ONLINE The Cinema of David Cronenberg: From Baron of Blood to Cultural Hero by Ernest Mathijs online read value how read torrent

Book description

Book description
Read the STOP SMILING interview with filmmaker David CronenburgOUR BODIES, OURSELVES: DAVID CRONENBURGBy Nicolas Rapold(This interview originally appeared in STOP SMILING The Documentary Issue)he strangest thing about David Cronenberg’s films is not the exploding heads, or the car-crash sex, or the VCR in James Woods’s stomach. No, the shivers come when you realize they’re all about us — about how our bodies determine our identities, and vice versa. The Canadian master of creep-out has long attracted audiences with a taste for body freakery, but his shocks are also among the most cerebral around. Cronenberg’s filmography chronicles an ambitious search for new, visceral ways of expressing basic anxieties about the facts of being flesh and blood: maternity in The Brood (1979), aging in The Fly (1986) and desire in Crash (1996), to name but a few. And when that sensibility rubs up against the issues of the day, you get films like Videodrome (1983), eXistenZ (1999) and, most recently, A History of Violence — one of the top-rated films of 2005. The film’s centerpiece is a transformation, a man whose past comes alive — and it’s perhaps no surprise that Cronenberg has rather a porous sense of his fictions and our reality.Stop Smiling: Have you ever considered shooting a documentary?David Cronenberg: Weirdly enough, I think the way I direct is like documentary. I was at a symposium in Telluride about documentary, and one of the main topics of discussion was how objective you can ever really be. A lot of guys there considered themselves to be fiction filmmakers. I think of myself as a documentary filmmaker, because I have the actors block the scene, and then while they’re doing it I’m figuring out how to shoot. The way I work is very spontaneous. I don’t try to control everything. I don’t come to the set with a preconceived idea of how the scene should be played. It makes my assistant directors nervous because I don’t have a shot ready the night before.When people ask if I watch my movies I say that I can’t, really, because they’re literally like documentaries of what I was doing that day. Every shot is like a minidocumentary: I can remember what was going on in the shot, what was in my head, and I can’t really see it as a movie. During A History of Violence, my wife was shooting a behind-the-scenes making-of, which will be on the DVD. So, while I was directing, I was thinking of this documentary being made. The two blurred together. I think documentary is great. When I was beginning filmmaking there were a lot of very strong documentaries, in the early Sixties. Then documentary disappeared for a while under economic and other pressures, but for various reasons it’s been making a comeback.Read the complete interview...
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ONLINE The Cinema of David Cronenberg: From Baron of Blood to Cultural Hero by Ernest Mathijs online read value how read torrent

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