David Cronenberg Quotes - Page 2

I work with my dreams or nightmares.

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.

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.

Re-writing is different from writing. Original writing is very difficult.

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.

All romances end in tragedy. One of the key people in a romance becomes a monster sooner or later.

The way a child discovers the world constantly replicates the way science began. You start to notice what's around you, and you get very curious about how things work. How things interrelate. It's as simple as seeing a bug that intrigues you. You want to know where it goes at night; who its friends are; what it eats.

Anybody who comes to the cinema is bringing they're whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to.

I'm not very well organized unless I'm plugged into a structure like the opera or a movie. When I'm doing that, I have to be organized.

I don't have a moral plan, I'm a Canadian.

The more unique your film is and unusual it is and difficult it is, the harder it is to get it financed. That's why a lot of good filmmakers are doing television. They do HBO movies.

My dentist said to me the other day: I've enough problems in my life, so why should I see your films?

I don't think that the flesh is necessarily treacherous, evil, bad. It is cantankerous, and it is independent. The idea of independence is the key. It really is like colonialism. The colonies suddenly decide that they can and should exist with their own personality and should detach from the control of the mother country. At first the colony is perceived as being treacherous. It's a betrayal. Ultimately, it can be seen as the separation of a partner that could be very valuable as an equal rather than as something you dominate.

Technology is us. There is no separation. It's a pure expression of human creative will. It doesn't exist anywhere else in the universe. I'm rather sure of that.

You start selling the movie before you make it.

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.

We are at a major epoch in human history, which is that we don't need sex to recreate the race. You can have babies without sex. This is the first time in human history that has been true, and it means, for example, we could do some extraordinary things.

At a certain point the audience shouldn't worry about catching every word and understanding every twist and turn, because at a certain point that's pretty much impossible.

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

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.

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.

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.

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.

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.

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.