If you put yourself in a group of people you cannot work with it's obviously going to be a disaster. David Cronenberg More Quotes by David Cronenberg More Quotes From David Cronenberg I have a real aversion to ghosts because I don't believe in them. I think ghosts are actually a religious concept, because it means you believe in an afterlife. And I don't. David Cronenberg real religious believe I'm very anti-religious because religion tends to disembody you. David Cronenberg anti-religious religious All romances end in tragedy. One of the key people in a romance becomes a monster sooner or later. David Cronenberg keys writing people It's impossible to make a movie out of 'Naked Lunch.' A literal translation just wouldn't work. It would cost $400 million to make and would be banned in every country of the world. David Cronenberg countries-of-the-world lunch country My dentist said to me the other day: I've enough problems in my life, so why should I see your films? David Cronenberg dentist film problem When you're in the muck, you can only see muck. If you somehow manage to float above it, you still see the muck, but you see it from a different perspective. And you see other things, too. That's the consolation of philosophy. David Cronenberg perspective different philosophy You start selling the movie before you make it. David Cronenberg selling See, you can't rewrite, 'cause to rewrite is to deceive and lie, and you betray your own thoughts. To rethink the flow and the rhythm, the tumbling out of the words, is a betrayal, and it's a sin, Martin, it's a sin." --Hank (Kerouac)to Martin (Ginsberg) in the film Naked Lunch David Cronenberg betrayal lunch lying I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses. David Cronenberg different mean years I'm simply a nonbeliever and have been forever. ... I'm interested in saying, 'Let us discuss the existential question. We are all going to die, that is the end of all consciousness. There is no afterlife. There is no God. Now what do we do.' That's the point where it starts getting interesting to me. David Cronenberg afterlife forever interesting Well I don't think sex and violence have ever stopped a movie from being mainstream. David Cronenberg violence sex thinking But when you're writing a script - for me anyway - you have to sort of create an enforced innocence. You have to divest yourself of worrying about a lot of stuff like what movies are hot, what movies are not hot, what the budget of this movie might be. David Cronenberg hot worry writing So not only can you not imagine dying, you can't really imagine existence before you were born. David Cronenberg born imagine dying For example I don't work with William Hurt the same way that I will work with Viggo. They're different guys and they work in different ways. So a good sensitive director has his general style and technique and personality that he uses but you don't impose that on the actors. David Cronenberg guy personality hurt Do you remember when you found out you wouldn't live forever? People don't talk about this, but everybody had to go through it because you're not born with that knowledge. David Cronenberg forever remember people Let's put it this way, when I was casting, I cast Viggo first and then found someone who could play his wife, rather than the other way around. So for me he's still the lead character. David Cronenberg found-someone play character Your'e seeing me develop, not only as a filmmaker if you've seen my earlier films, but you're seeing me kind of learn how to be a human, how my philosophy has evolved. David Cronenberg vision kind philosophy Casting is really a black art. It's a huge part of directing and it's the most invisible. It's one that people don't really think about or talk about. But you can really destroy your movie by casting it badly before you've shot a foot of film. And yet there are no guidebooks for it, there's no rule book to tell you how to do it. It's all your own experience and your own sensibility and your own intuition. David Cronenberg book art thinking But with my last film, Spider it was agony. The money was always disappearing, nobody got paid, it was very difficult - and it's very distracting from the process of making the movie, of course. So I think things have been getting harder and harder. David Cronenberg spiders agony thinking When we talk about violence, we're talking about the destruction of the human body, and I don't lose sight of that. In general, my filmmaking is fairly body-oriented, because what you're photographing is people, bodies. David Cronenberg sight talking people
