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I am a huge fan of Cronenberg, all his movies.
David Cronenberg knows what we actors do as artists.
You can't compare David Cronenberg's 'The Fly' to the older version.
I like Cronenberg's early work; his '80s films had all these weird, amorphous flesh objects in them.
David Cronenberg's 'Maps to the Stars' is a Hollywood monster movie in which Hollywood is the monster.
When I was preparing for the film for tree weeks, with David Cronenberg, I had a lady friend come over.
I like a twisted sense of humour. On 'A History of Violence,' David Cronenberg and I would be doing the grimmest scenes and laugh a lot.
I love Cronenberg so much, especially the films he was doing in the mid to late '80s and early '90s, like 'Naked Lunch' and 'Dead Ringers'.
I love what many of my contemporaries are doing, especially people like Terry Gilliam, David Cronenberg, P. T. Anderson, and Alfonso Cuaron.
Cronenberg's a lot of fun, and that a lot of people don't know watching his movies. He doesn't take himself seriously. He's still reinventing himself.
It was a very critical moment for me when I began working with David Cronenberg and seeing this amazing director and creator choose to base himself out of Toronto.
I was getting a lot of pressure to go to the States, but I never really wanted to. I saw Cronenberg forge his own path, and that made me believe that I could do that, too.
Sometimes I go, 'Wow, this is a director I really, really want to work with,' like David Cronenberg. I haunted David Cronenberg for years before, and then he offered me a role.
Since 'A Dangerous Method,' I've had meetings with everyone from J.J. Abrams to the producers of 'Drive.' And they all have the same thing in common; they say: 'Wow you worked with Cronenberg.' He gave me instant film cred.
I wanted to be Steven Spielberg, Tim Burton, Stanley Kubrick, David Cronenberg, Ridley Scott, James Cameron, and Hitchcock. I'd wanted to be a director since 13, and horror and the suspense thriller were the most powerful genres to me.
'Kiss Land' wasn't about what people wanted to hear on the radio. It was the state of mind I was in - introverted, like David Cronenberg's 'Naked Lunch.' You didn't know if you were hearing a chorus or a verse. It was just my thoughts.
You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.
The sci-fi movies I grew up with, the metaphor was very rich, and they used to really mean something: David Cronenberg's films, or John Carpenter's films, or the Phil Kaufman and Don Segel versions of 'Invasion Of The Body Snatchers,' or George Romero's early zombie films.
I would compare my 'Frankenstein' to Cronenberg's remake of 'The Fly.' The monster in the original Fifties version of 'The Fly' was a crude, anatomical combination of man and insect, whereas Cronenberg's version exploited knowledge of DNA to depict him as a transgenic chimera.
Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn't really like a typical Hollywood movie. These are true artists, and have a certain amount of freedom when they work, and they're more like independent filmmakers making their way through big studios.
I suppose a good director is like a teacher. I think that someone like David Cronenberg was very much like a teacher, because there's an openness, but a certain set of rules of behavior, and a certain conduct expected. But there's an atmosphere that's relaxed and conducive to exploration, and that is created by someone like Cronenberg.