Best 86 quotes of David Cronenberg on MyQuotes

All romances end in tragedy. One of the key people in a romance becomes a monster sooner or later.

All stereotypes turn out to be true. This is a horrifying thing about life. All those things you fought against as a youth: you begin to realize they're stereotypes because they're true.

Anybody who comes to the cinema is bringing they're whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to.

Art forms of the past were really considered elitist. Bach did not compose for the masses, neither did Beethoven. It was always for patrons, aristocrats, and royalty. Now we have a sort of democratic version of that, which is to say that the audience is so splintered in its interests.

As a filmmaker, I ask questions but don't have answers. Moviemaking is a philosophical exploration. I invite the audience to come on the journey and discover what they think and feel.

At a certain point the audience shouldn't worry about catching every word and understanding every twist and turn, because at a certain point that's pretty much impossible.

But when you're writing a script - for me anyway - you have to sort of create an enforced innocence. You have to divest yourself of worrying about a lot of stuff like what movies are hot, what movies are not hot, what the budget of this movie might be.

But with my last film, Spider it was agony. The money was always disappearing, nobody got paid, it was very difficult - and it's very distracting from the process of making the movie, of course. So I think things have been getting harder and harder.

Casting is really a black art. It's a huge part of directing and it's the most invisible. It's one that people don't really think about or talk about. But you can really destroy your movie by casting it badly before you've shot a foot of film. And yet there are no guidebooks for it, there's no rule book to tell you how to do it. It's all your own experience and your own sensibility and your own intuition.

Consciousness is the original sin: consciousness of the inevitability of our death.

Do you remember when you found out you wouldn't live forever? People don't talk about this, but everybody had to go through it because you're not born with that knowledge.

Each kid has a different level of expertise and some of them are very raw and inexperienced and some are incredibly mature and experienced. So you just have to go with what they are rather than have some abstract technique that you're going to try to apply to them.

Even Hitchcock liked to think of himself as a puppeteer who was manipulating the strings of his audience and making them jump. He liked to think he had that kind of control.

Everybody's a mad scientist, and life is their lab.

Everybody's a mad scientist, and life is their lab. We're all trying to experiment to find a way to live, to solve problems, to fend off madness and chaos.

For example I don't work with William Hurt the same way that I will work with Viggo. They're different guys and they work in different ways. So a good sensitive director has his general style and technique and personality that he uses but you don't impose that on the actors.

For me, it's just a normal artistic endeavour to explore the dark side. Certainly, I'm not alone in it. Artists generally don't like to accept the version of reality that society and culture hand them. They want to know what's really going on. So you're always looking in the ceilings, under the floorboards and behind the walls, trying to find the mechanisms, the structures, and the truth. I find that often leads you into some dark places.

For me, the first fact of human existence is the human body. But if you embrace the reality of the human body, you embrace mortality, and that is a very difficult thing for anything to do because the self-conscious mind cannot imagine non-existence. It's impossible to do.

I also think the relationship I have with my audience is a lot more complex than what Hitchcock seemed to want his to be - although I think he had more going on under the surface as well.

I can't imagine a life without humor. Especially if you have an existential understanding of life, you must acknowledge the absurdity of it all.

I don't have a moral plan, I'm a Canadian.

I don't think that the flesh is necessarily treacherous, evil, bad. It is cantankerous, and it is independent. The idea of independence is the key. It really is like colonialism. The colonies suddenly decide that they can and should exist with their own personality and should detach from the control of the mother country. At first the colony is perceived as being treacherous. It's a betrayal. Ultimately, it can be seen as the separation of a partner that could be very valuable as an equal rather than as something you dominate.

If the audience lets that stuff wash over them, you know - almost like music, rather than dialogue - and doesn't fight it, then they'll have a much easier time rather than being sort of frustrated and confused otherwise. But if you get in the right state of mind it really does work quite well.

If you put yourself in a group of people you cannot work with it's obviously going to be a disaster.

I have a real aversion to ghosts because I don't believe in them. I think ghosts are actually a religious concept, because it means you believe in an afterlife. And I don't.

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.

I like to laze around. I think that's a huge part of creativity. You have to let your mind relax and then another part of your brain suddenly connects with the solution you're trying to find.

I'm just observing the world. I was born into it, like you were, and then I found out there were some really disturbing aspects to being alive, like the fact that you weren't going to be alive forever - that bothered me.

I'm not very well organized unless I'm plugged into a structure like the opera or a movie. When I'm doing that, I have to be organized.

I'm simply a nonbeliever and have been forever. ... I'm interested in saying, 'Let us discuss the existential question. We are all going to die, that is the end of all consciousness. There is no afterlife. There is no God. Now what do we do.' That's the point where it starts getting interesting to me.

I'm very anti-religious because religion tends to disembody you.

I never thought I was doing the same thing as directors like John Carpenter, George Romero, and sometimes even Hitchcock, even though I've been sometimes compared to those other guys. We're after different game.

I think of horror films as art, as films of confrontation.

I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you're making a horror film doesn't mean you can't make an artful film.

It's impossible to make a movie out of 'Naked Lunch.' A literal translation just wouldn't work. It would cost $400 million to make and would be banned in every country of the world.

It was apparent to me that religion was an invented thing, a wish-fulfillment thing, a fantasy thing. It was much more real, dangerous, to accept that mortality was the end for you as an individual. As an atheist, I don't believe in an afterlife, so if you're thinking of murder, if your subject is murder, then that's a physical act of absolute destruction because you're ending something, a body, that is unique. That person never existed before, will never exist again, will not be karmically recycled, will not go to heaven, therefore I take it seriously.

I work with my dreams or nightmares.

Let's put it this way, when I was casting, I cast Viggo first and then found someone who could play his wife, rather than the other way around. So for me he's still the lead character.

Many wonderful, creative people have won Oscars, so if you win one, you're in their company.

My dentist said to me the other day: I've enough problems in my life, so why should I see your films?

My understanding of life is very existential. I think that we are our bodies. There's nothing else, and when we die, that's it. No afterlife.

Nah, I've done sex scenes before, you know, like in video.

Re-writing is different from writing. Original writing is very difficult.

See, you can't rewrite, 'cause to rewrite is to deceive and lie, and you betray your own thoughts. To rethink the flow and the rhythm, the tumbling out of the words, is a betrayal, and it's a sin, Martin, it's a sin." --Hank (Kerouac)to Martin (Ginsberg) in the film Naked Lunch

Sex is the invention of a very clever venereal disease.

Since I see technology as being an extension of the human body, it's inevitable that it should come home to roost.

So not only can you not imagine dying, you can't really imagine existence before you were born.

Technology is us. There is no separation. It's a pure expression of human creative will. It doesn't exist anywhere else in the universe. I'm rather sure of that.

The artist's duty to himself is a combination of immense responsibility and immense irresponsibility. I think those two interlock.

The desire to be loved is really death when it comes to art.