TRANSCRIPTIONS

David Cronenberg and the Cinema of the Extreme

David Cronenberg : « I think film should be seductive and, and involving and intriguing »

Prfsr : « I think that masses doses videodrome signal will automatically create a new outgrowth of the human brain. Wich will produce and control hallucination, to the point that it will change human reality »

D.C. : « And so, it is much a suprise to me as maybe to other people that some of my films are considered to be very assertive and very confrontational »

Prof : « After all there is nothing real outside our perception of reality, is there. You can see that, don't you ? »

D.C. : « My imagerie is really very much like the use of metaphor and litterature. It's a way of comparing things and suggesting possibilities that might not otherwised have been imagined? »

Alex Cox : « What Cronenberg does, and what Georges Romero in his bests films does, is he creates a world which … you think you know that work cause you've seen in horror film before. So the genious is to create a new world you haven't seen before. That's like a dream because in a dream you can go into a place that you think it's familiar, and all of a sudden »

D.C. : « That's one think to have someone pushed of a subway platform and you can imagine what will happen. You don't have to show that »

« Videodrome is death. »

D.C. : « But when you're creating absolutly new unimagined imagerie, you have to show. There is really no other choice, it's really, it's a very functional thing »

Alex Cox : « You don't know what's gonna happen, and that's the most surprising thing is you don t know how it's gonna end. And that's very rare because normally films are predictable, you do know how it's gonna end. So it's very surprising, and it become like a dream too because in a dream you never know how you dream is gonna (...) out »

« ...Boy, ...boy »

D.C. : « We wanna beggin to think about making a movie. I've done underground films (...) was doing a movie, they would have an audience (...) was eating pop-corns, that was the difference. It was a completelly natural thing for me to go to psychosis horror form. »

« ... believe man is an animal, that thinks to much, to much brain and other guts. It was (...) came up (...) Here, a combination of aphrodisiac (...) disease (...) hopefully in (...) world (...) one beautyfull mind this... orgy ... crazy

D.C. : « It seems like a brilliant career strategy (...) because it was one of the few places that you could make a low budget film and have been successfull and have be noticed »

D.C. : « All the other (genre)... taken by hollywood. At that time no hollywood studio would make a horror film. Maybe the all man was Gregory (Pack) ,you know maybe. But something like Shivers, never. »

Georges Romero : «I was growing up with horror film, that was the (…) and then (…) stop short of the punchline if you will »

D.C. : « Most horror films at the time were basically costumed dramas if you didn't have a vampire you certainly had capes you know with a...mechanic things and you had castles if you could afford them. But for me, it was never question, it was gonna be modern, it was gonna be a contemporary thing »

George Romero : « It's really part of the job of the (...) to (...) your cage and create an environment that is not the environment that you're in, it's not the world, it's meant to cheat that world out. Particulary for using (...) form crisis (...) »

- « What are they doing ? Why they come here ? »

- « (...) memory, what i use to do. »

Naked Lunch

« When I started writing Naked Lunch people (laugh of their) opinions. Disgusting they said, pornographic, unamerican, trash, unpublishable. Well, it came out in ninety-fifty-nine and it found an audience. Town meetings, book burnings, and an inquiry by the States Supreme Court. The book made quite a little impression. Now thirty years later Hollywood, in his infinite wisdom, has turned it into a movie. Thirty feet tall, in living color. Cover your eyes America, run for your lives » « You (...) » «You just gonna have to leave town. » « Tourist class i'm afraid. » « ...you finish, you're doing weird stuff. » « I thought I was too, but I guess I'm not. »

Viggo Mortensen's Naked Fight Scene

« In the case of V.Mortensen he look so slavic. I guess that's why... »

« Well, that's what I thought when I was doing History of Violence, where do these chick bomb come from.You know because that's not necessary Danish but also that's getting closer to Russia when you're in Danmark. And so, when I read the role of Nikolai, this so perfect for Viggo, you know. I didn't know that he wanna do it but I thought that he had to do it »

« Well, I could see why he might have some misgiving ... about doing this. It is a very physical rôle ... difficult rôle ... have a scene that many people have talk about,.. an incredibly violent battle scene that must taking of ... »

« Well, You know, it's, yeah, Viggo does the fight scene, Viggo plays completely naked and he was just (...) but was relatively simple discussion that we had. He said as we started to work the choreography for he scene, he said ... I'm gonna have to play this naked and i said great that was sort of it »

« He made that decision ? »

« Yeah, you know it was written. You know the guys are in the steam bath and two bad guys come in with knifes and there's a fight »

« It would have been hard to do all thing in a tall anyway ? »

« ...it would have been quite so. And basically would have been a betrayal of the level of reality that we had established before... On the other hand, you know it really was based on the trust that Viggo and I established working History of violence .I show my actors everything I have monitor everywhere for the crew to look at. Everybody know what's going on. Not all directors do that »