Bullseye with Jesse Thorn is a production of MaximumFun.org and is distributed by NPR.

It's Bullseye, I'm Jesse Thorn. If you're watched a scene in a movie and wonder why it

was shot that specific way, like why are we watching the action from that weird angle

or whatever? Director Paul Schrader is going to lift the curtain on that, at least for

his new movie Doggie Dog. There's a sequence in the opening which takes place out of strip

club, and I'm reading it and I said this is so boring. Here we are again, another one of

these boring strip clubs, red light, blue light, fog light, the same shots of the girls, Michael

Bay, here we come. And I just said how in God's name can we make this scene somewhat interesting?

And then struck me that I hadn't seen a black and white strip club scene since Lenny.

And so I said to my cinematographer, I said let's just shoot it in black and white. Don't

tell anybody why we shot it in black and white. They'll be so interested in trying to figure

out why we shot it in black and white, it won't be boring. Fair enough, it's Bullseye.

Coming up, Paul Schrader will tell us about the kind of guy he was in the mid-1970s,

kind of angry, disconnected life he was leading, that inspired him to write taxi driver.

And then I'll ask Willem DeFoe if he can relate to those kind of personal demons,

give it all that psychosis play. I don't know. I don't know.

See, no, I don't think. Look, no, I don't know. Not like Paul described.

Later on, I'll talk to David Crosby. He was, of course, a founding member of Crosby,

stills a Nash. We'll talk about how his career got started, how it fell apart,

why he thinks he's doing the best work of his life, 75. The people who think you have to be

in turmoil or disturbed and high as a kite in order to make music are just wrong. They're

totally wrong. He make much better music of his trade and he make even better music if you're happy

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