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dave depraved cronenberg

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jenkins

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Reply #135 on: January 21, 2020, 10:49:16 PM
he b acting



wilder

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Reply #136 on: February 07, 2020, 12:56:22 AM
May 28, 2020

Crash (1996) on 4K blu-ray and standard blu-ray from Turbine (Germany), from a new 4K restoration approved by David Cronenberg


UHD:




Blu:




Quote
Bonus Material

New Interviews in HD (ca. 140 Min.):
-Talk with Viggo Mortensen & David Cronenberg (ca. 52 Min.)
-Peter Suschitzky (DoP- ca. 20 Min.)
-Jeremy Thomas (Producer - ca.17 Min.)
-Howard Shore (Composer - ca. 23. Min.)
-Deirdre Bowen (Casting Director - ca. 27 Min.)

Archive:
-Theatrical Release Interviews with Cast & Crew (ca. 22 Min.)
-Behind the Scenes (ca. 11. Min.)
-US-NC-17-Trailer
-Trailer (in HD: D & US)

David Cronenberg's Short Films:
-THE NEST (ca. 9 Min.)
-CAMERA (ca. 6 Min.)
-AT THE SUICIDE OF THE LAST JEW IN THE WORLD IN THE LAST CINEMA IN THE WORLD (ca. 4 Min.)



WorldForgot

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Reply #137 on: February 27, 2020, 04:50:24 PM
'Movies were made for sex'

Quote
[...]
“I’m interested in seeing myself, even if my posture’s poor or something like that. I thought a lot about one shot in Clifton Hill where I should’ve been standing up straighter. Mother should’ve been there to tell me to stop slouching.”

Though there’s no off switch on his philosophy of the corpus, Cronenberg has downshifted his personal output in recent years. He hasn’t completed a feature since 2014’s Maps to the Stars, and Netflix passed on scripts for two episodes of a proposed miniseries. He’s now shopping those around, while waiting on a possible adaptation of his novel Consumed and a “very personal” movie script he’s been fine-tuning. “Whichever one happens first, I’ll do,” he says. “No matter whether you’re in Canada or not, with independent film” – he pauses for a dry, hacking cough – “it’s difficult to get anything made. The more unusual a film is, the more resistance you’ll face.

“It’s been a long, difficult process,” he continues, “even in the era of streaming or whatever. You’re accumulating possible investors, people lose interest, more investors. You talk to maybe Canal+ or a broadcaster, and you wait, and you hope.”
Hope is one thing he doesn’t seem be especially short on, however. For all the existential despair of his oeuvre, he’s got a surprisingly sunny outlook on the future, both for himself and at large. Though he’s not too fond of the “completely asexual” superhero movies coming from the American mainstream, he believes the boundary-pushing strain of eroticism he once called his own is alive and well in modern releases like Julia Ducournau’s Raw and April Mullen’s Below Her Mouth. “To me, movies are sex,” he muses. “Movies were made for sex, there’s no question about it.”

He names Mullen alongside the “terrific” Québécois lightning rod Xavier Dolan and the box-office conqueror Denis Villeneuve as worthy stewards of Canada’s national cinema. That being said, Villeneuve’s ascent to the global stage gives him pause. “You see a uniquely Québécois film-maker coming out with really quite lovely and singular films, and then immediately getting absorbed by Hollywood,” Cronenberg says. “I wonder if that’ll be a marker for the future. You wonder if they’ll go back and make a distinctly Québécois film again.”

He’s happy to see the torch passed to the next generation in part because their ranks include his son, Brandon. He’s now completed his second feature after eight years of behind-the-scenes development struggles all too familiar to his father. (By dad’s metric, a film this long in the making would have to be highly unusual.) Cronenberg the elder counts himself as a fan of his upcoming sci-fi horror Possessor, his total lack of competition just another facet of his apparent inner peace. “We’re very close, Brandon and I, we exchange all kind of notes all the time. If he’s thinking about an actor who I’ve worked with, we’ll discuss that. I read his scripts as soon as he’s willing to let someone read them … I’m always happy to see his first cut. It’s all congenial.”

A certain anxiety seems integral to the Cronenberg gestalt and its key themes; inevitable deterioration of the body, the invasive influence of technology, how these both prevent or enable connection to the people around us. One would assume that he’d approach the all-natural body horror of his own ageing process with howling terror, but it’s on that front that he’s perhaps the most circumspect and calm of all.

“Do I think about my body?” he asks. “All the time. Given that I’m 76, I’m not in too-bad shape. My weight’s never been better. I’ve been working out consistently for the last couple of years, and I’ve learned that in fact you can gain muscle when you’re older. I’m quite happy with my body these days, despite the fact that it’s getting more wrinkly. I am constantly body-conscious, that’s the thing you photograph most as a film-maker, human figures. It’s just that that consciousness sits well with me.”



wilder

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Reply #138 on: March 16, 2020, 06:40:08 PM
The 4K restoration: