And, in the cinematic culture of 2011, where the superhero is ascendant, some of you might join me in hoping that we might eventually cycle back around to a point where much weirder stories of transformation and the effects of power on the human body and psyche seem like viable commercial efforts. The latter is the same producer who, a few years earlier, brought David Lynch to the attention of the comedian and his company Brooksfilms. (The last of those being a still-recent box-office dud for Universal.)Cronenberg recounts “[Brooks] said ‘I want you to go all the way.
Let yourself go, and don’t hold back.’ There were no restraints.
Alongside this, the disc will also include the David Cronenberg episode of The Directors, a 1999 documentary on the filmmaker, containing interviews with Cronenberg, Marilyn Chambers, Deborah Harry, Michael Ironside, Peter Weller and others.
The reversible sleeve will feature both original artwork and a newly commissioned cover art by Nat Marsh.
They were willing to lose that percentage of the audience that would have liked the love-interest stuff, but couldn’t take the horror.” a producer.
We need more like of those; that sort of attitude is the reason we celebrate the efforts of someone like Scott Rudin, and why we get excited about enablers like Megan Ellison.
But from the venereal turd-creatures of 1975’s ‘Shivers’ to Eric Packer, the dead-eyed capitalist played by Robert Pattinson in his adaptation of Don De Lillo’s novel ‘Cosmopolis’ (reviewed opposite), Cronenberg’s intelligence, integrity and clinical insight into human psychology have never been in doubt.
As the one-time Baron of Blood becomes a pillar of the filmmaking establishment, we find out that, although his subjects may have changed, Cronenberg’s passion remains undimmed. I needed to write the screenplay to know if this book would work as a movie.
Seth Brundle, an eccentric scientist working teleportation and Geena Davis as Veronica Quaife, a journalist who falls in love with him.(Whose track record, admittedly, is yet to really be proven, but here’s hoping.)David Cronenberg took the idea of the remake all the way.Stuart Cornfeld came to him with a script by Charles Edward Pogue that was already quite different from the 1959 version.Even in my early films like “Shivers”, the dialogue is pretty eccentric. To me, dialogue is cinema.’ Does it frustrate you when critics accuse your recent films of being talky, as if your early work was somehow different? You pay your money, you can pay as little attention as you want. The film became Cronenberg’s greatest success to date, and quickly established itself as an instant classic of practical effects thanks to the Oscar-winning work of Chris Walas.