David Cronenberg Quotes

I am trying to do films that stay with me for some time. 'Banaras' stays with me.

Well, anytime I make a movie, I like to load it up with more things than you could ever catch on the first viewing.

When I saw 'Talk to Her' for the first time, I was crying out loud because I couldn't imagine that I was doing that film.

I always write these movies that are far too big for any paying customer to sit down and watch from beginning to end, and so I always have this big novel that I have to adapt into a movie as I go.

John Boorman was the best director I've ever had.

What I want to impart on any movie I work on is I want to make it entertaining. That's what I feel I do.

Make movies that you want to go and watch in a theatre.

I am delighted just to work on a good movie, no matter what the medium is.

You know, that's the reality, but I always shoot movies for the screen, because that's just the experience that I want to get out of it.

I just feel like it's so amazing every few years when I'm not making a film to act and basically go back to film school and just watch other filmmakers work and try to be a part of somebody else's vision. So I feel like you do use two very different parts of your brain, and it's great to be able to jump back and forth.

Filmmaking is to me very similar to being in a café somewhere in Paris and looking at the people walking by.

The good photographer will produce a competent picture every time whatever his subject. But only when his subject makes and immediate and direct appeal to his own interests will he produce a work of distinction.

The movie on the screen is always going to be different from the movie in your head. How it makes you feel is what I'm after, what I'm chasing, and what I'm trying to construct.

When I say that it's taken us [with Luca Guadagnino ] 11 years to make this film, what I mean is that it was 11 years ago that we started to talk about a kind of cinema that we wanted to make together.

I see films in theaters, and I enjoy films. I enjoy the art of storytelling, and the different ways to tell them.

Joanna Priestley is one of the most interesting and adept personal animators and filmmakers. I have enjoyed her work for years and been amazed at how she gets into her own thoughts onto the screen in a very elegant and focused way. You have to see this.

What's amazing about doing movies, compared to television, there's an ending you can see. There's an enthusiasm to it.

For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. It is by economy of means that one arrives at simplicity of expression.

To be able to take my pictures, I have to look, all the time, at the people and places I care about. And I must do so with both ardor and cool appraisal, with the passions of eye and heart, but in that ardent heart there must also be a splinter of ice.

I touched emotions I've never tapped in my entire life. I've heard people say, 'I hope this movie doesn't glamorise drugs.

I'm actually not so sure what I'm hoping to find making photographs. You always want to come back with an image that's interesting visually, and you hope to get something from the person you photograph that's different than other images you know of these people. I don't know how I go about it. I also don't know how exactly what I set out to get other than these two things.

A movie takes on its own life, and you have to respect that and be open to it.

Just balancing all the different projects, I mean I spent almost 10 years just doing Nasty Gal and I say "just" but that was a lot, and it's still a lot.

The movie itself was very interesting, but I didn't think it was very good because I didn't really feel different when it was over.

The cinema is not an art which films life: the cinema is something between art and life.