I can definitely picture Max Renn (Videodrome) sitting on this chair with his gaping stomach-hole.
h/t Boing Boing.
Cao Hui, “Visual Temperature — Sofa,” 2008.
Mixed Materials: Resin, Fiber, etc. 98x106x108 cm.
via The Daily Beast [click through to read the entire interview]:
… Read the rest
“I couldn’t have written this novel without the Internet,” the film director David Cronenberg says about Consumed, sounding like one of the obsessed characters lifted from its pages.
Published late last month by Scribner, the book details the bifurcated narratives of a romantically and technologically linked journalist couple, one chasing the story of the grisly and cannibalistic murder involving a famous French philosophy couple and their acolytes, the other a relationship between the doctor behind a mysterious sexually transmitted disease and his strange daughter. In between, the novel features many detours: the Cannes Film Festival, 3-D printing, hooked penises, and transmissions from the “insect kingdom” through fake hearing aids. It’s the most Cronenbergian thing you’ll ever experience, and a little awkward to read on the subway.
Cronenberg compares himself to Gergor Samsa? I like him even more.
via The Guardian (Follow the link to read the entire interview):
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When the great Canadian film-maker David Cronenberg turned 70 last year he felt, in a word, old. An admirer of Franz Kafka, he said he found himself comparing himself to Gregor Samsa, the protagonist of The Metamorphosis, who wakes up one morning to find – very Cronenbergian – that he’s become a giant beetle.
“You are a new creature,” Cronenberg explains. “Ask anybody who is not advanced in years what they think of 70-year-olds – if they think of them at all – and it’s Alzheimer’s, senile old people and Zimmer frames. Just, ‘Wow, what a burden on the healthcare system.’ Three score and ten, that’s supposed to be it, that’s the biblical age. So there are precedents for considering 70 to be a major moment in your life.”
Once he had come to terms with the shock, though, Cronenberg returned to his work with renewed vigour.
This is gold.
Robert Pattinson has been trying to prove that he’s more than just a sparkling vampire. And he’s doing a pretty good job, working with the likes of David Cronenberg (Cosmopolis, Maps to the Stars) and Werner Herzog (Queen of the Desert) Pattinson has confirmed that he’s capable of being more than just a teen heartthrob.
And now, Harmony Korine is working on a film written specifically for Pattinson.
… Read the rest
Over the last year, he has been diligently making movie after independent movie, in what has been his first stretch of work post-Twilight. And so far, his direction seems clear – he’s working exclusively with auteurs, on films that are not obviously commercial, and in roles that are uniquely challenging and wildly different, one to the next.
Last summer, he finished The Rover in Australia, a dystopian western from David Michôd, who made 2010’s brilliant Animal Kingdom.
Modern masters like Alan Moore have often said that “art is magick because art transforms consciousness.” Although there are an increasing amount of psychedelic bands and visual artists working in the medium, none that I’m currently aware of take to their craft with the specific intent of potentially inducing spiritual epiphany in the viewer/listener, which is what the Occult films of Chapel Supremesus (myself and Dean Swanson) strive for. It’s a path I personally started treading at around age 19 by throwing cut-up, mind-fuck mixes together with a $100 sampler and a cheap cassette 4 track. At the time I was years away from my Occult awakening, but crafting bedroom auditory sorcery solely for the purpose of warping my own internal microverse struck me as the most natural way of communing with the great beyond that I could think of.… Read the rest
If you’ve ever wondered how David Cronenberg and his team managed to create that infamous head explosion in Scanners, you’re in luck. The new Criterion release of Cronenberg’s classic (which is on sale now at Barnes and Noble) contains interviews with the Scanners team who explain how they designed such a realistic portrayal of an exploding head on a limited budget.
The interview was uploaded to YouTube courtesy of the Criterion Collection:
About a week ago the venerable Pope of Trash, John Waters, had a spectacular interview with the King of Body Horror, David Cronenberg. Every year at the Provincetown International Film Festival (PIFF), John Waters sits down to interview the new “Filmmaker on the Edge” nominee. This year was Cronenberg’s year and the interview was about as awesome as you’d expect.
They discuss Cronenberg’s Naked Lunch and his working relationship with William S. Burroughs, Cronenberg’s genres of “body horror” and “venereal horror,” and his current relationship with horror movies.
Unfortunately this isn’t the entire interview, I couldn’t find one online. Indiewire, however, did a great write-up and you can read that here.
You can skip to about 6:30 for the interview.
… Read the rest
Waters: “We’ve both featured assholes in a special way.”
Cronenberg [In reference to his white sunglasses on the red carpet at Cannes]: “They said I ruled the red carpet.”
Cronenberg [In reference to Naked Lunch]: “It really was a fusion of my DNA and William Burroughs’.”
Waters: “Ever been to a nude beach?
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