David Cronenberg

Es ist lustig, denn ich erinnere mich daran, dass ich jemandem versuchte, Bruce zu schreiben, und er sagte, Bruce ist im Grunde ein Satirist. Und ich dachte, nein, er ist nicht im Grunde ein Satirist.

Es ist lustig, denn ich erinnere mich daran, dass ich jemandem versuchte, Bruce zu schreiben, und er sagte, Bruce ist im Grunde ein Satirist. Und ich dachte, nein, er ist nicht im Grunde ein Satirist.

Es ist lustig, denn ich erinnere mich daran, dass ich jemandem versuchte, Bruce zu schreiben, und er sagte, Bruce ist im Grunde ein Satirist. Und ich dachte, nein, er ist nicht im Grunde ein Satirist.

Danke, danke. Ich habe das Skript in sechs Tagen geschrieben, und ich habe es mit seinem Dialog gemacht. Das ist es! Denn sein Dialog ist so gut und so einzigartig. Und ich dachte mir, I wasn't sure if it would be a movie. And I thought, okay, I will just take the dialogue and use it verbatim and see if it's a movie. And I thought, not only is it a movie, I've just written the script.

Danke, danke. Ich habe das Skript in sechs Tagen geschrieben, und ich habe es mit seinem Dialog gemacht. Das ist es! Denn sein Dialog ist so gut und so einzigartig. Und ich dachte mir, I wasn't sure if it would be a movie. And I thought, okay, I will just take the dialogue and use it verbatim and see if it's a movie. And I thought, not only is it a movie, I've just written the script.

Danke, danke. Ich habe das Skript in sechs Tagen geschrieben, und ich habe es mit seinem Dialog gemacht. Das ist es! Denn sein Dialog ist so gut und so einzigartig. Und ich dachte mir, I wasn't sure if it would be a movie. And I thought, okay, I will just take the dialogue and use it verbatim and see if it's a movie. And I thought, not only is it a movie, I've just written the script.

I say, figure it out. I mean, because famously now, but Diane Kruger was really a little bit freaked out when she came to Toronto and discovered that there was no rehearsal time blocked. For? For actors, yeah. What she called a table read, which is sort of a theatrical term.

I say, figure it out. I mean, because famously now, but Diane Kruger was really a little bit freaked out when she came to Toronto and discovered that there was no rehearsal time blocked. For? For actors, yeah. What she called a table read, which is sort of a theatrical term.

I say, figure it out. I mean, because famously now, but Diane Kruger was really a little bit freaked out when she came to Toronto and discovered that there was no rehearsal time blocked. For? For actors, yeah. What she called a table read, which is sort of a theatrical term.

And, you know, where you sit around the table and you read the script to each other. And I said, well, I... Don't rehearse. I don't want to rehearse. And what's more, I don't want to micromanage your performance. I want you, when we block the scene on the day that we're going to shoot it, that's when I'm going to hear the dialogue for the first time and I'm going to hear what you feel works.

And, you know, where you sit around the table and you read the script to each other. And I said, well, I... Don't rehearse. I don't want to rehearse. And what's more, I don't want to micromanage your performance. I want you, when we block the scene on the day that we're going to shoot it, that's when I'm going to hear the dialogue for the first time and I'm going to hear what you feel works.

And, you know, where you sit around the table and you read the script to each other. And I said, well, I... Don't rehearse. I don't want to rehearse. And what's more, I don't want to micromanage your performance. I want you, when we block the scene on the day that we're going to shoot it, that's when I'm going to hear the dialogue for the first time and I'm going to hear what you feel works.

Your intuition, actually I cast you because I think you can do this. So, I mean, that's one of the things about directing that young filmmakers don't really hear from film school is that half the battle with acting is in the casting. As a director, you need to be a good caster. And it's tricky. It's a black art. So, yeah. So, Und an diesem Punkt ist das Skript der Regisseur.

Your intuition, actually I cast you because I think you can do this. So, I mean, that's one of the things about directing that young filmmakers don't really hear from film school is that half the battle with acting is in the casting. As a director, you need to be a good caster. And it's tricky. It's a black art. So, yeah. So, Und an diesem Punkt ist das Skript der Regisseur.

Your intuition, actually I cast you because I think you can do this. So, I mean, that's one of the things about directing that young filmmakers don't really hear from film school is that half the battle with acting is in the casting. As a director, you need to be a good caster. And it's tricky. It's a black art. So, yeah. So, Und an diesem Punkt ist das Skript der Regisseur.

Und er regiert die Schauspieler durch den Dialog.

Und er regiert die Schauspieler durch den Dialog.

Und er regiert die Schauspieler durch den Dialog.

Ja, ja. Ich mache mehr als das. But on the other hand, I was just talking to Paul Schrader a while ago in Toronto and he said, rehearsal is everything. And I said, Paul, rehearsal is nothing for me. So it works for you, but it doesn't work for me. I find, when you do rehearsal in that artificial situation where you're just sitting around a table, you get into all kinds of strange things.

Ja, ja. Ich mache mehr als das. But on the other hand, I was just talking to Paul Schrader a while ago in Toronto and he said, rehearsal is everything. And I said, Paul, rehearsal is nothing for me. So it works for you, but it doesn't work for me. I find, when you do rehearsal in that artificial situation where you're just sitting around a table, you get into all kinds of strange things.