Ian Christie, the director talks about how much of the film arose from his feeling that movies are like dreams, or like taking dope and that he tried to induce the feeling of being almost awake. He calls Travis an “avenging angel” floating through the streets of New York City, which was meant to represent all cities. Scorsese calls attention to improvisation in the film, such as in the scene between De Niro and Cybill Shepherd in the coffee-shop. The director also cites Alfred Hitchcock’s The Wrong Man and Jack Hazan’s A Bigger Splash as inspiration for his camerawork in the movie.[2]
In Scorsese on Scorsese the director mentions the religious symbolism in the story comparing Bickle to a saint who wants to clean up both life and his mind. Bickle attempts suicide at the end of the movie as a way to mimic the Samurai’s “death with honour” principle.
When Travis meets Betsy to join him for coffee and pie, she reminds him of a line in Kris Kristofferson's song "The Pilgrim, Chapter 33": "He's a prophet and a pusher, partly truth, partly fiction—a walking contradiction." On their date, Bickle takes her to see Language of Love, a Swedish.
Shot during a New York summer heat wave and garbage strike, Taxi Driver came into conflict with the MPAA for its violence (Scorsese desaturated the color in the final shoot-out and got an R). To achieve the atmospheric scenes in Bickle's cab, the sound men would get in the trunk and Scorsese and his cinematographer, Michael Chapman, would fit themselves on the back seat floor and use available light to shoot.
In writing the script, Paul Schrader was inspired by the diaries of Arthur Bremer (who shot presidential candidate George Wallace in 1972)[4] and Fyodor Dostoyevsky’s Notes from Underground. The writer also used himself as an inspiration, prior to writing the screenplay Schrader was in a lonely and alienated position, much like Bickle. Following a divorce and a break-up with a live-in girlfriend, he spent a few weeks living in his car. He wrote the script in under a month while staying in his former girlfriend's apartment while she was away.
According to Scorsese it was Brian De Palma who introduced him to Schrader. In Scorsese on Scorsese, edited by David M. Thompson and Ian Christie, the director talks about how much of the film arose from his feeling that movies are like dreams, or like taking dope and that he tried to induce the feeling of being almost awake. He calls Travis an “avenging angel” floating through the streets of New York City, which was meant to represent all cities. Scorsese calls attention to improvisation in the film, such as in the scene between De Niro and Cybill Shepherd in the coffee-shop. The director also cites Alfred Hitchcock’s The Wrong Man and Jack Hazan’s A Bigger Splash as inspiration for his camerawork in the movie.[2]
In Scorsese on Scorsese the director mentions the religious symbolism in the story comparing Bickle to a saint who wants to clean up both life and his mind. Bickle attempts suicide at the end of the movie as a way to mimic the Samurai’s “death with honour” principle.[2]
When Travis meets Betsy to join him for coffee and pie, she reminds him of a line in Kris Kristofferson's song "The Pilgrim, Chapter 33": "He's a prophet and a pusher, partly truth, partly fiction—a walking contradiction." On their date, Bickle takes her to see Language of Love, a Swedish sex education film.[3]
Shot during a New York summer heat wave and garbage strike, Taxi Driver came into conflict with the MPAA for its violence (Scorsese desaturated the color in the final shoot-out and got an R). To achieve the atmospheric scenes in Bickle's cab, the sound men would get in the trunk and Scorsese and his cinematographer, Michael Chapman, would fit themselves on the back seat floor and use available light to shoot.
In writing the script, Paul Schrader was inspired by the diaries of Arthur Bremer (who shot presidential candidate George Wallace in 1972)[4] and Fyodor Dostoyevsky’s Notes from Underground. The writer also used himself as an inspiration, prior to writing the screenplay Schrader was in a lonely and alienated position, much like Bickle. Following a divorce and a break-up with a live-in girlfriend, he spent a few weeks living in his car. He wrote the script in under a month while staying in his former girlfriend's apartment while she was away.
According to Scorsese it was Brian De Palma who introduced him to Schrader. In Scorsese on Scorsese, edited by David M. Thompson and Ian Christie, the director talks about how much of the film arose from his feeling that movies are like dreams, or like taking dope and that he tried to induce the feeling of being almost awake. He calls Travis an “avenging angel” floating through the streets of New York City, which was meant to represent all cities. Scorsese calls attention to improvisation in the film, such as in the scene between De Niro and Cybill Shepherd in the coffee-shop. The director also cites Alfred Hitchcock’s The Wrong Man and Jack Hazan’s A Bigger Splash as inspiration for his camerawork in the movie.[2]
In Scorsese on Scorsese the director mentions the religious symbolism in the story comparing Bickle to a saint who wants to clean up both life and his mind. Bickle attempts suicide at the end of the movie as a way to mimic the Samurai’s “death with honour” principle.
When Travis meets Betsy to join him for coffee and pie, she reminds him of a line in Kris Kristofferson's song "The Pilgrim, Chapter 33": "He's a prophet and a pusher, partly truth, partly fiction—a walking contradiction." On their date, Bickle takes her to see Language of Love, a Swedish.
Shot during a New York summer heat wave and garbage strike, Taxi Driver came into conflict with the MPAA for its violence (Scorsese desaturated the color in the final shoot-out and got an R). To achieve the atmospheric scenes in Bickle's cab, the sound men would get in the trunk and Scorsese and his cinematographer, Michael Chapman, would fit themselves on the back seat floor and use available light to shoot.
In writing the script, Paul Schrader was inspired by the diaries of Arthur Bremer (who shot presidential candidate George Wallace in 1972)[4] and Fyodor Dostoyevsky’s Notes from Underground. The writer also used himself as an inspiration, prior to writing the screenplay Schrader was in a lonely and alienated position, much like Bickle. Following a divorce and a break-up with a live-in girlfriend, he spent a few weeks living in his car. He wrote the script in under a month while staying in his former girlfriend's apartment while she was away.
According to Scorsese it was Brian De Palma who introduced him to Schrader. In Scorsese on Scorsese, edited by David M. Thompson and Ian Christie, the director talks about how much of the film arose from his feeling that movies are like dreams, or like taking dope and that he tried to induce the feeling of being almost awake. He calls Travis an “avenging angel” floating through the streets of New York City, which was meant to represent all cities. Scorsese calls attention to improvisation in the film, such as in the scene between De Niro and Cybill Shepherd in the coffee-shop. The director also cites Alfred Hitchcock’s The Wrong Man and Jack Hazan’s A Bigger Splash as inspiration for his camerawork in the movie.[2]
In Scorsese on Scorsese the director mentions the religious symbolism in the story comparing Bickle to a saint who wants to clean up both life and his mind. Bickle attempts suicide at the end of the movie as a way to mimic the Samurai’s “death with honour” principle.[2]
When Travis meets Betsy to join him for coffee and pie, she reminds him of a line in Kris Kristofferson's song "The Pilgrim, Chapter 33": "He's a prophet and a pusher, partly truth, partly fiction—a walking contradiction." On their date, Bickle takes her to see Language of Love, a Swedish sex education film.[3]
Shot during a New York summer heat wave and garbage strike, Taxi Driver came into conflict with the MPAA for its violence (Scorsese desaturated the color in the final shoot-out and got an R). To achieve the atmospheric scenes in Bickle's cab, the sound men would get in the trunk and Scorsese and his cinematographer, Michael Chapman, would fit themselves on the back seat floor and use available light to shoot.
In writing the script, Paul Schrader was inspired by the diaries of Arthur Bremer (who shot presidential candidate George Wallace in 1972)[4] and Fyodor Dostoyevsky’s Notes from Underground. The writer also used himself as an inspiration, prior to writing the screenplay Schrader was in a lonely and alienated position, much like Bickle. Following a divorce and a break-up with a live-in girlfriend, he spent a few weeks living in his car. He wrote the script in under a month while staying in his former girlfriend's apartment while she was away.
