For educational and research purposes only. As an artist, one is not a citizen of society. Is the virus in History of Violence the past or is it violence itself the virus? Even for a two million dollar movie, the producers will want a recognizable name. Often they come from the philosophical imperative of a narrative and therefore lead me to certain things that are demanded by the film. Reflecting on your own life and on your own work, do you find that your movies are like different chapters from the same book?
But the idea that you carry the seeds of your own destruction around with you, always, and that they can erupt at any time, is more scary. It's clearly his best work so far--there's a wonderful moment in a bar, late in the picture, when he reveals a completely different side of himself with just three words. Tom tells his son, who is tormented by a school bully, that it's not right to settle problems with force, but this way of talking doesn't match with events--he shrouds the reality his son experiencing with a "should be" that is directly contradicted by his own story. The film begins strong. I literally did not make any money for two years and I could not afford to do that. Whether she can live with that or not is a whole other thing. It was a wonderful opportunity to develop a relationship with him and shoot so many films together. We sent the mounted police into the western territories first with guns. He returns and instructs his partner to go back into the office for some cold bottled water. They would be in the independent film range of budget and financing. The Treatment is a weekly journey into the heart of film led by film critic Elvis Mitchell. The iconic American mythology was very interesting to me. If I listen to all those voices I will be paralysed, because none of this can be resolved. The undesired popularity and media exposure, however, brings unwanted attention from the East Coast, as a mob big shot and his henchmen soon arrive claiming Tom is actually Joey, a criminal from Philadelphia who left the mob around two decades ago and tried to secure a completely new life for himself. But on the other hand, it is precisely these last two points —which are by no means little artistic achievements- which have made the film more commercially successful than other Cronenberg films. With A History of Violence, has your filmmaking style changed? So there was never that sense of intense individualism that you have in America. Reflecting on your own life and on your own work, do you find that your movies are like different chapters from the same book? Not the real person. There are many approaches to violence in cinema. The more Cronenberg emphasizes the genre elements, taking us once again through the cinematic dance steps that have become so familiar from decades of screen violence, the more acutely we feel the duality, the sense of dislocation, the double binds trapping the characters in empty codes of masculinity and reaction. It has American iconic reverberations and we were very conscious of that. No, not at all. So, I realized the game-playing that goes on. In Spider you have a man who does not have the will, the creative will for whatever reason, to hold his identity together. Did I answer the question?
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