David Cronenberg

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In a Guardian piece by Andrew Pulver about David Cronenberg, who’s at Cannes for the screening of his latest film, Maps to the Stars, the director asserts that the automobile deserves a place alongside the Pill in green-lighting the sexual revolution. And now that tablets and smartphones are more important than cars, what does that say about us? From Pulver’s article:

“Cronenberg was also quizzed on his fondness for sex scenes set in cars, with one journalist pointing out it went all the way back to his JG Ballard adaptation Crash. Cronenberg replied, not entirely seriously: ‘Crash was suppressed by Ted Turner [CEO of TBS, parent company of Crash’s US distributor Fine Line] because he said it would encourage them to have sex in cars. I said: there’s an entire generation of Americans who have been spawned in the back seats of 1954 Fords. I doubt I invented sex in cars. You have to remember, part of the sexual revolution came about because of the automobile, because young people could get away from their parents, and that was freedom. I don’t think I’m breaking any new territory.

‘I mean… why wouldn’t you? There are such great cars around.'”

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In 1979, David Cronenberg discusses casting porn star Marilyn Chambers:

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David Cronenberg discussing casting porn star Marilyn Chambers in Rabid, 1979.

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Released at a time when tech nerds were emerging from their garages and dorms to reengineer the world as we watched with shock and awe, David Cronenberg’s 1981 sci-fi mindblower about bioengineered telepaths, Scanners, could be read as an analogue to the rise of the machines and those who built them. Scanners and digital revolutionaries who began their ascent in the late 1970s can be described alike: born with special gifts, could see the future before others, desired to upset the accepted order and create a new society in which the mind and its powers would be predominant. “They’re pathetic social misfits,” says one character of the tortured titular telepaths but might as well be describing those responsible for technology’s migration from the monolith to the individual. “They want to destroy the society that created them.” And so they did, more or less.

In Cronenberg’s world, Scanners are misbegotten men and women who were born telepaths with terrible talents. They cannot only read your mind but can also use mere concentration to blow up your brain. In order to keep them from using this talent, Scanners are monitored and sometimes hunted. It seems that their strange skills are the result of their pregnant mothers being prescribed an experimental tranquilizer that was discontinued in the 1940s after a brief trial run. While the drug soon disappeared, the children have grown up with extraordinary powers, unbeknownst to most of the world.

The scientist who created the drug, Dr. Paul Ruth (Patrick McGoohan), a pioneering biochemist with a patchy past, has made it his life’s work to monitor the Scanners for the ConSec corporation. Ruth reintroduces into society a Scanner named Cameron Vale (Stephen Lack), who he has kept “on ice,” to glean information about the machinations of a fellow Scanner, Darryl Revok (Michael Ironside). The latter has apparently hatched a plan with a confedrate inside ConSec to create a new breed of Scanners that he can use as his army. Cameron and Revok, who have some sort of mysterious link to one another, engage in a battle of terrifying, combustible wills.

Changing the world, or at least the way we interact with it and one another, requires getting others to see reality in a whole new way, whether you’re hoping to grow scanners or consumers, a fact which has become ever clearer as we now live in a world in which a small band of Silicon Valley superstars have commandeered the means of communication. As Revok says, while sounding not unlike a titan of technology preparing for an IPO: “We’ll bring the normals to their knees. We’ll have an empire so brilliant, so glorious that it will be the envy of the whole planet.”•

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An experimental 17-minute BBC version. Better than Cronenberg’s 1996 adaptation, I think.

 

From a piece about Ballard in the Los Angeles Times by David L. Ulin: “If J.G. Ballard — the visionary British novelist who died Sunday of prostate cancer at age 78 — ends up being remembered, it will likely be as a science fiction writer who aspired to use genre as a vehicle for art. That’s true enough, in a certain small-bore manner, but it’s ultimately reductive, a way of categorizing Ballard that his entire career stood against.

A member of the New Wave science fiction movement of the 1960s, Ballard started out writing proto-environmental thrillers that highlighted the prescience of his imagination: The Wind From Nowhere posits a world-wide windstorm that becomes apocalyptic, while The Drowned World is about a planet swamped by risen sIt was really in the 1970s, however, that Ballard found his voice as a writer, focusing on the dangers of mechanization and socialization, the tension between the veneer of civilization and the animal brutality it sought to conceal. “

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"There Will Be Blood."

From Maren Ade to Terry Zwigoff, there are close to 100 directors who did exceptional work over the past decade yet don’t have a film on Affllictor’s Top 20 Films of the Aughts list. But the difficult paring-down process is complete. In alphabetical order, here are the lucky devils who made the grade:

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