David Cronenberg
David Cronenberg
David Paul Cronenberg, CC OOnt FRSCis a Canadian director, producer, filmmaker, screenwriter, actor, and author. Cronenberg is one of the principal originators of what is commonly known as the body horror or visceral horror genre. This style of filmmaking explores people's fears of bodily transformation and infection. In his films, the psychological is typically intertwined with the physical. In the first half of his career, he explored these themes mostly through horror and science fiction, although his work has since...
NationalityCanadian
ProfessionDirector
Date of Birth15 March 1943
CityToronto, Canada
CountryCanada
I remember somebody saying to Joel Schumacher about one of his Batman movies, 'Isn't that over the top?' ... And he said, 'Well, nobody pays to see under the top.' I wish I could just say that. But I think you learn something when you go to extremes.
I had to comes to terms with that with Martin Scorsese,
It's a funny movie, too. People may wonder what's going on when they hear that about a movie that has the title A History of Violence . I think once they see it, they'll get it.
It's the perfect car, the dream ... a combination of beauty and technology,
It's almost Twilight Zone y. There's an appeal to that longing for an imaginary pasta yearning for an innocence that was never so pure anyway. It's meant to be recognizably real, but it has to play as mythological as well. That's part of the balancing act.
You could say it's a Hollywood film because the characters are agents, actors and managers, but it is not a satire like The Player.
A History of More Violence'?... I think not. That reminds me of somebody's joke about Gandhi - 'Gandhi 2: Even More Non-Violent.'
A History of More Violence'? ... I think not. That reminds me of somebody's joke about Gandhi - 'Gandhi 2: Even More Non-Violent.'
It's not as though I have a message . . . I haven't solved any problem. It's a discussion, it's a meditation on the complexity of it.
The problem with doing a schlocky or big budget studio film is that it wouldn't actually be fun for me. It wouldn't be exciting.
Re-writing is different from writing. Original writing is very difficult.
You know, there's a saying in art that in order to be universal you must be specific. So I think every artist feels that he is dealing with specific things but that it also has significance universally.
Casting is really a black art. It's a huge part of directing and it's the most invisible. It's one that people don't really think about or talk about. But you can really destroy your movie by casting it badly before you've shot a foot of film. And yet there are no guidebooks for it, there's no rule book to tell you how to do it. It's all your own experience and your own sensibility and your own intuition.
I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.