Crash

“And of course, Crash. I am the most unconditional David Cronenberg fan. The very first film that I had seen of his was The Fly. I was very little. It screwed me up for life. And then Crash is something that I discovered later. You know, it is very rare, I think, to have a director who builds a body of pictures that are so diverse, but yet have that very specific tone and you know exactly what movie you’re watching, what filmmaker made that film. And his movies are so layered.”

“I never even knew that this Cronenberg Crash was on Criterion. I’m in it, and I didn’t know that… It’s a trippy film. With Holly Hunter, James Spader, Elias Koteas. We went to Cannes and it got completely booed at the Festival, intensely. Coppola was the head of the jury, and they just were so angry– People were really, really angry about this film. But then Bertolucci was there and praised it and loved it, and it was this incredible moment. I’ll take a copy of this, thank you so much.”

“David Cronenberg’s Crash. This film is incredible. James Spader, Holly Hunter. So good, so weird and perverted. I really love to just put this one on a weird rainy night and, you know, drink a glass of whiskey and really get into it. And I’ll have his others: Videodrome, everything. He’s so weird.”

“Another film very important to me is David Cronenberg's Crash. The way he mixes reality and Dreams, the way the body affects the spirit, and all these themes are very important to me. The mise-en-scène is so minimalistic and precise and the tone of the voice and the music of Howard Shore in this film is amazing. It's like a set of electric guitars, I mean something I've never heard before and that I copied in a way for some music I do.”

“And if you have Crash… This is probably gonna sound weird, but I think this is a sexy movie. Crash. Another sexy movie, why not?”