48 ordspråk av David Cronenberg

David Cronenberg

David Cronenberg föddes den 15 März 1943 - Canadian filmmaker
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I have no idea why I wasn't told, but I said I guess I better read it, and I did. It took awhile for them to dig it up, because it was long out of print. I could see that although the basic premise was obviously the same, we had already gone off in a direction with the script, first because Josh had done it on his own and then I worked more that way with him—it went on a completely different direction from the novel to the extent that the novel really had nothing to offer me because it was just so different. That was basically it. I can't really say, in a sense, creatively, that I had the experience of adapting a graphic novel, because it always felt like it was Josh's original script to me. The visual elements of the novel were pretty irrelevant.

[Even though he did not originate the story, Cronenberg does feels connected to it in strange ways -- as he does to all of his film projects.] They're all highly personal, ... I didn't write the script of Spider, either. It was based on a novel (and someone else wrote the script). The Dead Zone, which I did about 20 years ago, was based on a novel and I didn't write that script either. Now, in each case, I'm very involved with the script and, in the case of this movie, I did do a rewrite myself.

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 Violence.

All stereotypes turn out to be true. This is a horrifying thing about life. All those things you fought against as a youth: you begin to realize they're stereotypes because they're true.

Censors tend to do what only psychotics do: they confuse reality with illusion.

Certainly, it is more mainstream than Crash or Spider, ... so I thought maybe it was too much of a normal movie for Cannes.

Everybody's a mad scientist, and life is their lab. We're all trying to experiment to find a way to live, to solve problems, to fend off madness and chaos.

I don't have a moral plan, I'm a Canadian.

I don't think I've made a movie that isn't funny, on one level or another, despite having other things going on at the same time, ... and this is no exception. I do ask the audience to take some twists and turns with me in terms of tone, because there's a moment that's funny that immediately turns into something emotionally devastating. Movies these days tend to be pretty clumpy; here's the sad scene with the sad music and the sad everything, and now we go to the reconciliation. Cue the happy music! That's not asking for much from the audience. And that's not the way anyone's day goes.

I don't think it's a good thing, really, for a filmmaker or an artist of any kind to only want to be appreciated or loved. It's if you start chasing that, then I think you've destroyed yourself.

I don't think that the flesh is necessarily treacherous, evil, bad. It is cantankerous, and it is independent. The idea of independence is the key. It really is like colonialism. The colonies suddenly decide that they can and should exist with their own personality and should detach from the control of the mother country. At first the colony is perceived as being treacherous. It's a betrayal. Ultimately, it can be seen as the separation of a partner that could be very valuable as an equal rather than as something you dominate.

I got my first credibility acknowledged here when I was a young filmmaker, ... I almost feel that my career and the festival's career have ascended in synch, in lock step, because the festival has gone from an interesting concept, as the Festival of Festivals, to being recognized as a brilliant concept and a unique one.

I had to comes to terms with that with Martin Scorsese,

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