With the release of ‘Spider’ just around the corner in South Africa, Canadian auteur David Cronenberg spoke to iafrica.com about the film and why a book on wallpaper would do well on the bestseller list…
[Andrew Burden]
Now that it’s out there, how do you feel about ‘Spider’ in the context of your career so far?
[David Cronenberg]
Not to be evasive, but I don’t really think in terms of my career. I prefer to focus on the actual film I’m working on. I have never been able to analyse my work. I certainly recognise elements in the films, but the rest is for the film critics.
[Andrew Burden]
What would you say audiences in South Africa can expect from ‘Spider’?
[David Cronenberg]
The main objective of the movie is that people become Spider, that they immerse themselves in him and live in his world. In many ways it’s a very specific example of what most movies try to do, which is to get the audience to live through the film.
‘Spider’ is highly subjective in this way as the film is an inner monologue, (with very few lines) and therefore I avoided using a voice over which is a cop-out. The character of Spider is the basis of the existential man, trying to make sense of all the contradictions in life.
[Andrew Burden]
The casting of the film is strong, especially Ralph Fiennes. Not counting ‘Maid in Manhattan’ the most recent memory South African audiences will have of Fiennes is his role in ‘Red Dragon’. How would you rate his performance in ‘Spider’?
[David Cronenberg]
Of course I’m prejudiced, but I think his performance is the best of his career. I’ve even had actors saying that it’s by far his best work. And acting is a highly competitive business. But again it’s hard to tell because you’re in the movie itself.
In terms of ‘Maid in Manhattan’ I haven’t seen it myself, but I know many would see it as a commercial entity. I do know that Ralph would have found it a challenge. Ralph takes acting very seriously. We had great fun on the set but he does take his work seriously.
It is also clear that he was serious about his role in ‘Red Dragon’ but of course in ‘Spider’ the role was unique in that he was the main character this time and that it’s almost a completely silent role.
[Andrew Burden]
On the same note you’ve worked with some of the most celebrated actors in the business. Most notably I’d say – Christopher Walken. How do you approach actors in your films?
[David Cronenberg]
When I first started in film, I was very wary of actors. In some ways they can be the bulls in your china shop and there are so many pressures as it is without dealing with difficult or temperamental actors.
Gradually though I realised that they are your first collaborators. You shouldn’t have to manipulate them – they’re allies. My understanding of actors has led me to be completely honest with them and to collaborate with them. Of course each actor is different, but I’m certainly not confrontational.
[Andrew Burden]
‘Spider’ could be seen as uncharacteristic of your work, in that there is a lack of the usual special effects; yet in many respects it also picks up on the themes of your work, particularly the effects of diseases on the body and mind. How does it fit in with a film like ‘Videodrome’ or ‘The Fly’? Is there in fact a correlation?
[David Cronenberg]
Again this is a point for film critics. The use of special effects isn’t something I am conscious of. I don’t have a checklist of things that I tick off as I go. Special effects are not present in my mind. They’re just another set of tools if you need them. They’re no different from make-up or wardrobe.
[Andrew Burden]
I think that the special effects moniker stems from the fact that a lot of your films deal with physical transformation. This is something that you obviously need to show.
[David Cronenberg]
I agree. But physical transformation is equally important in ‘Spider’ and it’s not an effects movie. It’s a very physical role, and in a curious way, both sensual and tactile. In terms of the effects, many people seem to forget that I’m also obsessed with the right location or details like the wallpaper in ‘Spider’ – achieving the right look for the grey peeling wallpaper in the halfway house took some time.
There’s something you could write about – a book on wallpaper in film. It’s a sure bestseller. I could help you with it.
[Andrew Burden]
Don’t tempt me, I may hold you to that! Now you’ve written the vast majority of your films. How did it feel to have adapted someone else’s work. Did you find any similarities to your experiences on ‘The Dead Zone’?
[David Cronenberg]
It’s not really an issue. ‘The Dead Zone’ was my first movie adaptation. After that there was ‘M. Butterfly’ and ‘Naked Lunch’. Before ‘Dead Zone’ I was rigorous about writing my own movies. But even then I chose the writer on the film and contributed to the script from the director’s point of view. But I came to realise that it can be a very integrated way of working; to fuse your sensibilities with someone else’s.
Unless you’re connected to the material in a deep way it doesn’t matter.
In fact for ‘Spider’ I hadn’t read the novel. The basis for my wanting to do the novel was the screenplay. I read the novel later, but only once. I didn’t have to refer to it again.
So in a sense it isn’t really an adaptation at all. It’s quite different to someone proposing the film on the basis of the novel. I’m not sure that I would have done it.
[Andrew Burden]
I suppose it would be similar to someone proposing ‘American Psycho’ just on the basis of the novel. It’s an incredibly difficult book to adapt.
[David Cronenberg]
It’s funny you should mention ‘American Psycho’. I was approached to direct it. I even had talks with Brad Pitt and author Brett Easton Ellis. I enjoyed the novel and think it’s a very misunderstood work. It’s also a very literary work, which as you say would make it difficult to film. Eventually I decided not to do the film because I couldn’t find a way to reinvent it for the screen.
[Voice cutting in telling us that I am well over time]
[Andrew Burden]
It looks like we’re going to have to wrap this up. Where does a director of your immense standing go from here?
[David Cronenberg]
I’ve been asking myself the same question, not the standing part, but of the future. I don’t know yet. I’ve been working on original scripts as well as considering a few submissions. I’ve been on the road promoting ‘Spider’ for a year now. I love the film and I’m very happy with it, but it’s time to move on.
[Andrew Burden]
It’s been a real honour speaking with you. You really are regarded very highly among South African audiences, particularly by cult film fans. Thank you for taking the time to speak to us.
[David Cronenberg]
Thank you.