Protest Not Deep-Rooted, Screenwriter Schrader Says

“There is nothing like the ogre of Hollywood to open up the pocketbooks of Christian America.”

Paul Schrader, who wrote the screenplay for “The Last Temptation of Christ,” was speaking from Iowa where he is visiting relatives.

“Out here, in the heart of the country, everyone is asking me, ‘What’s going on in L.A.? What’s all this about?’

“Which leads me to believe that what’s going on with the film isn’t as deep-rooted as some people would have you believe.”

Added Schrader: “I also think the media is very much to blame. These protesters are yelling into the megaphone of the media.

“I’m not saying there isn’t a genuine theological issue here--because there is one. But those people who are outside Lew Wasserman’s home--yelling and screaming insults--those people are not Christians.”

Schrader, the product of a Germanic Protestant upbringing, had already teamed with Scorsese for “Taxi Driver” and “Raging Bull” (he co-wrote the latter) when he was hired to write the screenplay adaptation of Nikos Kazantzakis’ novel.

“We have a very interesting creative relationship. We’re both very grounded in our concerns for personal and moral issues.

“But it’s also true that we each come from different backgrounds, including religions. (Scorsese was raised a Catholic.)”

Schrader--who toured the Holy Land before writing the script--wrote two drafts. It was the second draft, completed in 1983, that found its way to concerned fundamentalists. Segments of that script--particularly those dealing with Christ’s relationship with Mary Magdalene--fueled the current protests over the film.

But many of those segments did not find their way into the finished film.

“There is such a misconception over what a screenwriter does--and what a screenplay is,” said Schrader with a sigh. “When you write a script, you always press things a little harder. Your language is more vivid, your speeches a little more purple, your violence and sex may be exaggerated. Then, when you begin shooting, you tone down. You pull back. . . . And that’s just what Marty did.”

In fact, writer Jay Cocks also did some tampering with the script. There was even a Writer’s Guild arbitration to determine if he should get credit.

The result: Schrader is the sole credited writer.

But make no mistake of it, he said: “This is Marty’s movie.”

As a director whose credits include “Hardcore,” “American Gigolo” and the “Cat People” remake, Schrader is “aware of the changes that take place between script and screen.

“I consider it not just a director’s prerogative, but a director’s obligation to make the movie he wants to make.”

Not that Schrader isn’t pleased with his contribution.

“I really did work hard to pull off the scene in Gethsemane. And that final speech, where the prodigal son speaks to God his father, well . . . .

“But you know, when I finally watched the film, I didn’t find myself thinking about what I’d written. I thought, instead, about the novel. Thinking what a terrific book it was. That Marty had really captured it.”