Interview ou reportage d'une émission cinéma produite par CANAL+ autour d'un film disponible sur CANAL+ ou sortant en salles, un événement ou une actualité du 7ème Art
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TVTranscription
00:00Monsieur Cronenberg, les linceuls parlent de la mort.
00:04Et donc j'aimerais vous demander comment vous avez réagi en apprenant le décès de l'autre David, David Lynch.
00:30Qu'est-ce qui vous unissait ?
00:45Ayez-vous le sentiment d'appartenir à la même famille cinématographique ?
01:00C'est un peu plus grand, surtout maintenant dans le politique en l'Union.
01:05Ce qui est similaire est que nous sommes tous des films independent.
01:09Et c'était intéressant pour moi de voir ce qui s'est passé quand il a fait un grand film qui a fait Dune.
01:15Et pour lui, il a fait un désastre, comme vous le savez.
01:20Partement parce que le studio intervient avec le film-making et l'édition et donc.
01:25Et j'ai flirté avec Hollywood, vous savez, j'ai été offert Top Gun et Flashdance et d'autres autres films, vous savez, que je n'ai pas eu tourné.
01:45Mais je n'ai jamais eu l'impression que David a eu, parce que je n'ai jamais eu l'impression que les films ont été compromisées par studio interference.
01:55Les linceuls racontent l'histoire d'un homme qui est totalement désespéré par la mort de sa femme
02:05et qui invente un système permettant aux vivants de se connecter avec leurs chers disparus dans leurs linceuls.
02:14Pour vous, ça n'est pas un thriller futuriste ?
02:17Not at all, not at all.
02:19No, it's very realistic.
02:21I think some people had misinterpreted to mean that somehow this character was continuing a dialogue with his dead wife
02:31in the afterlife or something.
02:33Of course, I don't believe in the afterlife and neither does my character.
02:36He says very clearly that he's an atheist.
02:38But what he does want is to continue with a relationship with the body of his wife,
02:43even though she's dead, even though she will decompose.
02:47And so to me, the technology to do that exists now.
02:52I mean, you could do that now.
02:54It really basically is a series of cameras that would look inside a grave
03:00and give you access to it on your cell phone.
03:05So that's not futuristic really for me.
03:08You could do that now if you wanted to.
03:10Is it something you could have considered to have real life?
03:16I've asked myself that question.
03:19And the answer is yes, I would have done that.
03:22I would have liked to have been able to see my wife's body whenever I wanted to,
03:30even after she was dead, yes.
03:33Just go back to the story of bodies.
03:35And your way of working at this stage of the world,
03:39and your way of looking at this stage of the world,
03:40and where this fascination comes from?
03:43Everybody is fascinated by the body.
03:46They just don't think of it because it's so innate.
03:49I mean, a child is obsessed with its own body, how it functions.
03:55It always, you know, how do you pee?
03:57How do you stand up?
03:58How do you walk?
03:59As a filmmaker, what are you filming?
04:02You're filming the human body.
04:04You're filming the human face.
04:05I mean, this is...
04:07It's a human surface.
04:08The human body is your subject matter.
04:11Yeah.
04:12Very physical.
04:13It's not like literature, which can be much more disembodied.
04:16Yeah.
04:16So, I think, actually, every filmmaker is obsessed with the body.
04:22They might not think of it that way, but I think that they are.
04:24So, I don't think I'm that unusual in the...
04:27But just a few of them, like you, of a name,
04:29and they open it to see what there's in it.
04:31Yeah.
04:32That's because they're afraid.
04:34But I'm not...
04:35You're not afraid?
04:37No, to open the body, no.
04:38No.
04:39As in Dead Ringers, I have one of the characters,
04:43the twins played by Jeremy Innes, he says,
04:45why are there no beauty contests for the inside of the human body?
04:50Why just the outside?
04:51It's an interesting question.
04:53It's a very good question.
04:54Yeah.
04:54And the answer is that we have evolved to find the inside of the body repulsive
05:02because it means danger, it means death, it means disease.
05:08But in these times of open-heart surgery,
05:13opening the body does not automatically mean death,
05:17it does not automatically mean disease.
05:18So, as a modern filmmaker, as a modern artist,
05:25I feel that the inside of the body is absolutely a part of what it is to be human.
05:31Those tubes are highly specialised little organs.
05:37But with the kind of help we can offer the process,
05:41it is possible to modify several other organs,
05:47the odd vein,
05:49or as today, we're using a femoral lymphatic vessel
05:53to take over the function of conveying the egg
05:56from the ovary to the uterus.
05:59And in the same time, it brings you back to the childhood,
06:04to the curiosity of a child.
06:05Well, all art is childlike, you know, I mean, especially film.
06:11We pretend that we're different people.
06:13We speak with funny accents.
06:16We go funny moustaches or whatever beards.
06:19We dress up in funny clothes.
06:21And you can, filmmakers can lose sight of the playfulness of filmmaking,
06:27how serious it is, the money, the glamour, your career, blah, blah.
06:32But basically, we're children playing in a sandbox.
06:34You know, and that's where the joy of it comes from.
06:39Even if I've heard that on Ingmar Bergman's set,
06:44there was a lot of laughter, he was very funny.
06:46Yeah.
06:47And I believe it.
06:48Vous avez une grande influence sur de jeunes réalisateurs et réalisatrices,
06:52comme pour rester en France Coralie Forja,
06:54qui a fait The Substance,
06:56et Julia Ducourneau, qui a réalisé Grave,
06:59et Titane.
07:01Est-ce que c'est flatteur ?
07:04Ou est-ce que vous vous demandez
07:05si vous avez peut-être traumatisé ces jeunes femmes ?
07:09Oh, I don't think they're traumatised at all.
07:11I think they're very strong directors, both of them.
07:14Yeah.
07:14And very technically, very strong also.
07:18No, it's not flattery.
07:20It's satisfying.
07:21I mean, it's like an extended family.
07:23You know, these are my children, my daughters, you know.
07:26And they both told me that they were very influenced by my films,
07:30and you can see it in their filmmaking.
07:32Yeah.
07:32No, to have a positive influence on other filmmakers,
07:37younger filmmakers,
07:38is a very wonderful feeling.
07:40It's a lovely thing.