passion
i'd say crimes of the future is about the crimes committed by the human body
against itself i don't think of art as being prophetic but you can anticipate some things
almost by accident especially when you're writing something that is basically science fiction
as this movie is when we first were talking about the script and i was like when did you write
this you must have have you just been like fever writing during um lockdown and he was like i wrote
this in 1996. and it blew my mind it just felt so topical and scary and urgent the film message
for me is it's a metaphor about creativity and art in general and about the fact that
out of chaos like you can create beauty out of emptiness you can create meaning
caprice and tensor share a profound symbiotic relationship i'd say that is based on on mutual
trust respect and genuine affection they have a very strong connection
they almost seem to be able to read each other's minds at times it's interesting because it doesn't
settle itself in any particular moment either we can find some resemblances to
events or periods in the past or in the future i'd never been to athens more than anything
landing here walking around driving around you really saw the movie come to life without even
you know shooting that day you could really see what the potential of this town had i'm attracted
by that which is out of the ordinary that which stretches the boundaries of the imagination
of art of mundane reality that's what attracts me to david's work but what particularly
attracts me to work with david is that what he does is different from what anybody else
will do each project for me is a separate thing and i know that there will be connections amongst
the films whether i've written them myself whether they're an adaptation i sometimes happen or a
novel i know that because i'm interested enough to turn it into a movie which is a huge endeavor
and takes a lot of time and will and energy that there will be connections amongst these
that have to do with my sensibility because david and i have worked together for such a long time i
think we have a kind of a shorthand he surprises me sometimes but most of the time i usually know
what he likes and doesn't like this would be my fourth movie with him he's one of the world's most
uniquely gifted filmmakers but he hasn't made a movie in eight years so i just wanted to help
him in any way i could to be able to make this one he seems in great form really full of energy
which is again astonishing given the conditions giving how hard it is here given how strenuous
the project is it's a big project it's very ambitious he keeps calm he's always supportive
so he's a joy to work with yeah it meant a lot to me because for me he's such an iconic director
he's like a star i'm also i was really happy to meet the man he's so gentle
i i knew that he had a very specific idea of what he wanted the girl to look like but he gave me so
much room to sort of like have whatever feelings i wanted to have about it it's very helpful
to not feel like the director is controlling every moment everything you can sort of let things fly
and he's not going to slap you down and that's always always feels good as an actor he's always
trying to push the boundaries of what cinema can be and what audience expectations even
if a cronenberg film can be it's been a very special experience working with david there's
something about it that's like surreal and then also the word that keeps coming into my head is
extraordinary the narrative of the film surfaces a conflict that reflects back on our society
this restless search for progress and on the other hand resistance to it and i think both sides draw
us into the most inhuman and dark places and i think that's why this movie is so relevant and
powerful i have often said that philosophically i'm an existentialist i mean i really think of
myself that way and part of the understanding that existentialism gives you as a philosophy is that
we are constantly referring things to the future we're constantly looking to the future
hope you learned some great directing tips from david cronenberg
having patience and guiding actors instead of giving them uh too much direction because that
could uh hinder their performances at times sometimes you need to guide them and figure
out uh what their own artistry is and figure out where they're at in uh their character
so this is a great great uh behind the scenes here that i have here um usually i find them through uh
b-rolls uh through uh official uh interviews and b-rolls from either studio i've shown him
to youtube myself and i showed them sony pictures and you could do that through sony pictures
publicity i believe sony pictures publicity.com or something like that i found this um through
youtube um it was edited by somebody else i usually edit them myself unless uh they were
pre-edited uh like a couple of behind the scenes here but as long as there's something to learn
um i really want to bring it to all of you here on green light so i hope you enjoyed this behind the
scenes as i have i'm a huge dave cronenberg fan even though i'm a fan of david cronenberg's work
his films have a lot of weird body horror kind of stuff like this film does uh this one more so
but uh history of violence and eastern provinces is one of the few that i have seen but it's
been about eight years since he's directed a film so it's phenomenal to see him come back
um according to uh this behind the scenes he had written this script many many years ago
in the late 90s so let me know down the comments down below your opinion on this
behind the scenes and if you learned anything like subscribe and i'll see you here next time later