Cronenberg on Cronenberg. He’s given 3sat an interview in which he looks back on his major features over the course of 90 minutes.
David Cronenberg gives a lot of insight on lighting seeing as how Crash’s filming logistics required a lot of location and night shooting. —filmschoolthrucommentaries
More cinematic information from the body horror master. David Cronenberg is one of the most articulate commentators I’ve heard yet. Again, I left out the ‘character motivation’ bits so you get majority of the commentary on the shoot and directing philosophy from Cronenberg. Much to be gleaned from.
Previously on Cinephilia & Beyond via filmschoolthrucommentaries: The master of body horror himself. David Cronenberg talks about the choices and filmmaking decisions he’s made in A History of Violence. This is one of the first of a series, since he has recorded them for most of his films. Again, I try to include only filmmaking information — there’s quite a bit of dialogue from him on the motivations of the characters that I left out but I’m going to post some of them separately later on.
The master of body horror himself. David Cronenberg talks about the choices and filmmaking decisions he’s made in A History of Violence. This is one of the first of a series, since he has recorded them for most of his films. Again, I try to include only filmmaking information — there’s quite a bit of dialogue from him on the motivations of the characters that I left out but I’m going to post some of them separately later on.
Previously on Cinephilia & Beyond:
David Cronenberg’s ‘The Fly’ Commentary:
Cronenberg talks about the inception of the project and some of the reception the film received.
Almost as subdued as Christopher Nolan was on his Memento commentary, David Cronenberg lulls you into a calm, forcing you to hang on his every word. Thankfully, most of those words are filled with deep insight into both the concept and execution of this 1986 classic. Without a cast member or fellow crew member to bounce ideas off of, something that works for a lot of the commentaries out there, we’re left with only Cronenberg to speak to us. This particular commentary benefits from that singular voice tremendously. The director never appears distracted, always seems on target with every thought he wishes to convey to his captive audience. The Fly is one of those films and David Cronenberg is one of those directors where you get the impression another commentary could be recorded with completely new information being brought to it, all of it absolutely fascinating. —33 Things We Learned From David Cronenberg’s ‘The Fly’ Commentary by Jeremy Kirk
Which Is the Fly and Which Is the Human? Interview with William S. Burroughs and David Cronenberg, Esquire, February 1992
The Fly interview, Starburst March 1987
“David Cronenberg: Lord of the Fly”, Fangoria #56, August 1986
“The car crash occupies a huge place in the public imagination, particularly among filmgoers and television viewers; it’s almost impossible to see a film these days without a car crash. Now why? What is it about the car crash that so touches a vital part of human experience?” — J.G. Ballard, author of Crash
- ‘Driver´s Side - Director David Cronenberg pulls over to answer AC´s questions about Crash.’, American Cinematographer, April 1997
- The Crash Debate: Anal wounds, metallic kisses, Screen 39: 2, Summer 1998
- Crimes of the Future (on ‘Crash’), Screen 39:2, Summer 1998
- ‘Cronenberg´s Crash - The most audacious picture of 1996 finally comes out in 1997.’ Cinefantastique April 1997
- ‘Crash: David Cronenberg turns S&M injury to S.F. metaphor’, Cinefantastique October 1996
- David Cronenberg interview, Sight and Sound, 6 / 1996
This is a 20 minute documentary about David Cronenberg’s films, broadcast on the BBC in 1997 and never repeated. It contains contributions from Cronenberg, George A Romero and Alex Cox.
Director David Cronenberg discusses the graphic novel on which the film is based, its adaptation, his encounters with the studio, casting, and the shoot itself. He also dissects the tone and themes of the film.