Author Topic: dave depraved cronenberg  (Read 36325 times)

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wilder

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Re: dave depraved cronenberg
« Reply #120 on: November 02, 2014, 07:18:08 PM »
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Not sure how reputable this is but it sounds like Cronenberg is checking out of the game for a bit?

Quote
David Cronenberg’s venomous human satire, Maps to the Stars, is the final movie in his 48-year career ... maybe!

“I had a great time doing Maps,” Cronenberg says of his adaptation of writer Bruce Wagner’s acidic takedown of a gaggle of people in the Hollywood film business. “But I just don’t feel I need to do another movie just to do a movie.”

Cronenberg says he feels no similar compulsion about any other film project. “It needs to be something that I feel I ‘must’ do, which I felt about Maps. At the moment, I don’t have any projects like that.”

David Cronenberg contemplates retirement with 'Maps to the Stars' - Toronto Sun

jenkins

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Re: dave depraved cronenberg
« Reply #121 on: December 07, 2014, 11:38:23 PM »
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i consider this important news:

<

wilder

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Re: dave depraved cronenberg
« Reply #122 on: February 27, 2015, 04:32:10 PM »
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Cronenberg in an hour long conversation with Film Society of Lincoln Center back in 2005, when A History of Violence was released

OpO1832

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Re: dave depraved cronenberg
« Reply #123 on: May 13, 2015, 09:50:49 PM »
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I love were Cronebergs career has gone! History of Violence and Eastern Promises are really outstanding! I haven't seen Cosmopolis or Maps to the Stars but he is making very interesting work. This man needs more props! 

wilder

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Re: dave depraved cronenberg
« Reply #124 on: September 15, 2015, 03:04:45 PM »
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David Cronenberg is turning this animated short into a feature film
via The AV Club



David Cronenberg is getting into the animation game. Perhaps running low on pieces of metal that he can shape into horrifying medical instruments, the director is instead turning his attention to an award-winning short film. Dread Central reports the Canadian auteur is planning to adapt Foxed!, a dark little animated short that has just been made available to watch for free online.

Foxed! - Vimeo


wilder

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Re: dave depraved cronenberg
« Reply #125 on: May 28, 2016, 09:00:36 PM »
+1
Three David Cronenberg/Howard Shore Soundtracks Are Coming to Vinyl, Including 'Crash'
via The Playlist

Mondo and Howe Records are releasing all three over the next few months.



David Cronenberg may be considering retiring from filmmaking in order to focus on his literary pursuits, but the reluctant financiers who've made it hard for him to continue making difficult art will never be able to take away the likes of "Videodrome" and "Eastern Promises." The filmmaker has collaborated with Howard Shore more than a dozen times, a partnership being celebrated by Howe Records and Mondo's upcoming vinyl releases of "Naked Lunch," "Dead Ringers" and "Crash."

"Naked Lunch" will be released tomorrow, May 25, with "Dead Ringers" and "Crash" following in June and July, respectively. Rich Kelly designed the covers for "Naked Lunch" and "Crash," while Randy Ortiz is responsible for "Dead Ringers."

These three releases follow Mondo's releases of "Scanners" and "The Brood," two other Cronenberg/Shore collaborations.







Naked Lunch OST Vinyl - Mondo

Jeremy Blackman

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Re: dave depraved cronenberg
« Reply #126 on: May 28, 2016, 10:00:41 PM »
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Those are some seriously great album covers.
"Hunger is the purest sin"

wilder

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Re: dave depraved cronenberg
« Reply #127 on: July 20, 2017, 06:17:49 PM »
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David Cronenberg Novel ‘Consumed’ To Be Developed As TV Series By ‘FTWD’s Dave Erickson & ‘Lucifer’s Sheri Elwood At AMC
via Deadline

David Cronenberg’s novel Consumed is getting drama series treatment at AMC. Fear The Walking Dead showrunner Dave Erickson has teamed with Lucifer executive producer Sheri Elwood to develop the novel as an hourlong drama series for AMC, where Erickson is under an overall deal.

Erickson and Elwood will pen the adaptation and showrun. Consumed is described as a mind-bending psychological thriller that follows two journalists who set out to solve the cannibalistic murder of a controversial Parisian philosopher. The book was published in 2014 by Charles Scribner’s Sons. Erickson and Elwood will executive produce with Cronenberg, who also may direct. Cronenberg’s longtime collaborator Robert Lantos of Serendipity Point, which produced Cronenberg’s Eastern Promises, will also executive produce.

The project falls under Erickson’s new multi-year overall deal with AMC he signed in March. He announced at that time that he’ll be stepping down as showrunner at the end of the current third season of Fear The Walking Dead to focus on developing new shows for AMC but will remain as EP on the series. He is now in San Diego for FTWD’s panel tomorrow.

Erickson worked closely with The Walking Dead creator Robert Kirkman to develop Fear the Walking Dead as a companion series to TWD, His previous credits include Marco Polo, Sons of Anarchy and Canterbury’s Law.

Multi-hyphenate Cronenberg’s credits include Maps To The Stars (director), Cosmopolis (director, writer), and A Dangerous Method (director). His 1996 film Crash won the Jury Prize at the Cannes Film Festival.

Elwood is repped by CAA and manager Robyn Meisinger. Erickson is repped by CAA and attorney Gregg Gellman. Cronenberg is repped by ICM Partners.

WorldForgot

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Re: dave depraved cronenberg
« Reply #128 on: July 21, 2017, 06:11:23 AM »
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And!

SCANNERS this Saturday at TheNewBevvvv

jenkins

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Re: dave depraved cronenberg
« Reply #129 on: March 14, 2018, 11:39:13 PM »
+1


opinion: Crash w/ "...sex and car crashes." is the best dvd cover that ever happened

jenkins

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Re: dave depraved cronenberg
« Reply #130 on: March 17, 2018, 02:23:59 PM »
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i was almost amazed by how much i liked Crash when i rewatched it, except that's an exaggeration, i think i knew i was going to like it and that's why i rewatched it.

i didn't know what to follow it up with, except i figured that out, i'm currently watching Atom Egoyan's The Adjuster, that was a good idea of mine.

what other movies of psychological specificity can anyone think of?

Reelist

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Re: dave depraved cronenberg
« Reply #131 on: March 17, 2018, 02:51:31 PM »
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‘The Adjuster’ that’s what they call me when my underwear are too tight
You can go to places in the world with pudding. That. Is. Funny.

jenkins

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Re: dave depraved cronenberg
« Reply #132 on: July 10, 2018, 12:13:50 PM »
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David Cronenberg: I would like to make the case for the crime of art

I would like to make the case for the crime of art. For the criminality of the artist. For the artist as criminal. Let us turn to Sigmund Freud for clarity.

In the Freudian formulation, civilization is repression. That is to say that without the repression of subterranean destructive human impulses, such as violent tribalism, sexual triumphalism and so on, human society as a coherent, functioning community could not exist. But the appeal of art is exactly to those repressed desires and instincts, to what Freud called the subconscious, and so in that sense, all art is subversive of civilization. If art by its nature is subversion, then artists are by their nature subversives. Because we think now in terms of civil society rather than grandiose concepts of civilization, I believe we can characterize art as essentially criminal. And yet at the same time, the case has been made that art provides a contained, safe outlet for these destructive, anti-social impulses, and in that way is, paradoxically, supportive of society and its demands for conformity and repression. A conundrum.

But is it contained? Is art ever truly contained? Is it ever safe? Art is not a toy, a fashion statement, a decoration. Art is inherently disruptive. Art is dangerous. It can explode in your face. Not that art can be a crime; art must be a crime. In my formulation, there is a need for art to be under the radar, criminal, subliminal. Constant as the society above it changes. Art is Notes from Underground. That is the strategy of criminal art.

Is the artist a complete anarchist, having no respect for society and the law? No, not at all. The philosopher Jean-Paul Sartre, commenting on the thief and playwright Jean Genet, via Marx, said: “Our future burglar starts by learning absolute respect for property.” Must artists understand that they are criminals? To do that, they must understand the law, the conventions of social discourse. They must understand what is criminal.

Can one be arrested for committing the crime of art? Oh yes. Maybe not right here, today. But tomorrow morning. Very early. Oh, yes. Revolutionary art has always been criminal art in the eyes of the ruling class.

The pressure to rise to all expectations offered by your art form, whatever it is, can sometimes transform/mutate into pressure to conform to already established norms. That is civilization. But then where is the subversion? In the isolation, the pain, the loneliness, the hopelessness, the tears, the anguish. And the truth. The telling of truth. These will be there, and they must be acknowledged and expected.

In particular, technology-heavy art forms such as architecture are deeply embedded in their social, political and economic contexts. But when we collaborate, is there truly an ecstatic dissolution of the self into a perfect fluid composed of many selves? You are not writing poetry in your garret in Paris, alone, destitute and starving. Or are you? I suggest that you are, somewhere in there, that poet in that garret, alone, destitute and, yes, despite the commissions, starving, philosophically and emotionally, if not viscerally.

Sometimes, art is bad for the environment, despite progressive desire, despite visionary passion. Very often, perhaps inevitably, architecture is bad for the environment. What can we do about this? And should we do anything about this? Criminal art. Criminal architecture. The crime of art. The novelist Philip Roth warned against “the unforeseen consequences of art.” That’s the key. You cannot know what you’re really doing, not in the context of the universe, and so all notions of socially progressive work are basically delusions, and are to be realized accidentally, if at all.

Can such a thoroughly socially embedded art form as architecture be criminal? Even if it’s bad architecture, environmentally irresponsible architecture, socially hostile architecture, Stalinist, brutalist, Nazi architecture? Can a building be criminal in its essence? I say it must be, it is. We must be honest here. All human architecture is a crime against nature, even that of Frank Lloyd Wright. Maybe even especially, because he understood what he was doing.

Crimes against nature. What can they be? Ironically, the list is always socially determined, not naturally. Because nature itself is criminal in its essence. Laws of nature are necessarily broken – through mutation – in order that nature, in the form of evolution, can subsist through time. I mentioned human architecture. There is insect architecture. Insects create architecture. Mud dauber wasps create beautiful multilevel nurseries, larval high-rise apartments, which they fill with paralyzed spiders to feed their children. Are they artists? Do they break the laws of nature? Perhaps we are, in fact, mud daubers. Perhaps our buildings are not crimes against nature, but constitute nature itself. Perhaps we come full circle.

The painter Willem de Kooning said: “Flesh is the reason oil paint was invented.” I say, the human body is the reason the cinema was invented. The face, the body, is its true subject, the most photographed object in cinema. Cinema is the body.

I’m here today because I’ve made some movies. But because of the internet, Netflix, streaming, cinema is dissolving, the big screen is shattering into many little screens, and this is causing much stress amongst movie-nostalgia hardliners. It doesn’t matter to me. In fact, it pleases me. Because the human body is evolving, changing, and since the cinema is body, it makes sense that the cinema is changing, evolving as well. If movies disappeared overnight, I wouldn’t care. The cinema is not my life. Your art form cannot be your life. To say that it is, to make it be that, is to evade life itself. But you won’t do that, will you? No, I’m sure you won’t.

 

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