Film Festival Catalog
Copyright
2014 Peihua Lee
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission. Design , complied, and written by Peihua Lee S a n Fr a n c i s c o , C A Fo r t h e c o u r s e G R 6 1 2 : I n t e r g a t e d c o m m u c a t i o n i n A c a d e m y o f A r t U n i v e r s i t y. Fo r t h e f i l m f e s t i v a l “ D e c o n s t r u c t i v e E v o l u t i o n “ t o c e l e b r a t e t h e w o r k o f David Cronenberg. _leepeihua.com _peihua.lee0312@gmail.com
CONTENTS
DAVID CRONENBERG 04 BIOGRAPHY 06 AWARDS 08 INTERVIEW 12 Q&A
FESTIVAL FILMOGRAPHY 16 SHIVERS 20 RABID 24 SCANNER 28 VIDEODROME 3 2 T H E F LY
SCHEDULE 38 OVERVIEW 39 INTRODUCTIONS TO SCREENINGS 4 0 RO U N DTA B L E S & TA L KS
L O C AT I O N 48 TIFF Bell Lightbox Map & Directions
SPECIAL EVENT 52 EXHIBITION: THE SCIENCE OF THE SPECIAL EFFECTS
DINING & DRINKING 5 6 R E STAU RA N TS, BA R S & LO U N G E S
WELCOME
ABOUT
01
Welcome to t he DECONSTRUCTIVE EVOLUTION film festival
DECONSTRUCTIVE EVOLUTION is a space where audiences can immerse themselves into the 1970s/80s science fiction horror world. In the celerbration of the 40th year anniversary of Shivers had been released, let’s experience all David Cronenberg’s remarkable achievements together. The festival will explore films which David Cronenberg created in his early stage of film making. From aesthetic perspectives to fleshly sensations, there won’t be a moment for a break.
—David Cronenberg
DAVID CRONENBERG
D AV I D C R O N R N B E R G
BIOGRAPHY
05
Stereo (1969) Crimes of the Future (1970) Shivers (1975) Rabid (1977) Fa s t C o m p a n y ( 1 9 7 9 )
BIOGRAPHY
The Brood (1979)
Sources : IMDb
Videodrome (1983)
Scanners (1981)
The Dead Zone (1983) The Fly (1986) Dead Ringers (1988) Naked Lunch (1991) M. Butterfly (1993)
Born in a family with journalist father in Toronto, Ontario, Canada,
human body and topics of the prominent dichotomy between body and
in 1943. Cronenberg graduated from the University of Toronto with
mind were back again in The Dead Zone (1983) and The Fly (1986), both
a degree in Literature after switching from the science department
bright examples of a personal film-making identity, even if both films
(organic chemistry). The fact that he has scientific background and
are based on mass-entertainment materials: the first being a rendition
interest (especially in lepidopterology), so naturally that film making
of a Stephen King best-seller, the latter a remake of famous American
is just like science experiments for him. Blending different effects and
horror movie.
elements together to create compelling visual and spiritual feast. He reached the top status of horror-master with the gore-filled,
With Dead Ringers (1988) and Naked Lunch (1991), the Canadian director, no more a mere genre movie-maker but a fully realized a
modern-vampire variations of Shivers (1975) and Rabid (1977), following
uthor, got the acclaim of international critics. Such profound statements
an experimental apprenticeship in independent film-making and in
on modern humanity and ever-changing society are prominent in the
Canadian television programs.
provocative Crash (1996) and in the virtual reality essay of eXistenZ
Cronenberg gained popularity with the head-exploding, telepathy-
(1999), both of which well fared at the Cannes and Berlin Film
based Scanners (1981) after the release of the much underrated,
Festivals. In the last two film projects Spider (2002) and A History
controversial, and autobiographical The Brood (1979). Cronenberg
of Violence (2005), Cronenberg avoids expressing his teratologic
become a sort of a mass media guru with Videodrome (1983), a
expressionism in favor of a more psychological exploration of human
shocking investigation of the hazards of reality-morphing television and
contradictions and idiosyncrasies.
a prophetic critique of contemporary aesthetics. The mutation of the Crash (1996) eXistenZ (1999) Spider (2002) A History of Violence (2005) Eastern Promises (2007) A Dangerous Method (2011) Cosmopolis (2012) Maps to the Stars (2014)
D AV I D C R O N R N B E R G
AWARD
06
19 82 Genie Awards
AWARD Sources : IMDb and MSN Entertainment
Nominated
19 96 Golden Reel Award
• Best Achievement in Direction— Scanners • Best Original Screenplay—Scanners
19 92 Genie Awards
Won Shared with: Robert Lantos, Jeremy Thomas—Crash
Won
19 84 Genie Awards
• Best Achievement in Direction—Naked Lunch • Best Adapted Screenplay—Naked Lunch
19 99 Genie Awards
Won Best Achievement in Direction— Videodrome Nominated Best Screenplay : Videodrome
19 96 Genie Awards 19 89 Genie Awards
Won • Best Achievement in Direction—Crash • Best Adapted Screenplay—Crash • Golden Reel Award—Crash; Shared with Robert Lantos, Jeremy Thomas
Won • Best Achievement in Direction— Dead Ringers • Best Adapted Screenplay—Dead Ringers, Shared with Norman Snider • Best Motion Picture—Dead Ringers, Shared with:Marc Boyman
Nominated Best Motion Picture—Crash
Nominated Best Motion Picture—Existenz; Shared with Robert Lantos, Andras Hamori
D AV I D C R O N R N B E R G
20 02 To r o n t o International F i l m Fe s t i v a l
20 06 Cannes Film Fe s t i v a l
Award for Best Canadian Feature Film —Spider
20 06 César Awards
20 06 David di Donatello Awards
Won • Best Director—A History of Violence, Naked Lunch • Best Screenplay—Naked Lunch
Nominated Best Foreign Film—A History of Violence
—A Dangerous Method
20 12 Va n c o u v e r F i l m Critics Circle Nominated VFCC Award : Best Director
Crash
—Canadian Film—Cosmopolis
20 12 Cannes Film Fe s t i v a l
Best Foreign Film—A History of Violence
Best Achievement in Direction—Spider
Best Achievement in Direction
Golden Coach & Special Jury Prize—
Nominated
Won
Nominated
Won
Genie Awards
20 06 National Society of Film Critics
07
20 11 Genie Awards
Won
20 02
AWARD
20 07 To r o n t o International F i l m Fe s t i v a l
Nominated Palme d’Or—Cosmopolis
20 14 Cannes Film Fe s t i v a l Nominated Palme d’Or—Maps to the Stars
Won People’s Choice Award—Eastern Promises
20 13 Genie Awards Nominated Canadian Screen Award : Adapted Screenplay—Cosmopolis
D AV I D C R O N R N B E R G
INTERVIEW
08
“My imagination i s not a place of horror” INTERVIEW
—David Cr onenber g
by Tim Lewis September 13, 2014
When the great Canadian film-
returned to his work with renewed
maker David Cronenberg turned 70
vigour. He directed a script called
Cronenberg is certainly not ready for his Zimmer frame just
last year he felt, in a word, old. An
Maps to the Stars, a savagely
yet. He’s 71 now, but maintains
admirer of Franz Kafka, he said he
funny takedown of contemporary
a slim, athletic build and often disappears into the hills around
found himself comparing himself
Hollywood, that he had been
to Gregor Samsa, the protagonist
tinkering with for a decade with
his home in Toronto on his bicycle.
of The Metamorphosis, who wakes
the writer Bruce Wagner. He also
His soaring hair has a metallic
up one morning to find—very
finished his debut novel, Consumed, sheen and the density of chinchilla
Cronenbergian—that he’s become a
which has been perhaps 50 years
fur. He is ferociously intelligent
giant beetle.
in the making. Both are unveiled in
and quick-witted, but, over a long
the next few weeks.
conversation on Skype, not in the
“You are a new creature,” Cronenberg explains. “Ask anybody
“You have huge power and
least bit intimidating. His reputation
who is not advanced in years
potency at this age,” Cronenberg
in film circles is for being decent,
what they think of 70-year-olds—if
continues. “There’s the mythology
even moral; qualities not easily
they think of them at all—and
of age, the bearded elder, the
retained in that industry.
it’s Alzheimer’s, senile old people
wise old man. In some cultures
and Zimmer frames. Just, ‘Wow,
advanced age is very much revered,
It’s clear, too, that Cronenberg’s ambition is undimmed. “I can say,”
what a burden on the healthcare
the Chinese culture, Confucius
he goes on, “that the novel that
system.’ Three score and ten, that’s
and so on: you are supposed to
I wrote now, I really expected to
supposed to be it, that’s the biblical
gain in wisdom and experience
have written when I was 21 instead
age. So there are precedents
and therefore be quite a valuable
of 71, but it couldn’t have been
for considering 70 to be a major
member of society who should be
the same novel and I doubt that it
moment in your life.”
honoured and listened to. At the
would have been as good. I really
moment, in the west, we certainly
don’t think it could have been.”
Once he had come to terms with the shock, though, Cronenberg
don’t have that.”
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INTERVIEW
10
Maps to the Stars, too, will also
Hollywood scrapheap. She has a
Cronenberg. “But both Bruce and
has actually filmed in Los Angeles;
surely go down as one of the
guileless personal assistant, or
I would resist calling it a satire.
he spent five days there mostly, he
finest films in a career that has
“chore whore”, called Agatha (Mia
Jonathan Swift’s A Modest Proposal
says wryly, shooting palm trees.
been both consistently surprising
Wasikowska) and a wild-eyed
is a satire, but this movie is too
But Cronenberg is not a total
but also relentlessly Cronenberg:
therapist, Stafford Weiss (John
realistic to be a satire. In fact, Bruce
outsider. Long ago, he was tapped
from the chaotic early body-
Cusack). A sprawling, nightmarish
has said that every line of dialogue
up to see if he might direct Return
horror flicks (Shivers; Scanners;
tale also swallows Weiss’s Bieber-
in the movie he has heard spoken
of the Jedi, and over the years he
The Fly; Dead Ringers) to slicker,
esque son, Benjie (Evan Bird), and a
by someone. He could probably tell
has had many involved, ultimately
more psychologically intense
limo driver, Jerome Fontana (Robert
you who.”
doomed discussions with several
recent movies (A History of
Pattinson), who is, of course, really
Violence, his most mainstream
an actor and screenwriter.
film to date; Eastern Promises;
“The movie is obviously a work
As an outsider Cronenberg is in
of the major studios about making
many respects excellently placed to
films, perhaps most intriguingly
take a swipe at the eccentricities of
a spy caper with MGM starring Denzel Washington and Tom Cruise.
A Dangerous Method). Maps
of fiction, it’s not a documentary
Hollywood. He has lived in Toronto
stars Julianne Moore as Havana
on how Hollywood works; it
—the backdrop for many of his
Segrand, an ageing actress
uses compression, exaggeration,
movies— his entire life and Maps to
desperate not to be tossed on the
all those techniques,” says
the Stars is the first time he
“You have to be outside water to know what water is.” — D a vi d Cr o n e n b e r g
D AV I D C R O N R N B E R G
“I’m 2,500 miles away from Hollywood and consider myself literally and figuratively halfway between Hollywood and Europe in terms of my cinema sensibility,” says Cronenberg. “And being a Canadian, being outside the mainstream of America – as Marshall McLuhan used to
INTERVIEW
11
switched to English literature and there he made friends who were shooting their own films. “I remember feeling that my writing was a pastiche of Nabokov and William Burroughs, or a combination of the two,” he says. “Of course,
say – allows you to have perceptions that you could not have otherwise.
they are very different writers, so that still created a new thing. But one
Like they say: ‘A fish doesn’t know what water is.’ You have to be
of the things about film-making was that I felt I had no influences. Not
outside water to know what water is.” Consumed, meanwhile, is as singular and idiosyncratic as any of
being arrogant, I felt I could invent myself as a film-maker from scratch. I had seen Bergman, but I wasn’t feeling I was making a Bergman film.
Cronenberg’s films. Any synopsis is woefully inadequate, but at the
I loved Fellini, but not being an Italian Catholic, I couldn’t possibly make
centre of the book is a pair of globetrotting journalists whose reporting
a Fellini film. Nobody in Canada was making genre pictures, so making a
embroils them in a horrific murder, organ trafficking and some kinky sex.
Canadian horror film, that was a pretty new thing.”
Cronenberg is not joking when he says that Consumed was half a century in the making. His father owned a bookstore in Toronto and wrote journalism and true-crime stories. “I used to fall asleep to the sound
And what about directing a film of his novel, Consumed? “Once I finished it, I thought that is what I’d really want to do,” says Cronenberg. “I had five producers who read it and said they would love to make it into
of his IBM Selectric and before that I would fall asleep to the sound of
a movie. But I don’t actually want to make it myself. I’ve already done it.
his Underwood typewriter,” Cronenberg recalls, sitting in his office at
It would be weirdly like doing a remake of my own thing.”
home in front of a wall of books, many inherited from his father. At the University of Toronto, he studied science, dreaming of one day being like Isaac Asimov, the scientist and sci-fi author. After a year, Cronenberg
With that, Cronenberg hunkers down and prepares for an inquisition on his seven decades of life from old friends and Observer readers.
D AV I D C R O N R N B E R G
Q & A by Tim Lewis September 13, 2014
Q&A
12
Although you are several years younger than I am, we both attended the University of Toronto in the early 1960s and we both have a background in the biological sciences. Was there anything in particular about the University of Toronto that might have suited you for an initial interest in horror films? Was it the pickled eyeballs, preserved foetuses, and venomous snakes simply my body, I discovered early on, does not respond well to alcohol. in the old, and very gothic, zoology building? They certainly made an impression on me! My mucus membranes don’t like it. I’ve only been drunk like three times Margaret Atwood, author
How do you survive the horrors of your own imagination? What is/are your favourite a) alcoholic drink b) other drugs? Matthew Hill, Lyon
My imagination is not full of horrors at all. This is the misunderstanding of what my movies are. First of all, I think all my movies are funny. Not everything in them is funny, but they
in my life literally. At the age of 71,
are full of humour. And second, it’s
I can count the actual times and I
not really my imagination. Anybody
wasn’t crazy about the experience.
looking at the news on the internet
That goes for the other drugs too.
Yes, I did my dissection of foetal pigs and a few other things, because I started off in organic chemistry. I think I would’ve ended up being a cell
or in a newspaper, there’s horror
Yes, in the 1960s I had experience
biologist. And it was pretty gothic, that’s true, and in fact it was the way
there every day—compared with
of various drugs as everybody did,
the science was being taught that drove me out of the field of science.
that, my imagination is a wonderful
but I didn’t really find anything that
I felt that the students around me were so different from me and I ended
playground! So I don’t feel that my
was congenial. I did one LSD trip,
up spending all my time hanging round with all the English language and
it was very potent but there were
philosophy students.
imagination is a place of horror at all.
So I can’t say the University of Toronto led me to horror, but what it did
As for the second part, I actually
disturbing aspects that I didn’t enjoy.
don’t drink. The most I’d do is have
As an artist, one of the things I value
do was lead me to cinema, though I never studied cinema. There was a
a little bit of red wine while I have
most is clarity. You are constantly
student called David Secter who was making a movie called Winter Kept Us
a meal. Left to my own devices,
striving for incredible clarity, which
Warm, which starred some friends of mine. And it never occurred to me that
not going out with people who are
maybe you never achieve, but I
you could make a movie. It was unlike someone growing up in LA where
ordering wine, I would never even
have found that drugs and alcohol
everybody’s parents were in the business. In Toronto, no one’s parents were
think about ordering an alcoholic
derange that. So I’m boring, what
in the movie business because there wasn’t a movie business.
drink. It’s not a religious thing, or
can I say?
a question of morality or ethics,
So that was more influential in leading me to biological horror. I never thought of the biology part of it as horrific anyway. I thought that was all incredibly exciting, even dissecting the foetal pig, which if you shot that scene in a movie, it might be rather gross for people. To feel that you were really beginning to understand the form of life, how life came to be and exists, that was exciting. That’s not horror to me, that’s pure ecstasy actually.
D AV I D C R O N R N B E R G
Your films often contain loops: life and death, body and mind, the conscious and unconscious. What are the challenges in evoking endless returns within a medium that is experientially finite? Candice Breitz, artist
Q&A
Which philosophers, would you say, have the most impact on your work Howard Shore, composer
I consider myself a junior existentialist. When I started to read Sartre and by association Heidegger I thought,
I’m not sure that I quite understand! But for me, my movie-making is like a diamond, in the sense that it has many facets but when you look in each facet, you are looking into the inner core of the same
diamond. That diamond is really my experience of life, that’s all it is, and so it’s inevitable I return to the same themes and tropes and considerations but from slightly different angles.
“Oh wow, this is what I’ve been thinking.” There’s a great lecture Sartre gave called “Existentialism is a Humanism”. He basically said, “Look, we humans are really all we’ve got, forget about the afterlife, it doesn’t exist. Forget about God, there is no God. We should accept that and if we did and realised that compassion and humanistic empathy were valuable—more than valuable but crucial— then the world would be a better place.” So that’s really my approach to life. Cars have always represented almost flight, it’s like
Has something been lost with the move away from physical SFX to CGI?
being able to fly. And freedom, sexual freedom in the old
Archaen, posted online
it’s not so much the fast-ness, it’s the car-ness that’s the
days. So it depends how young this person is because issue, the essence. At the moment, I’m driving a Tesla,
CG, of course, can be overused and
is the director at understanding
it has been overused. You see that
his audience? I use a lot of CG in
in a lot of the superhero movies,
my movies, it’s just not obvious.
it’s just ridiculous stuff that’s going
You use it for small things, just
on. It’s amazing technically but it
heightening little moments, it’s
has lost its physical presence. But
pretty invisible the way I use CG.
that doesn’t mean that the answer
It becomes another very effective
is more physical effects. To me it’s
tool, no different from lighting or
not really a technological question,
costume or editing. That’s where
it’s a question of art: how good
it’s most effective.
it’s an electric car and I find it terrifically exciting and that has nothing to do with how fast it goes—although it is really fast. Nonetheless if you see a Lamborghini or a Ferrari driven at speed, it’s pretty impressive, it’s like an animal, there’s a beauty to it. I could go on and on about the beauty of the now-outmoded internal combustion car, but there was a prehistoric magnificence to them. If this person cannot respond to that I have no problem with that, but I need to know the experience this person had of so-called fast cars. If you are just watching them from your balcony on a highway then of course it’s boring.
13
— Jenny Holze r “E a t in g T h r o u g h Livin g ”
FESTIVAL FILMOGRAPHY
SHIVERS R e v i e w b y N a t e Ya p p March 17, 2008
Although Shivers is not technically
Came from Within) opens with a
were first molding what would
David Cronenberg’s first film
slideshow presentation extolling
become known as the “auteur
(he had made some art films
the virtues of Starliner Towers,
theory”—the idea that certain
previously), it should be considered
an isolated apartment complex/
directors are the single creative
his debut. Shivers boldly announces
community outside of Montreal that
force of their films —they couldn’t
the arrival of a creative mind able to
promises all the conveniences of
possibly have imagined a more
concoct horror movies layered with
modern living. Within this glass-and-
appropriate or perfect example
subtext and commentary that don’t
steel monument to the bourgeoisie,
than David Cronenberg. All of
forget to entertain at the same
however, parasites from an
his genre work is preoccupied
time. One can clearly recognize the
experiment gone wrong have
with the same themes—among
work of a mad cinematic scientist
escaped, infecting the populace
them the revolution/evolution of
with preoccupations never seen
one at a time. Those affected
the body, the confluence of sex
before (and only imitated since).
are stripped of rational thought,
and disease, and the banality and
However, Shivers also betrays a
becoming sexually crazed, zombie-
repression of modern society
shaky young gun whose bold vision
like madmen. It’s up to Dr. Roger
—yet each film explore these
is frequently undermined by his
St Luc (Paul Hampton), Starliner’s
ideas in different ways. Shivers
tenuous grasp of the tools at his
resident sawbones, and Nurse
acts largely as a primer to these
disposal. The result is a movie that
Forsythe (Lynn Lowry) to either
obsessions, introducing them to
fares better when submitted to a
contain the epidemic or escape the
the unsuspecting audience in bold,
literary critique than a standard
chaos.
unmistakable terms.
movie review. Shivers (also known as They
When the writers of the French film magazine Cahiers du cinema
F E S T I VA L F I L M O G R A P H Y
Certainly the infection gets more
to interest us in the plight of his
quality screentime than the normal
character. By the film’s middle, we
human beings, and Cronenberg
hope he does get a parasite in the
has stated that he sympathizes
stomach, because maybe he’ll liven
more with the characters in this
up a little.
movie after they are infected. It’s
Given the dichotomy of this
almost as if the human perspective
review, you wouldn’t be blamed to
is a perfunctory plot device, which
think that there are two completely
Cronenberg only added as method
separate perspectives you can take
through which to relay the disease’s
while watching Shivers – thematic
story to a human audience.
or entertainment. However, each
Truthfully, one might not mind
part of the film serves the other—
an all-parasite Shivers after dealing
the entertainment illustrates the
with the performances of the
themes and the themes enrich
human actors. With the exception of
the entertainment. Much like the
Barbara Steele (always magnificent),
parasites and human beings in the
the cast is almost unilaterally below
movie itself, theirs is a symbiotic
average. Particularly poor is Paul
relationship. It’s not often pretty,
Hampton as Dr. St Luc. Speaking in
but it does usher in a new vision of
a flat, unaffected voice and staring
society, undeniable and inescapable,
off at some nonspecific point off-
even if exists only in the head of
camera throughout the film, he fails
David Cronenberg.
SHIVERS
17
F E S T I VA L F I L M O G R A P H Y
SHIVERS
18
Indeed, violence is another target
at the beginning with Hobbes attack
coolly dispatch his adversaries from
of Cronenberg’s societal critique.
on the girl—although we can justify
a distance, usually with one more
Physical aggression runs rampant
that once we learn that the girl is
bullet than is absolutely necessary.
throughout the film, from both
Patient Zero in the parasite project.
the infected and the uninfected.
Later, the cool and rational Dr. St Luc
Shivers themes is not, as it would
However, the infected’s depiction as
becomes like an angel of death for
seem, an indication of a high level
Lynn Lowry
single-minded, driven animals acts
the infected, offing several of them.
of craftsmanship on the part of
Barbara Steele
as their absolution. They are merely
In one scene, he is attacked by one
all involved. Looking at the film,
following a biological imperative to
—a man—who proceeds to kiss him
whose individual parts work just
October 10, 1975 (Canada)
spread the parasites and grow their
on the back of the neck. The two get
about as often as they do not,
July 6, 1976 (United States)
population. Really, we can judge
into a scuffle which ends when the
simply indicates that Cronenberg’s
Running time 87 minutes
them no more harshly than the
doctor beats his assailant to death
thematic concerns and the force
average subject of an Animal Planet
with a crowbar, his face a portrait of
with which he states them manages
documentary. The rational, “normal”
disgusted desperation that seems
to overcome some inconsistent
humans don’t have any such excuse.
more like gay panic than self-
filmmaking.
Their violence is always more
preservation. For the rest of the film,
destructive. First, there’s the scene
he wields a gun with which he can
Cast and Crew Produced by Ivan Reitman Written by David Cronenberg Starring Fred Doederlin Paul Hampton
Release dates
Country Canada Language English
“You and me are going to make friends, good friends...”
That so much can be said about
F E S T I VA L F I L M O G R A P H Y
SHIVERS
First, though, let’s look at the production history behind Shivers,
to direct as he went.
19
Cronenberg ample time to develop
When one looks at Shivers, it
the confidence he needed for later,
because it largely acts as an
becomes apparent just how much
more difficult scenes. Alternatively,
explanation and (probably) an excuse
Cronenberg had to learn. Several
perhaps Cronenberg was simply
for its issues. In the early 1970s,
scenes throughout the film are just
more comfortable with the fantastic
Cronenberg—having made two
sloppy—poorly framed, visually
elements of the story and had trouble
short films and two features for
awkward, or just plain dull. I don’t
finding a creative voice for the human
the arthouse crowd—was trying
think it’s a coincidence that these
element. Either is likely and I believe
to sell a script called Orgy of the
are typically either talking scenes
it was probably some combination of
Blood Parasites. The trouble was,
(casual conversation, expository
the two factors, although I don’t have
he was in Canada, which was not a
dialogue) or silent business (walking
much in the way of proof.
country known for its horror films.
down corridors, entering a room).
Eventually he approached Cinepix, a
During scenes of horror, particularly
him plenty of those horror-action
company that mainly dealt in softcore
when free range parasites are
pieces to work with—too many,
pornography. Despite Cinepix’s
attempting to insert themselves
in fact. Nearly all of the thematic
attempts to surreptitiously offer the
into a new host, Cronenberg seems
goodness shows up in the first
Cronenberg’s own script gave
two-thirds of Shivers. After that, the film eases into a repetitive third act that follows Dr. St. Luc and his nurse as they alternately attempt to escape Starliner or hide from the crazies within. There are several effective moments in this section, as Cronenberg shows the different kinds of sexual proclivities that the parasites awaken—really taboo desires like incest and pedophilia (both, thankfully, suggested rather than shown). No one is immune— young and old, beautiful and ugly rut together indiscriminately. One just wishes these bits didn’t appera to exist purely for their shock value, project to other directors (including
to have a much better idea of what
that they added something to the
Jonathan Demme, later of Silence
he wants, utilizing low angles and
impressive ideas relayed earlier. Alas,
of the Lambs), Cronenberg was
tighter, more controlled shots. I
no. Cronenberg’s script seems to say,
eventually allowed to helm his own
can think of two possible reasons
“You’ve had your brain food. Now
project. On limited money and with
for the discrepancy. One, the easy
we’re just going to get weird.” It’s
no real experience in commercial
scenes that didn’t require a lot of
a disappointing turn that makes the
film, Cronenberg used Shivers as a
special effects or action choreography
film feel poorly structured.
learning experience, teaching himself
might have been shot earlier, giving
F E S T I VA L F I L M O G R A P H Y
RABID Review by Brett H. May 7, 2008
RABID
20
After his 1975 feature directorial
his guns and released a similar film
one. The backlash was old hat now,
debut involving parasites infecting
in 1977, Rabid, which Cronenberg
so a film more of the same is sure to
and taking over the tenants of an
considers a “companion piece” to
kick up less fuss. Then, Ivan Reitman
apartment complex, Shivers, was
Shivers, rather than a sequel. $560
suggested porn queen, Marilyn
a relative hit in the Canadian film
000 was the amount of money
Chambers, to play the lead. One
industry, David Cronenberg had
Cronenberg had to spend to birth
scandal to another, could it go any
a most interesting act to follow.
another violent opus, $200 000 of
other way with the artistic displays of
Funding wouldn’t be easy as Shivers
which coming from the Canadian
early David Cronenberg?
was critically blasted by many
government through “surreptitious”
important people in the industry
funding, as Cronenberg would tell
boyfriend, Hart (Frank Moore) cruise
and the Canadian government
in an interview on the Rabid DVD. In
down a Quebec highway on their
Rose (Marilyn Chambers) and her
motorcycle to destinations unknown. It’s never to be proven where they are headed because they never make it. An arguing family is lost on the highway and reluctantly the man of the house gives in and listens to his wife’s insistence that they missed their turn off quite a while ago. They stop and check the map, but when they try to fire their van up, it sputters. Travelling fast, Rose and Hart are stopped by the fender of the wasn’t exactly predisposed to being
a rare moment of intelligence, the
van and lose the battle, jettisoning
interested in genre films. In pure
CFDC invested in a film that was sure
them to the ground.
Cronenberg fashion, he stuck to
to make money and b-movie all in
F E S T I VA L F I L M O G R A P H Y
Hart, the driver of the motorcycle, staves off serious injury, but
RABID
end of Canada?
blood spawns a deadly disease that
Quite possibly the most Canadian
can be passed on to anyone who has
Rose is another story. She’s in
horror film ever made at the time
open wounds come into contact with
pretty bad shape and is in need of
of its release, Rabid is a unique and
infected saliva; something hard to
reconstruction surgery, pronto. Dr.
creepy spin on the undead with a
avoid when the insane zombie’s only
Keloid (Howard Ryshpan) decides to
prophetic touch regarding modern
thoughts are to eat you alive. This is
use Rose as a human guinea pig…
science and world issues. An
eerily similar to the AIDS virus, an
to disastrous results.
amazing horror film, it’s also a rather
example of every day occurrences
tragic tale of a lovely young woman
such as sexual contact and blood
technique that would allow skin and
who is forced to drink human blood
transfusions can have deadly results.
tissue to generate properly in the
for survival, completely against her
On a more tongue and cheek note,
side effect of the experiment. She
will. This would be touched later upon
the SARS scandal in Toronto is
now has a hunger for blood… and a
years later in Blood & Donuts with a
another similarity, except a virus is
new body part that allows her to suck
less serious tone and more artistic
actually being spread in Rabid.
the cherished substance quickly and
feeling. Rabid proves to be somewhat
easily. Is this the beginning of the
of a prophecy, Rose’s craving for
Dr. Keloid is trying to accomplish a
21
way it is intended to, similar to stem cell treatments. This way, flesh meant to be from the face could generate as the flesh from the face would and so on. Rose’s friend, Lloyd, happens to be in the hospital when she wakes up from her coma. She wakes up cold and begs him to hold her topless body and he reluctantly agrees. Suddenly Lloyd feels a sharp pain stabbing into his side and begins bleeding profusely. His body reacts to this strange occurrence and he turns into a mad, blood-craving zombie, spreading this virus quickly throughout Montreal. Rose came out of her coma a bit different; a terrifying
“Mindy, I don’t want it to be you…”
F E S T I VA L F I L M O G R A P H Y
Cast and Crew D ire c t e d by David Cr onenber g P ro d u c e d by John Dunning Ivan Reitm an Writ t e n by David C r onenber g S t a rrin g Ma rily n Cham ber s Fra n k Moor e J o e S ilver H o wa rd Ryshpan P a t ric ia Gage S u sa n R om an R o n a ld Mlodzik R e le a se dates Apr il 8, 1977 R u n n in g tim e 91 m inutes C o u n t ry
Canada
La n g u a g e English
RABID
22
F E S T I VA L F I L M O G R A P H Y
RABID
23
One of Cronenberg’s original titles
a poster of this film is featured in
The infection aspect of the film,
probably won’t realize is this is art
for the film was “Mosquito”, a title
Rabid). Ivan Reitman suggested
which was borrowed from heavily in
somewhat reflecting the October
I prefer to Rabid. The reason being
Chambers, who had quit the porn
28 Days Later, is highly effective. The
Crisis of 1970 in which martial
is that I was entranced by the
industry to try her hand at real film,
body count mounts high from either
law actually was put into effect by
character of Rose and her sharp,
and it turned out to be the best
blood devouring or flesh munching.
legendary Prime Minister, Pierre
phallic blood-slurping growth more so
decision that could have been made.
There’s shades of Dawn of the Dead
Trudeau, in response to separatist
than the outbreak that really should
Marilyn Chambers had been cast in
as the frothing zombies terrorize a
terrorism. It’s great to see that
be the obvious, most concerning
Behind the Green Door due to her girl
shopping mall, at Christmastime no
the film makes no bones about
plot element to the viewer. This
next door attributes, bringing a trait
less. It all amounts to an intense,
its setting, Montreal and Quebec
is a testament to the wonderful
generally uncharacteristic of adult
claustrophobic feel in that the city
are referenced constantly. David
performance by Marilyn Chambers,
films into that world of cinema. The
of Montreal will be infested with
Cronenberg proves his directorial
who is one of the few porn stars to
same can be said for Rabid, Marilyn
these things in a short amount
excellence with wonderful
cross over to the world of feature
is a naturally innocent looking beauty
of time, and of course this would
cinematography and there should
films and actually work just as good
with the most amazing eyes and
spread throughout Canada quickly
have been no doubt that success
with her clothes on. Marilyn even
such a sweet voice, she’d never be
as well. You find yourself feeling for
would come his way in the future
gets a sort of role reversal, after she
suspected as a vampiric murderess
the citizens and then after a bit it
with his rich and obscure ideas. From
has enjoyed the blood of her victims,
capable of such inhumane acts.
becomes very apocalyptic. A vaccine
the opening credits, you appreciate
is developed, but a worldwide threat
the shots and care taken, especially
is very possible and it’s not easy to
on such a low budget film. The
vaccinate billions. It goes without
Somerville House DVD has a decent
mention that the vaccine means
transfer that reveals quite a few flaws
little to the zombies who will kill
and the audio is clear, it’s nothing
anything in their way, regardless.
to write home about but nothing
This is the true terror of the film,
to cry about, either. Somerville
underlying reality in the form of a
House treats fans to an interesting
deadly contagious disease wiping out
interview and feature commentary
millions rather than a supernatural
with David Cronenberg as well as a
force on a killing spree. Rabid could
trailer, biographies and still galleries;
really happen, but not too many
a wonderful package in the special
people are worried about Jason
features department, indeed. As
she holds them in her arms in a
You feel sorry for such a piece of
Voorhees winding up on their
realistic and tragic as it is haunting
strong state of orgasmic bliss. Sissy
saccharine being put through such
doorstep with an axe.
and gory, Rabid is not only a classic
Spacek was the actress of choice
anguish, while at the same time it’s
for the picture, but Cineplex had an
refreshing to see such innocence be
into effect up North is nice to see,
issue with Sissy’s accent and little
so deadly. Much like the character
it’s certainly not something generally
did they know how her career would
of Rose and real-life Marilyn,
acquainted with the quiet country
skyrocket with Carrie (ironically,
appearances deceive.
of Canada. What non-Canadians
The idea of martial law being put
of Maple Leaf Macabre, but an iconic piece of horror cinema as well.
F E S T I VA L F I L M O G R A P H Y
SCANNERS Review by Wikipedia
SCANNERS
24
Scanners are people with the
the banality of the process.
Ruth tells Vale about a secret
ability to “scan” other people.
Unfortunately his volunteer,
drug, ephemerol, which ConSec
This is explained as the ability to
Darryl Revok (Michael Ironside)
uses to suppress scanners’
connect two nervous systems
is a renegade with formidable
telepathic powers. This drug is
separated by space. This included
telepathic powers who has
very important to Vale as using it
the ability to involuntarily hear
declared war on ConSec and all
allows him to suppress the influx
people’s thoughts (telepathy)
scanners who voluntarily work for
of other people’s thoughts, thus
and control other functions
it. The demonstration does not
supplying him with it becomes
(heart beat). It also includes the
go well; the ConSec scanner’s
Ruth’s way of establishing trust
ability to telepathically control
head explodes. ConSec security
and dependency between him
computers and to start fires.
agents try to detain Revok but he
and Vale.
Most scanners are unhappy
escapes, killing several of them in
Vale tracks down Pierce after
people, condemned to “hearing”
the process.
locating a gallery exhibiting his
an unstoppable flood of strangers’ Dr. Paul Ruth (McGoohan), head
morbid sculptures. Pierce is
thoughts. Cameron Vale (Lack)
of ConSec’s Scanner Research
in hiding from Revok; he has
has uncommonly powerful
Section, meets with ConSec’s
rejected Revok’s offer to join his
scanning abilities but cannot
newly hired head of security,
renegade faction, which makes
handle the pressure and has
Braedon Keller (Lawrence Dane).
him a liability. Four of Revok’s
withdrawn completely from
Keller recommends shutting
men gun down Pierce. Vale
society. A homeless derelict, he
down their scanner program.
flings the four assassins into
lives in a shopping mall. When he
Ruth tells the head of the
unconsciousness, then scans the
psychically overhears two women
company he believes Revok has
dying man’s mind to learn what
denigrating him he inadvertently
his own scanner underground
he knows about the scanner
induces violent convulsions in
at work and that is why ConSec
underground.
one, which in turn attracts the
was attacked, because Ruth’s
Pierce’s dying thoughts lead Vale
attention of ConSec agents who
program was the only obstacle to
to Kim Obrist (O’Neill) who has
tranquilize and abduct him.
Revok. Ruth claims Vale might be
formed a telepathic alliance with
Meanwhile ConSec is holding
the only scanner with sufficient
a group of other scanners. Vale
a conference where they are
psychic power to challenge
is invited to a meeting, but the
introducing their work with
Revok. Vale is reluctant; Revok’s
gathering is ambushed by more
scanners to 25 VIPs from all over
whereabouts are unknown,
of Revok’s assassins, who kill
North America. The company’s
and the only lead is Benjamin
Obrist’s scanner friends before
senior (and only) scanner (Louis
Pierce (Robert A. Silverman), an
Vale and Obrist can kill them.
Del Grande), offers to “scan”
artist and unstable scanner who
a volunteer to demonstrate
tried to kill his family as a child.
F E S T I VA L F I L M O G R A P H Y
SCANNERS
25
“You are not listening to me... Yor are not cooperating, Vale, you are not cooperating with me at all...�
Cast and Crew D ire c t e d by David Cr onenber g P ro d u c e d by C laude HÊr oux Writ t e n by David Cr onenber g S t a rrin g J e n n if e r O’Neill S t e ve n Lack P a t ric k M cGoohan La w re n c e Dane Mic h a e l Ir onside R e le a se dates J a n u a ry 1 4, 1981 R u n n in g tim e 103 m inutes C o u n t ry
Canada
La n g u a g e English
F E S T I VA L F I L M O G R A P H Y
SCANNERS
Vale regains consciousness in
27
to their pregnant mother, and saw
Vale infiltrates a company called
ephemerol shipments. Their
Biocarbon Amalgamate in place of
investigation takes them to the
Revok’s office. Revok begins asking
what it did to his sons. Revok’s plan
one of Revok’s men and learns that
office of Dr. Frane, an obstetrician on
Vale about his life, which Vale does
is to build an empire “so brilliant,
large quantities of ephemerol are
the list of recipients of ephemerol,
not remember. Revok explains that
so glorious we’ll be the envy of the
being manufactured and shipped
where Obrist becomes aware that
Ruth always knew where Vale was
entire planet” by finding and training
out in tankers under a program
the new generation of scanners - a
called “Ripe,” an operation that
new generation of which is just
appears to be run by Revok himself.
months from being born; the result
Vale and Obrist travel to ConSec
of the ephemerol shipment. He
headquarters to inform Ruth of this
invites Vale to join him, but Vale
development. Ruth tells a stunned
refuses, and a psychic battle ensues.
Vale that he founded the company
Visible physical changes result
himself and sold it to ConSec. Ruth
between Vale and Revok from the
is in disbelief that ephemerol is
battle; Revok’s forehead pulsates
being produced and insists Vale
with veins and his head swells. Vale,
get the information by scanning
less experienced than his brother,
the computer’s electronic nervous
uses his body more and veins
system and learn more about the
throughout his body emerge. Vale
‘Ripe’ program; but Keller, who is
begins bleeding and peeling flesh
actually a traitor working for Revok,
from his face involuntarily as Revok
attempts to kill Obrist. She escapes
pushes the advantage. Vale is able to
and Vale leaves Ruth to help her.
compose himself, his body ignites, and he focuses on Revok as his eyes
Keller kills Ruth, then attempts to capture Vale and Obrist, who escape
someone is scanning her. She
and what his life was like but only
explode and he leaves his body and
by scanning the ConSec guards.
realizes that she is being scanned
helped when he needed him as an
enters Revok’s mind. Revok’s eyes
Vale infiltrates Revok’s computer
by the unborn baby of a pregnant
agent against Revok. Revok tells him
turn white and he screams as Vale
network through a payphone. When
woman in Frane’s waiting room.
that they are brothers and that Ruth
takes control of his body.
Keller discovers this, he orders
Vale tells a stunned Obrist that is
is their father. According to Revok,
ConSec computer scientists to rig the
the purpose of the ‘Ripe’ program.
Ruth’s company created ephemerol
incinerated corpse on the floor and
computer to self-destruct while Vale is
Ephemerol doesn’t just help adult
as a drug aimed at pregnant women
begins to call out to Vale. In a corner,
plugged into it. The plan backfires and
scanners control their ability. It is
as a morning sickness sedative,
hidden under Vale’s jacket, is Revok,
the laboratory explodes, killing Keller.
creating new scanners. The two
but it had an invisible side effect -
his forehead scar gone and his eyes
are suddenly ambushed by Revok’s
creating scanners. Ruth had twice
the same shade of blue as Vale’s.
men, tranquilized, and abducted.
given the prototype of ephemerol
“We’ve won,” he says, in Vale’s voice.
Vale and Obrist pursue their only remaining lead: the mysterious
Obrist awakens to find an
F E S T I VA L F I L M O G R A P H Y
VIDEODROME Review by Wikipedia
VIDEODROME
28
Max Renn (Woods) is the presi-
O’Blivion (Jack Creley), a pop
to help him find out the truth about
dent of CIVIC-TV, a UHF television
culture analyst and philosopher
Videodrome. Through Masha, Max
station in Toronto that specializes
who will only appear on television
learns that not only is the footage
in sensationalistic programming.
if his image is broadcast into the
in Videodrome not faked, but it
Displeased with his station’s current
studio, onto a television, from a
is the public “face” of a political
lineup, Max is looking for some-
remote location. O’Blivion delivers
movement. Masha further informs
thing that will break through to a
a speech prophesying a future in
him that O’Blivion knows about
new audience. One morning, he is
which television supplants real life.
Videodrome.
summoned to the clandestine office
Max dates Nicki, who is sexually
of Harlan (Peter Dvorsky), who
aroused when he shows her an
office to a mission where homeless
operates CIVIC-TV’s pirate satellite
episode of Videodrome and coaxes
people are encouraged to engage
dish which can intercept interna-
him into having sex with her while
in marathon sessions of television
tional broadcasts. Harlan shows
they watch it.
viewing. He discovers the mission
Max tracks down O’Blivion’s
him Videodrome, a plotless show
Harlan tells Max that a signal
apparently being broadcast out of
delay which caused it to appear to
is run by O’Blivion’s daughter, Bianca (Sonja Smits), with the goal of
Malaysia which depicts the brutal
be coming from Malaysia was a
helping to bring about her father’s
torture and murder of anonymous
ploy by the broadcaster, and that
vision of a world in which television
victims in a reddish-orange cham-
Videodrome is being broadcast out
replaces every aspect of everyday
ber. Believing this to be the future
of Pittsburgh, Pennsylvania. Max
life. Later, Max views a videotape
of television—seemingly staged
informs Nicki, who excitedly goes
in which O’Blivion informs him that
snuff TV—Max orders Harlan to
to Pittsburgh to try and audition
the Videodrome “is a socio-political
begin pirating the program.
for the show under the guise of a
battleground in which a war is being
Appearing on a talk show, Max
business trip. When Nicki fails to
fought for control of the minds of
defends his station’s programming
return to Toronto, Max contacts
the people of North America”.
choices to Nicki Brand (Harry), a
Masha (Lynne Gorman), a softcore
sadomasochistic psychiatrist and
feminist pornographer with ties to
radio host, and Professor Brian
the porn community, and asks her
F E S T I VA L F I L M O G R A P H Y
VIDEODROME
29
Cast and Crew D ire c t e d by David Cr onenber g P ro d u c e d by C laude Hér oux Writ t e n by David Cr onenber g S t a rrin g J a m e s Woods S o n ja S m its D e b o ra h Har r y R e le a se dates Fe b ru a ry 4, 1983 R u n n in g tim e 87 m inutes C o u n t ry
Canada
La n g u a g e English
Shortly thereafter, Max begins experiencing disturbing hallucinations in which his torso transforms into a gaping hole that functions as a VCR. Bianca tells him these are side-effects from having viewed Videodrome, which carries a malicious broadcast signal that causes the viewer to develop a malignant brain tumour. O’Blivion helped to create it as part of his vision for the future, but when he found out it was to be used for malevolent purposes, he attempted to stop his partners; they used his own invention to kill him. In the year before his death, O’Blivion recorded tens of thousands of videos, which now form the basis of his television appearances.
F E S T I VA L F I L M O G R A P H Y
VIDEODROME
31
“What ever appears on the television screen, emerge into the raw experience to who is watching. Therefore, television is reality, reality is less than television.”
Max is contacted by Videodrome’s
the hope of destroying the project
it, he has to ascend to the next
producer, the Spectacular Optical
that led to her father’s death. On her
level and “leave the old flesh”. The
Corporation, an eyeglasses company
orders, Max kills Harlan, then tracks
television then shows an image of
that acts as a front for a NATO
Convex to a trade show, where he
Max shooting himself in the head,
weapons manufacturer. The head of
shoots him to death in front of a
which causes the set to explode,
murders his colleagues at CIVIC-TV,
horrified crowd. Afterwards, Max
splattering the deck of the ship with
and later attempts to kill Bianca,
takes refuge on a derelict boat in
bloody human intestines. Imitating
as Videodrome considered these
an abandoned harbour, where Nicki
what he has just seen on TV, Max
victims threats to its mission.
appears to him on a TV set. She tells
says “Long live the new flesh” and
him he has weakened Videodrome,
then shoots himself.
Spectacular Optical, Barry Convex (Leslie Carlson), has been secretly working with Harlan to get Max exposed to Videodrome and to have him broadcast it, as part of a crypto-government conspiracy to morally and ideologically purge North America by giving fatal brain tumours to “lowlifes” fixated on extreme sex and violence. Convex then inserts a brainwashing video tape into the “VCR” in Max’s torso. Under Convex’s influence, Max
Bianca successfully “reprograms” him to turn against Videodrome, in
but in order to completely defeat
F E S T I VA L F I L M O G R A P H Y
T H E F LY
32
THE FLY Review by Wikipedia
Seth Brundle (Jeff Goldblum), a
the strange, bristly hairs growing out
Tawny from being forcibly teleported
brilliant but eccentric scientist, meets
Brundle wants to spend a romantic
Flushed with this success,
of a previously-sustained wound in
by Brundle. After he angrily throws
Veronica Quaife (Geena Davis), a
evening with Veronica, but she
his back. Brundle quickly becomes
Veronica out and dismisses her
journalist for Particle magazine, at a
suddenly departs before they can
arrogant and violent, insisting that
concerns about his health, Brundle
meet-the-press event held by Bartok
celebrate. Brundle’s judgment soon
the teleportation process is like a
realizes that something went horribly
Science Industries, the company
becomes impaired by alcohol and
beneficial drug, and tries to force
wrong during his teleportation when
that provides funding for Brundle’s
his paranoid fear that Veronica is
work. Seth takes Veronica back to
secretly rekindling her relationship
the warehouse that serves him
with her editor and former lover,
as both home and laboratory, and
Stathis Borans (John Getz). In reality,
shows her a project that will change
Veronica has left to confront Borans
the world: a set of “Telepods” that
about a veiled threat, spurred by
allows instantaneous teleportation of
his romantic jealousy of Brundle, to
an object from one pod to another.
publish the Telepod story without
Brundle convinces Veronica to keep
her consent. Upset, Brundle hastily
the project’s existence quiet in
decides to teleport himself in
exchange for exclusive rights to the
Veronica’s absence, unaware that a
story, and she begins to document
common housefly has slipped inside
his work. Although the Telepods can
the transmitter pod with him. Brundle
transport inanimate objects, they do
emerges from the receiving pod,
not work properly on living things,
seemingly normal. Seth and Veronica
as is demonstrated when a live
reconcile, and, shortly after his
baboon is turned inside-out during an
teleportation, Seth begins to exhibit
experiment. Seth and Veronica soon
what at first appear to be beneficial
Veronica to undergo teleportation.
his fingernails begin falling off. He
begin a romantic relationship, and
effects of the process—such as
When she refuses, he abandons her
checks his computer’s records, and
their first sexual encounter provides
increased strength, stamina, and
to indulge in a barroom armwrestling
discovers that the Telepod computer,
inspiration for Seth, who reprograms
sexual potency. He believes this to be
match that leaves his opponent with
confused by the presence of two
the Telepod computer to cope with
a result of the teleportation process
a compound fracture, and casual sex
separate life-forms in the sending
living creatures. Shortly thereafter,
“purifying” his body. Veronica,
with a woman named Tawny, whom
pod, merged him with the fly at the
he successfully teleports a second
however, is more concerned about
he picks up at the bar. Veronica’s
molecular-genetic level.
baboon with no apparent harm.
Brundle’s growing mania, as well as
next-morning arrival at the lab spares
F E S T I VA L F I L M O G R A P H Y
“Be afraid, be very afraid...”
T H E F LY
33
F E S T I VA L F I L M O G R A P H Y
Cast and Crew Direct ed by Dav id C r onenber g Produced by S t uar t C or nf ield Writ t en by Charles Edw ar d P ogue Dav id Cronenberg Bas ed on The F ly by George L angelaan St arring Jef f Goldbl um Geena Davis John Get z Releas e da t es Augus t 1 5 , 1 9 8 6 Running t ime 9 6 m inut es Count ry
Unit ed S t at es
L anguage Englis h
T H E F LY
34
F E S T I VA L F I L M O G R A P H Y
T H E F LY
35
last-ditch plan to Veronica—he will use the three Telepods (the third pod being the original prototype) to fuse himself, Veronica, and their unborn child together into one entity, so they can be the “ultimate family”. Veronica frantically resists Brundle’s efforts to drag her into Telepod 1 and then accidentally tears off his jaw, triggering his final transformation into a monstrous combination of man and insect. The “Brundlefly” creature traps Veronica inside Telepod 1, then steps into Telepod 2. However, the wounded Borans uses his shotgun to sever the cables connecting Veronica’s Telepod to the computer, allowing Veronica to escape unharmed. Breaking out of its Over the next four weeks, Brundle
and that he is now being driven by
learned of the pregnancy, Brundle
own pod just as the fusion process
continues to deteriorate, losing
primitive impulses he cannot control.
abducts Veronica before the abortion
is activated, Brundlefly is gruesomely
various body parts and becoming
Attempting to find a cure for his
can be carried out, and begs her to
fused with chunks of metal and
progressively less human in
condition, Brundle installs a fusion
carry the child to term, since it could
other components from Telepod 2.
appearance. He eventually reaches
program into the Telepod computer
potentially be the last remnant of his
As the mortally wounded Brundlefly-
out to Veronica, and theorizes that he
in order to dilute the fly genes in his
untainted humanity. Veronica sadly
Telepod fusion creature crawls out
is slowly becoming a hybrid creature
body with pure human DNA. To her
refuses, afraid that the child will
of the receiving pod, it silently begs
that is neither human nor insect
horror, Veronica learns that she is
be a hideous mutant. Meanwhile,
Veronica to end its suffering with
(which Seth begins referring to as
pregnant by Seth, and cannot be sure
Borans breaks into Brundle’s lab with
Borans’ shotgun. Veronica hesitates
“Brundlefly”). Brundle soon starts to
if the child was conceived before or
a shotgun and comes to Veronica’s
for a moment, then pulls the trigger,
exhibit fly-like characteristics, such as
after his fateful teleportation. After
rescue, but is seriously injured and
killing the creature that was once
vomiting digestive enzymes onto his
she dreams of giving birth to a giant
nearly killed by the almost fully
Seth Brundle, before falling to her
food in order to dissolve it, and the
maggot, a terrified Veronica has
transformed Brundle, who dissolves
knees and weeping for her deceased
ability to cling to walls and ceilings.
Stathis Borans persuade a reluctant
Borans’ left hand and right foot with
lover.
He also realizes that he is losing
doctor to perform an abortion in the
his corrosive “vomit-drop” enzyme.
his human reason and compassion,
middle of the night. However, having
Brundle then reveals his desperate,
—David Cronenberg
SCHEDULE
SCHEDULE
OVERVIEW
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SCHEDULE
OV E R V I E W
Opening Party
O c t 10 , S a t u r d a y
We mark the opening celebration of David Cronenberg: DECONSTRUCTIVE
17:00 Opening Night (for both Exhibition and Film Festival )
through the mind of this prolific Canadian filmmaker.
19:00 Shivers
EVOLUTION on Saturday, October 10 with a delightfully disturbing trip We are honoured to have David Cronenberg, his wife Carolyn and daughters Cassandra and Caitlin join us at our VIP reception along with a few of his closest collaborators: Producers JStuart Cornfield (The Fly)
O c t 11 , S u n d a y
and Claude HĂŠroux (Scanners), and production designer Stephan Dupuis (Videodrome). DJ Tony Haze will set the mood with samples and mixes from
13:30 Elijah Siegler on Shivers
Cronenberg films and Oliver & Bonacini Chef Jamie Meireles will serve a
19:00 Rabid
delicious Canadian feast. Kick off the DECONSTRUCTIVE EVOLUTION film festival with worldclass cinematic events , special guests and a festive celebration with live
O c t 12 , M o n d ay 14:00 Piers Handling on Videodrome
entertainment, dancing, amazing food, fabulous drinks and a complimentary gift bag. After the film, celebrate Opening Night at the Zazou Lounge. You must be 21+ to attend the party.
19:00 Scanners Zazou Lounge 315 King St W, Toronto, ON M5V 1J5, Canada
O c t 1 3 , Tu e s d a y 13:00 Noah Cowan on Scanners 19:00 Videodrome
O c t 14 , We d n e s d ay 19:00 The Fly 21:30 Closing Night and Party
+1 416-591-8800 http://zazoulounge.com/
FILM SCHEDULE
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IVERS SHIVERS SH
Oc t o b e r 10 19 : 0 0 - 2 1 : 0 0
A sluglike parasite transforms the swinging residents of a Montreal condo into a legion of sex-crazed zombies, in David Cronenberg’s controversial first professional feature.
FILM SCHEDULE
O ctober 11 19:0 0- 21:0 0
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Porn star Marilyn Chambers stars in David Cronenberg’s second feature as a young Quebec woman who undergoes an experimental plastic surgery treatment that transforms her into a blood-lusting, sexually insatiable disease-spreader.
FILM SCHEDULE
O c t o b e r 12 19 : 0 0 - 2 1 : 0 0
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A powerful telepath (a.k.a. “scanner”) finds himself caught in the middle of a war between a sinister weapons firm and a scanner renegade, in David Cronenberg’s slick (and memorably gory) sci-fi thriller.
FILM SCHEDULE
October 13 17:0 0- 19:0 0
A mysterious pirate station lures a cocky Toronto cable entrepreneur (James Woods) into the reality-warping world of the “new flesh,” in David Cronenberg’s prescient and vastly influential vision of a media age run amok.
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FILM SCHEDULE
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O c t o b e r 14
The Academy Award-winning special effects and prosthetics designer
17 : 0 0 - 19 : 0 0
discusses his work co-creating the memorably gruesome effects for David Cronenberg’s brilliant remake of the 1950s creature feature.
See More:
deconstructive-evolution.com
INTRODUCTIONS TO SCREENINGS
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I N T R O D U C T I O N S TO S C R E E N I N G S Shivers introduced by Ivan Reitman + David Cronenberg
O c t o b e r 10 , 1 9 : 0 0 We are honoured to welcome the producer Ivan Reitman of Shivers to introduce our screening of his first collaboration with David Cronenberg.
Rabid introduced by Marilyn Chambers + David Cronenberg
O c t o b e r 11 , 1 9 : 0 0 David Cronenberg and Rabid actress Marilyn Chambers introduce our screening of their sucessfully massive hit.
Scanners with Mark Irwin
O c t o b e r 12 , 19 : 0 0 Cinematographer Mark Irwin introduces Cronenberg’s ambitious body horror.
Videodrome introduced by Howard Shore
O c t o b e r 13 , 19 : 0 0 Academy Award–winning composer and longtime Cronenberg collaborator Howard Shore introduces our screening of Videodrome.
The Fly introduced by Stéphan Dupuis
O c t o b e r 14 , 19 : 0 0 The Academy Award-winning special effects and prosthetics designer discusses his work co-creating the memorably gruesome effects for David Cronenberg’s brilliant remake of the 1950s creature feature.
SCHEDULE
R O U N D TA B L E S & TA L K S Elijah Siegler on Shivers
O c t o b e r 11 , 13 : 3 0 *David Cronenberg will be in attendance for this event. Religious Studies scholar Elijah Siegler considers the place of religion and its felt absence in Cronenberg’s oeuvre prior to the screening of Shivers, and will be joined by the director himself for an onstage dialogue following the film.
Piers Handling on Videodrome
O c t o b e r 1 2 , 14 : 0 0 In his introduction to this pivotal film in the Cronenberg canon, TIFF Director and CEO Piers Handling considers how the role of the Cronenberg protagonist changes as they began to wrestle with issues of control over their lives.
Noah Cowan on Scanners
O c t o b e r 1 3 , 13 : 0 0 TIFF Bell Lightbox Artistic Director Noah Cowan considers the intertwining of evolution, desire and contemporary science fiction in his introduction to Cronenberg’s envisioning of the notorious telepathic and telekinetic powers.
Panel Discussion: The Fly
O c t o b e r 1 4 , 16 : 0 0 David Cronenberg and four of his longtime collaborators — producer Stuart Cornfield and Ivan Reitman, editor Charles Edward Pogue, composer Howard Shore and cinematographer Mark Irwin — take the stage following the screening of The Fly to discuss those memorably gruesome effects.
RO U N DTA B L E S & TA L KS
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LOCATION
L O C AT I O N
TIFF Bell Lightbox
TIFF Bell Lightbox is located at Reitman Square on the north-west corner of King and John Streets (350 King Street West), TIFF Bell Lightbox occupies an entire city block in the heart of Toronto’s media and entertainment district. All spaces, including the cinemas, are wheelchair accessible to the public.
By Car From The Gardiner Expressway Take the Spadina Ave. Exit Turn north onto Lower Spadina Ave Turn east onto King Street West For updated road restrictions, please see the following site www.toronto.ca/torontostreets/
Parking Parking is available at TIFF Bell Lightbox. The closest parking garage is owned by Precise Parklink which is located off of Widmer Street.
B y T TC The closest subway stop is St Andrew. TIFF Bell Lightbox is a 5 minute walk West of St Andrew subway station on the north-west corner of King Street and John Street. Alternatively, the King Street Car stops at John Street in front of TIFF Bell Lightbox.
Bike Racks There are bike racks installed on Widmer Street as well as bike racks on P1 of the parking lot.
TIFF Bell lightbox
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L O C AT I O N
TIFF Bell Lightbox
—David Cronenberg
SPECIAL EVENT
EXHIBITION
TIFF Bell lightbox
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EXHIBITION
ABOUT
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E X H I B I T I O N
Th e S c i e n c e o f t h e S p e c i a l E ffe c t s
Special Guests
TIFF’s first major touring exhibition, followed the DECONSTRUCTIVE
Stephan Dupuis
EVOLUTION film festival, the flagship of our multi-platform initiative The Cronenberg Project, explores the mysterious and fascinating world
Stephan Dupuis is one of David Cronenberg’s most frequent collab-
of Canada’s most influential and internationally acclaimed filmmaker.
orators, having contributed makeup and special effects to Scanners, Eastern Promises, Naked Lunch, Crash, eXistenZ, Spider, A History of Violence and The Fly, for which Mr. Dupuis was nominated for a BAFTA Award and won an Academy Award (shared with Chris Walas). Largely self-taught, he began experimenting with foam latex makeup in his parents’ basement in his native Montreal. He received his first big break when he was hired to assist the head makeup artist on Alvin Rakoff’s City on Fire, and ultimately captained the FX makeup department on the project. Dupuis has since worked on many notable films, including RoboCop, Total Recall, Indiana Jones and the Last Crusade, Cape Fear, The Man Without a Face, Mrs. Doubtfire, Confessions of a Dangerous Mind, and Milk.
Rick Baker (makeup artist) Rick Baker and his team successfully produced the complex makeup effects in David Cronenberg’s masterwork Videodrome.
—David Cronenberg
DINING & DRINKING
DINING & DRINKING
R E STAU RA N TS
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TIFF Bell Lightbox
Looking to spot some of the world’s most fabulous people during TIFF? Then these hotspots need to be on your list. From luxurious restaurants in Yorkville to the city’s best hotel bars, we’ve got the top joints for you to catch a glimpse of your favourite celeb during Toronto’s biggest festival!
Montecito Newly opened, Montecito is the perfect place to stalk a few celebs and socialites alike. A collaboration between Hollywood royalty/director Ivan Reitman (Ghostbusters) and Master Chef Jonathan Waxman, Montecito just might find Bill Murray wining and dining at the restaurant. Plus, being so close to TIFF Bell Lightbox, it’s only fitting that a few after-premiere dinners may take place at this new restaurant.
Victor Restaurant & Bar Located at 30 Mercer Street, Victor Restaurant & Bar is only steps away from the hub of TIFF on King West. Whether you’re catching a potential Oscar-nominated flick at TIFF Bell Lightbox, The Princess Of Wales Theatre, or even Roy Thomson Hall, be sure to head on over to Victor for nibbles and libations with a few film buffs like yourself. Plus, they’ve got some fine dishes… Blackened Blue Goose Organic Trout, anyone…?
The Shore Club Another hotspot for the rich and famous is none other than Toronto’s famed Ritz-Carlton! However, Hollywood’s elite may find the Ritz to be an obvious choice and may feel the need to venture somewhere different, but just as classy. And because we know all celebrities are divas, The Shore Club – only one and half steps away from the Ritz and two steps from Roy Thomson Hall – may just house a few pre-flick dinners. If you’re planning on checking out The Shore Club during the festival, there’s potential to be dining in the same room with Robert Downey Jr., who is rumoured to be in attendance for the premiere of his film, The Judge, at the Roy Thomson Hall.
DINING & DRINKING
BARS & LOUNGES
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T h e R o o f L o u n g e a t t h e P a r k H y a t t To r o n t o The Park Hyatt, though not in the heart of all the TIFF buzz, is still a great spot to get your people-watching on. This Avenue Road rooftop patio is the perfect spot to kick back and take a break from all the Festival rush. Sit back, enjoy the view and drink the (rest) of the night away. With their late night menu, you just might find a few celebs looking to get in a couple bites after their after-parties! If you do find yourself seated next to Jennifer Aniston or Channing Tatum, recommend the Hyatt’s signature Mango Fizz for extra brownie points!
Brassaii The King West hot spot is yet again host to the Hollywood Reporter Lounge (Sept. 5-9) therefore hosting the many celebrities that will go through. Lucky for us, they are opened to the public simultaneously and offering a 30-minute prix fixe lunch so you can star gaze and eat quickly in between meetings (or movies). Last year, Scarlett Johansson, Julia Louis-Dreyfuss, Nicole Kidman, and Matthew McConaughey were amoung some of the A-listers who stopped by. Just sayin….
F i r k i n O n Yo n g e Only a true TIFF fan will know that King West isn’t the only spot to people-watch during the festival. Jake Gyllenhaal’s Nightcrawler will be premiering at the Visa Screening Room in the Elgin Theatre on September 5th, and instead of trying push through a crowd to get in on the action, seat yourself near the front window at the Firkin on Yonge so you can enjoy all the red carpet hoopla while you throw back a few beers!
O&B Canteen If you’re looking to situate yourself right at the heart of all the TIFF action, the O&B Canteen is your go-to hotspot. Located at ground level in TIFF Bell Lightbox, your celeb sightings will definitely sky rocket. Get there early for brunch on their streetside patio and watch all the TIFF happenings unfold before your eyes.
—David Cr onenber g