Paul Schrader will never understand Joaquin Phoenix: “The least charismatic actor there is”
Let’s be honest, Paul Schrader has been running his mouth off with his irrelevant opinions for years, recently storming the sacred Letterboxd site with his thoughts.
Whether it be his hilariously unfounded criticism of Babygirl, in which he commented that it would be completely different if it was directed by a man (no shit, Schrader) or his support of AI in writing screenplays, the filmmaker has always caused a stir by saying the worst thing possible in any given situation.
Schrader is, of course, most known for penning the iconic screenplay for Taxi Driver, as well as directing films such as First Reformed, Hardcore and Mishima: A Life in Four Chapters. But it seems as though it isn’t enough for him to simply make movies, he also has to make a career out of slamming everyone else in the business and making an extensive list of enemies, with another person being added to the list after he ripped apart one A-list actor.
Joaquin Phoenix is one of the most elusive and mysterious actors working today, remaining impossible to pin down or label. He is infamous for his slightly awkward and muffled persona in real life, mostly trying to hide from the press and avoid any situation that would increase the spotlight on him. Despite being incredibly aware and self-conscious about his fame, leading him to come across as reserved and rightfully private, he is an unstoppable creative force on screen, leading to some of the most spectacular performances of all time.
From his troubling performance as Freddie Quell in The Master to the restrained violence of You Were Never Really Here and the aching tenderness of Her, the actor has established himself as one of the true greats through his quiet determination and beautiful vulnerability. The depth of his performances has no doubt been influenced by his personal life, leading him to flesh out characters that are both guarded and emotionally bare, leading the audience to feel intensely protective and simultaneously frightened by the implied darkness of his characters.
Miraculously, this is a quality that is completely lost on Schrader, with the director being surprisingly open about his inability to recognise great acting, even if it hit him straight in the face. When discussing his role in Ridley Scott’s Napoleon, the filmmaker said, “First of all, it’s a casting problem. Joaquin Phoenix is the least charismatic actor there is. How could such a bland man accomplish so many military exploits? We don’t believe it for a second.”
While Schrader cannot comprehend the genius of someone like Phoenix, it is perhaps because he is blinded by such old-fashioned values and an inability to understand the art of nuance. Phoenix is such a compelling actor because of the intricacies and extremities of his performances, becoming unpredictable and moving through the range of his considered choices.
Perhaps he is immune to this effect because he doesn’t possess the same level of introspection or emotional intelligence to understand the depth of these choices, leading him to interpret them in a flat and unfeeling way.
