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Dataset card Data Studio Files
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we're talking about are people who live in kind of the shadows of society and
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they're forced to
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engage in the process of making films that people would ever see. it's a little bit like if you took the analogy of architecture.
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fellow artists and fellow critics and people that
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i think in normal society, it seems like there's a lot of people have toned down on that. like they've-
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and now it's become so pervasive, the aesthetic with the infiltration of television and all of that stuff. so when somebody says, they're going to go into
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filmmaking or writing, there's far more of- there's millions more of those people out there. so you're having a lot less friction. so the culture has changed.
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it's more of a mind oriented culture where it used to be a very hands on sort of culture, just making things. and now it's the concept of things and it's become so pervasive. it'll ultimately-
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there's a certain amount of people. it's all about belief that will put you down.
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and another thing too is cold. i know recently i was surrounded from millionaires to weekenders
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where they can do what they want with the day. weekenders are 9-5ers where the weekend's the big deal and you don't see them from monday through friday.
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be yourself. and now that's a platitude, that has no value that's saying, because we've heard it a million times. it doesn't mean anything. so the thing of it is
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it's among your colleagues, you have to stand tall and you have to stand independently and you got to do the writing. you got to do the filming of it.
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they were made by small, independent production companies and just never finished, never. in some cases, never even-
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these portraits of these films seemed more interesting than films themselves could possibly be just about what he was trying to achieve.
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initial hunger that spark of
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realistic and his work maybe changed accordingly. there's nothing wrong with that. it's just the way people are.
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everyone has a particular chronology and there is the burgeoning excitement, and then there is kind of like the, ultimately the historical perspective.
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there's people in their seventies that's bouncing off the wall with this energy. seventy is not what it used to be. i know we've touched base on that, but the point of it is-
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it's just an inspiration to other endeavors that i said, i think other people could learn from if other people can see.
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figuring out the artwork and we're still even putting the characterization and we're still coming up with,
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how do we really want this thing to function? and yes, it would be, i mean, it wouldn't, it would be easier-
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this is nothing to do with you, but a take off on it. someone working for nine years on this project and all of that stuff, and
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it's going to be great. and people who kind of are in the know and have seen some of it think, man, it's just this marginal shit.
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for some of my work, i think i want to pursue that idea. i think that's beautiful and brilliant and
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wanted to use some of this time to invoke that. and i want to say, thank you, gabe,
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hit at more the scarier, i see that, monitor it during the show, appreciate it. that continuing vitality that you guys
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give and now we give back, certainly. i've got gabe bahana with me, fresh from florida. that's me.
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and azov play captain of the helm. that's him.
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she technically answers, but she'll shake her head.
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and this week we're going to venture into- mark's been talking a lot. every time i hang out with him,
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and this is in no way, shape or form meant to criticize mark at all, it's just been very fun. every time i've hung out with mark for the last-
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the conversation, it's very meditative. it's very relaxing. we'll sit there, we'll be in his van and we'll do something. and we'll have our discussions about life, our children.
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and eventually lately the conversation turns to maps to the stars.
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and mark seems to be pretty taken with the film, but he's got a lot of analysis for the film. he hasn't just looked at it.
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every time i've hung out with him recently, he's had different observations and
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it got to the point where i just realized we need to talk about this movie on the show
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as well. i avoided this film for some reason, even though i've heard nothing but
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substantial praise from a few of my film friends whose opinions i take rather serious. mark, obviously being one of them.
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and as of late he's really brushed out of that genre more and gone more into psychological complexity.
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just the politics of sex in numerous states and forms. he made crash in 96 based on j.g ballard's film,
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which had some extraordinary performances in there, including one by keira knightley who continues to baffle me with the fact that she has become a good actress.
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a very talked about- i mean, he just will not settle down and make something that is just...
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but i've been chatting long enough. i want to hand this over to mark because every time that he, he talks about this film, i'm just struck. i just,
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i think about the film more and more-
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sequences of sound effects editing, because there's never a moment
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where it falls into farce, where it becomes comical, or where it becomes unbelievable, where it becomes over the top. and it's a totally over the top scene.
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believe it, it's surreal in its believability and the sound of the flesh hitting flesh in that steam room.
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and he'd play them in his car while walking around and
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the mixing always, it never spikes. it never gets really loud. it never gets really quiet. like mark was saying, like broadcast television.
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where millions and millions of people have little bits and pieces of a piece of media content.
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and it's just like netflix, you could find any movie click on it and boom, you're watching it. and you don't have to pay any of the fees that netflix is.
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and probably it's a legal loophole right now that will change. who knows?
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i'm a little bit tired of wealthy hollywood
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characters who are demonstrous
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and then with an element of-
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he is attempting to
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merge technology with the flesh
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where people have these garish wounds that are sort of
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fleshy. well in existenz there's this almost like a little a port
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on people's bellies, i think. oh yeah,
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it's fine in back you could plug, and then yes, in videodrome he's able to-
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he sticks his hand in his stomach and pulls out a gun or puts a gun in his stomach.
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the videotape scene is especially my favorite.
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yeah. and, and it's still great. it's, it's, it's, it's great. but
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he kind of walks
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out. he's not too concerned. he doesn't seem concerned about the suspension of disbelief
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with these flesh trans- like with the flesh. and it seems to me that,
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i'm sure they try their best to do a great makeup job, but it always just looks like this putty on a person's face or putty on their back.
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i don't really care that you know this is fake. we're
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all in agreement that this is fiction and it's not real.
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positing this narrative that you can then sort of go with. and if you can't suspend your disbelief, then tough luck.
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anyway, i don't know. i've talked a long time, but.
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no, that's a really astute observation you just made. and i think that might be the link,
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because there's links between cronenberg's work, even films that seem completely unrelated to other ones.
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there's a thread that runs through his movies.
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you could say that... not all of them but like you said, they deal with the flesh
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and they deal with both the beauty, the ghastliness
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and the way that it's almost like our sin,
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but he's not that cheap. he doesn't go on levels that easily perceived.
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my favorite filmmakers or filmmakers that have themes that consistently run through their work.
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[inaudible] filmmakers, let's say that would be-
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well, even like steven spielberg, how he's obsessed with that... not obsessed, but he has the childlike sense of wonder and awe. how he
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just... that's a consistent motif, whether he's producing or directing
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its something... it's even in men and black, it has that ability to bring you back to being nine years old.
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cronenberg has that ability to thoroughly, psychologically and spiritually disgust,
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while also making you laugh at the same time. because it's so over the top, it's like one part,
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i can't remember with rob bottin or rob [boton]
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, he uses those flesh potty effects.
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he uses latex effects rather than going the route of cgi.
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but there's two scenes in history of violence, which was the first film that i could remember there being blatant cgi,
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[inaudible] exit stems used more, more potent special effects than i could remember seeing in any film cronenberg film before that.
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and it seems like he's pushing the line on himself while also remaining the same. he's still cronenberg
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and a dangerous method was a real far departure from what i think, because there's not a single horror aspect to the film,
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but the idea of horror, it was really interesting. anthony mann, the
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film critic at the new yorker wrote about this different kind of horror. about
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the horror of aging and how,
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because it was this film about watching this man and this woman who absolutely loved each other and the disillusion of a relationship
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and how just... the look on his face as he was watching his wife crumble
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was a totally new type of horror film that had never existed before-
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