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David Cronenberg Interview
David Cronenberg's A History of Violence Movie Questions & Answers
Thank you for the questions you've submitted for director David Cronenberg. In his far-ranging responses, David discusses how he stays fresh, the delicate balance between humor and drama, and his on-set relationship with actor Viggo Mortensen.
Michael Ceata: With the current trend of people doing 'remakes' have you been approached by anyone wanting to do a remake of any of your moviea?
David Cronenberg: Yes: Shivers, Scanners, The Brood, Rabid. I've also heard rumours of a remake of The Fly. I have no interest in remaking my own films, to say the least.
Victorine Brown: In the trailer I've seen, ft's suggests that Viggo Mortensen's character Tom Stall, has in fact a past as a killer. But in the summary of this site, it talks of an identity mistake. My question is: which are we to believe and anticipate? The story of a killer or the story of an identity mistake? Thanks.
David Cronenberg: We aren't supposed to know. You are supposed to be as confused as you are. Good!
Alexandria Lockwood: Was the motion picture really filmed In Indiana?
David Cronenberg: No. It was all shot in Ontario. The sets were built in Toronto, which also stood in for Philadelphia.
John K: Reading plot summaries of 'A History of Violence' gives one the impression that you might be venturing into Peckinpah-esque territory. Is this a fair pre-screening assessment and do you see your approach to film violence as similar to directors Me Peckinpah, Scorcese, etc.?
David Cronenberg: I don't actually see Scorsese as being very Peckingpahesque (think of the use of slow motion), but that's another discussion. In the case of HOV, the tone of the violence came from the characters, and my idea of what violence was to them: functional, necessary, brutal, quick, and intimate. Strictly business, and without much pleasure, including sadistic pleasure, involved. The violent scenes are all shot real time, no slow motion, no jump cuts, no repeated shots, no avoidance of the physical consequences for the human body. The audience tends to applaud the violence, to be complicit in it, and then to be repulsed by the results of that violence. That's what I wanted.
Charles Lai: Do you feel there's a connection between this movie and the Robert Mitchum movies Out of the Past?
David Cronenberg: I've never seen Out of the Past, unfortunately - I've heard that its a classic film noir - so I can't really say. Just putting the two titles side by side suggests that there's a connection, though.
John Elliott: Would you recommend reading the graphic novel prior to seeing the movie? How much of the film is based on the graphic novel?
David Cronenberg: No, I wouldn't. Only the first fifteen minutes or so of the film is directly related to the novel. After that, they go their separate ways. Reading the novel could spoil some of the movie for you, though, so I'd suggest reading it afterwards if you're Interested.
David WIntivop: After viewing the Trailer for A History of Violence' which I should mention was quite good, there seemed to some strong similarities with the 1971 movie 'Straw Dogs' with Dustin Hoffman. Both movies seem to focus on how far a man will go to protect his family. I was curious if 'A History of Violence' w directly influenced by 'Straw Dogs' or if any similarities are coincident.
David Cronenberg: HOV was not directly influenced by Straw Dogs, unless it was an influence on Josh Olson, the screenwriter (he never mentioned it to me, though he knows the film). I think that once you get deeply into the movie, you'll see that there are some fundamental differences between the two, but 1 can't get into details for fear of spoiling HOY for you.
Max Harcke: I an wondering what led you to choose Viggo Mortensen for this part? Good choice by the way.
David Cronenberg: I needed someone with the charisma of a star and the believability of a character actor who could play the owner of a small-town diner. It doesn't hurt that Viggo's a superb actor and a wonderful collaborator.
MIyukI Sukegawa: Dear Mr.Cronenberg. I'm Japanese girl. My favorite movie... DEAD RINGERS My question... Who Is your favorite writer?
David Cronenberg: I love novels and novelists, and always have, so my list is very long and growing. Right now I'm going through a big Martin Amis phase. I think he's superb.
Brandon Norwood: How true does this movie stay to the graphic novel?
David Cronenberg: Not very. The first fifteen minutes are close, but after that the two diverge completely. The novel is interested in mob stuff; the screenwriter Josh Olson and I were more interested in family/smalltown stuff.
Marc Smith: How does it feel working on what could be seen as a 'studio' film... this certainly appears different from your last two films, Spider especially. Did working within this system restrict you from what you could include In the finished film?
David Cronenberg: It didn't The question is never 'studio vs. independent,' but more 'who is it you're working with and what is your understanding with them?' This movie is exactly as much my movie as Spider was; it's exactly the movie I wanted to make and so there won't be any director's -cut DVD. I know some independent filmmakers who have major horror stories to tell about interference and betrayal even though their movies cost under S2 million dollars!
Michael Lim: How do you interpret the nature of violence in this new film as compared to your previous films and has anything changed in your view of it since you have completed the film?
David Cronenberg: The nature of the violence In this film comes from the nature of the characters - who they are, what they are, and why violence is a part of their lives. In other words. I haven't imposed some abstract concept or theory of violence on the story from the outside. The result is a depiction of violence that is very humanly physical - no explosions, no car crashes - very intimate, nasty, brutish and quick.
Gabi: Of course I haven't seen the movie yet but I read in the Media from Cannes that there were may funny aspects In the movie, too. How did you approach and handle the funny elements In the 'violence'-shoot? And how did you combine them with violence? Wasn't It sort of a balance act?
David Cronenberg: I think all of my movies are funny, and this one is no different. It can be dangerous combining humour with seriousness, though and it can backfire on you: you don't want your audience still laughing while the movie has switched into a heavy emotional mode. I'm trying to replicate the tone of life as we live it, in which laughter and tears are often mixed together at the oddest times.
Chris Marsh: You seem to connect on a very intimate level with your colleagues How do you maintain civility between you and your actors/crew during the shoot and how important is trust in collaboration? Do you see a distinction between modern Cronenberg and early Cronenberg or are your films one continuous body of work?
David Cronenberg: It may come as a shock for you to hear this, but In general, film people are very civilized despite what you read in the tabloids. In fact, the movie -making process is founded on civility and collaboration, and the best movies come out of an ambiance of trust, especially ones in which actors are asked to take risks and be vulnerable. I've never found it to be a problem, especially since I've always had input concerning actors and crew. You develop a sense for trouble, and you avoid it. As to your second question, I'm not trying to be evasive, but I don't see my films very well at all. They aren't like movies to me, but more like documentaries of what I was doing on the day that I shot that scene. I'll have to leave the 'body of work' analyses to others.
William: I'm a big fan of the original comic, andI can tell simply from the names of the characters (particularly Richie) that the story has been somewhat changed. I realize that this is a necessary process when translating anything from one medium to another. I also realize that mentioning what was changed might spoil the movie. However, I would like to know why you felt change was necessary, and how the changes made effect the tone, sprit, etc (basically the non-plot elements) of the movie. Thanks!
David Cronenberg: You might be disappointed in the movie because It isn't very close to the comic. That had more to do with my collaboration with Josh Olson than anything else. We found as we worked over his script that the things about the basic starting premise that excited us took us further and further away from the novel. In fact, I didn't know that Josh's script was based on a graphic novel until we had been working on it for some time. Weird as it sounds, no one had mentioned it [to] me, and the credit didn't appear on the script I was sent. By the time I read it, we were so far away from it that it could be made into another movie. Maybe it will be.
Charles Peterson: Mr. Cronenberg, I am a young film director and admire ALL of your films. What's it like working with the same crew in almost all of your films and what are the advantages and disadvantages (if any)?
David Cronenberg: The advantages are that you can focus on the work and not on temperament; you know your crew's strengths and weaknesses and have already figured out how to work around them; you have decided you like to work with each other, and that makes you happy to see everybody each day; you have a history together - not a violent one! and that gives you reference points so that you can work with great efficiency and subtlety; you have huge respect for one another because you have seen each other do good work under pressure. Your crew as family grounds you and supports you and that gives you confidence. I could go on. The only disadvantages would come if you all got into a rut together and started to be boring and predictable to each other, but I've never found that to be the case because each new project brings huge new challenges - and a lot of new people, especially actors. It always seems fresh, and my crew work on more movies than I do, so they're always glad and refreshed to be working with me.
Stefan: What do you look for in a screenplay someone wrote? Do you look for things that are very different from your own, or do you try not to think about it at all and just go for the scripts that appeal to you, that you think you could make a good movie out of?
David Cronenberg: The latter.
Cookie Klag: You have been a director, writer, actor and producer on so many films, is there still one part of filmmaking that you would lice to try?
David Cronenberg: I wouldn't mind doing some on-set stills photography. I think that's a little-known and very difficult job, and digital stills photography has revived my interest in stills work. If I were a better sewer, I might try some costume-making as well! I like the handson stuff. Set carpentry too. It's a very specialized form of carpentry, not Ike any other.
Jonathan Hatfull: Many of your films feature people with special talents, such as scientists, videgame designers and authors. Was making a film about ordinary people part of the appeal of 'A History of Violence?'
David Cronenberg: Definitely. I usually work from the outside in: start with outsiders, marginal people, extreme characters, and then try to bring the audience closer to them as the movie flows on. In this movie. I start with very familiar people, and then move into strangeness and darkness with the audience already on board.
Maria:
1. I keep reading about 2 explicit sex scenes in this movie. How do you handle this kind of scene with your actors?
2. What rating (I.e. PG-13, R, or NC-17) do you think this movie will get here In the USA? Is this a wide release?
3. Really, how does it feel kissing Viggo Mortenssn?
David Cronenberg: 1. Delicately, calmly, and gently. Actors are vulnerable in sex scenes, especially emotional ones like the ones in AHOV, and they need to feel protected. The director and the crew have to provide that protection. I also encourage my actors to look at the video monitors on the set so that they can see exactly what's being filmed. There are no nasty surprises for them that way and they appreciate my trust in them in turn.
2. It's rated R and is exactly the same length as the version shown in competition in Cannes. It will have a limited release on Sept. 23, followed by a wide release Sept. 30.
3. Viggo is a great kisser. I'm not sure about the moustache he wore in Cannes, though. I kissed him (and all the other actors) on the set every day. I hope you're jealous.
L. Anton Dencklau: How difficult is It to convince a distributor, even one considered as adventurous as New Line, to take on a project like 'A History of Violence?' Is it still possible to get a film made for thinking adults and not have It consigned to urban arthouses?
David Cronenberg: New Line brought the project to me. They said that they wanted ins to 'elevate the material.' I told them that I would and said I hoped they would be ready for it. t was true to my word and so were they. Getting a wide release for an intelligent film is still a difficult task these days, though, and it doesn't seem to be getting easier. It is still possible, though rare, and we have to cling to that.
Joy Armstrong: I believe you had someone researching a novel on the set of HoV. Is this true and if so how did he/she manage this? I am writing a novel about a middle aged film star, but need to get on a film set on location and I just cant seem to get anywhere with film production companies here in the UK. I need a trigger of some kind. My question therefore is what did that person do to be able to get on your set??? (Assuming, of course, the Information I have is correct and you knew about this !!) Many thanks
David Cronenberg: I could be wrong, but you're probably referring to Diana Ossana, who co-wrote the screenplay for Ang Lee's new movie Brokeback Mountain- she was on that set a lot - and several other screenplays. She's also a producer. Her connections helped: many people on the set could vouch for her tact and sensitivity, and of course she has a good track record. She actually wasn't on set very much, and that was a factor too. I don't really like open sets. Too many distractions. I like the magic of doing secret things in the night and only revealing what you've been doing when it's finished.
Marina Ferreira and Rita Costa: We are two Portuguese girls from Oporto (the city of the Fantasporto festival) and we are 15 years old. We'd like to know if there will be any HoV premier in our country or somewhere near (ex: Spain). We'd also like to know if there have been any problems with the rating and if, because of that, there will be many scenes to be cut Do you think this film will change your career? Will your films become more mainstream? Did the Fantasporto award in 1983 mean very much to you?
David Cronenberg: I will be travelling to Spain in mid-October to do publicity there, so perhaps there will be a premiere. I'm not sure where, yet. Possibly Sitges. So far I've had no problems with ratings and no scenes have been cut, but that can vary with each country, so I can't say what will happen in Portugal or Spain. I have good memories of FantaSporto, both for Shivers and Scanners, which won that award in 1983. Specialized genre awards are very important to a young filmmaker. They make him feel that he is a member of a large, supportive community that appreciates his work, and that kind of encouragement is invaluable.
Cath Bradshaw: Do you think violence Is scarier when It is set within the context of 'normal' life rather than In a surreal or fantasy scenario?
David Cronenberg: There are no rules. A good filmmaker cm scare you anywhere, in any context. Conversely, a good filmmaker might decide to use violence to unscare you, or for comedy, for satire, or many other purposes.
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