. At first glance, his new filmwith its trippy mantra, “Long live the new flesh.” The tale of an artist working in the field of surgery as art, his upcoming Cannes Competition entry also evokes the specter ofDEADLINE: You made a very different short film in 1970 calledNeon Offers First Full-Length Trailer For David Cronenberg's 'Crimes of the Future' - CinemaCon: Well, it came about in a very organic way.
DEADLINE: It’s interesting that you’ve been exploring these ideas for a long time, and you’ve kind of been proven right.DEADLINE: Even with your psychological films, there’s always an idea of infection, of violence and madness being somehow viral. Do you ever pause to think about your own capacity for foreseeing these things?: No, not really. You have to be realistic about what influence you have, or do not have, on people.
DEADLINE: People do seem to be more frightened by existential fears. From the trailer, the line that unnerved me the most is when Léa Seydoux says, “Have we just been made obsolete?” Is the inference that we are just making more problems by using technology to clean up after ourselves?: No, it’s sort of perversely the opposite of that. It’s kind of saying, “Let’s embrace what we’re doing. Let’s embrace the terrible stuff that we’re doing—to the planet and to each other and to our children.
DEADLINE: Do you see waves of censorship? You’ve been making movies for 50 years. It seems to me that censorship comes in waves—it goes and then it comes back.: It does, and it comes back in interesting forms. The way that the #MeToo movement can be used as a tool of censorship, for example, is a new approach, a new little arabesque on censorship, and it is used politically that way, or is resisted as a censorious movement rather than a movement of some kind of liberation.
TeamK_1 'Breaks his silence'?! Who the hell writes such ridiculous headlines 😂
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