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The collection / 27 fragments

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08c. 1966 AD
I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.
David Cronenberg / quote
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10c. 1966 AD
It's my conceit that perhaps some diseases perceived as diseases that destroy a well-functioning machine actually turn it into a new but still well-functioning machine with a different purpose. The AIDS virus: look at it from its point of view. Very vital, very excited, really having a good time. It's really a triumph if you're a virus. See the movies from the disease's point of view. You can see why they would resist all attempts to destroy them. These are all cerebral games, but they have emotional correlatives as well.
David Cronenberg / quote
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11c. 1966 AD
As an artist you look into yourself to understand the human potential to be all kinds of things that are not necessarily pleasant but are real - a criminal, a murderer, a sadist, a rapist; to be all of these things that many people are. You can't allow yourself to say, 'I'm a different species from those people.' Because you aren't.The criminal as monster is kind of common. That's very convenient because you can then say, 'Of course I'm not a monster, therefore I'm not a criminal therefore I have no potential in tern of criminality.' And that lets you off the hook. That gives you a nice wall between yourself and them.
David Cronenberg / quote
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18c. 1966 AD
Somehow, Naomi was of another, newer, generation than Nathan, despite the fact that they were the same age. Nathan seemed to have absorbed his sense of journalistic ethics from old movies about newspaper reporters. For Naomi, internet sampling and scratching was a completely valid form of journalism, presenting no ethical clouds on its open-source horizon. To not be photographed daily, even by oneself, to not be recorded and videoed and dispersed into the turbulent winds of the net, was to court nonexistence.
David Cronenberg / quote
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20c. 1966 AD
I apologize to my priestess. I underestimated her. I equated her with the global media, which is where I found those easily digestible raw materials for my banal and bourgeois account of My Life with Poor Terminal Celestine. There are so many blogs and articles in the 'Living' sections of online newspapers pouring out the synthetic emotions and the mundane details and the shocking bodily consequences of any disease you can think of or even invent. Honestly, Celestine and I felt we had to fully understand the phenomenon of the internet, because consumerism and the internet had fused, they had become one thing, even though on a certain level it was anathema to us, noxious to the strange, introverted, and, yes, relentlessly snob personal culture we had spent years developing together. But also we realized we needed the net in order to understand what was the basic human condition, what a current human being really was, because we had lost touch with that, our students made that clear to us, and so we were also using the internet to research our roles playing normal human beings.
David Cronenberg / quote
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