David Cronenberg was awarded the Norman Jewison Profession Achievement Award on the Toronto Worldwide Movie Competition’s sixth annual TIFF Tribute Awards on Saturday, September 8.
The award acknowledges Canadians within the movie trade who’ve made a worldwide impression with their careers. Cronenberg’s “willingness to explore unconventional themes and his innovative storytelling continues to shape contemporary cinema worldwide,” because the pageant acknowledged.
On the TIFF Tribute Awards, Cronenberg weighed in on the usage of synthetic intelligence in his personal motion pictures. “Well, I’ve actually used AI in my filmmaking for years,” he advised IndieWire.
“You know, it’s just not something that people normally are aware of. But when you’re correcting the color, when you’re manipulating your film’s images, it’s a form of AI already. It’s not something surprising in a way to me,” he continued.
Talking with Selection earlier this 12 months, he was requested about AI’s place in filmmaking right now. “You can imagine a screenwriter sitting there, writing the movie, and if that person can write it in enough detail, the movie will appear. The whole idea of actors and production will be gone. That’s the promise and the threat of artificial intelligence,” he stated. “Do we welcome that? Do we fear that? Both. It’s like nuclear fission, it’s ferocious and terrifying and it’s also incredibly useful. So, what do we do? I don’t know. I have no idea.”
On the present landscaping of horror, physique horror particularly, Cronenberg advised us that “there’s a lot of interesting stuff going on.”
“I must say there’s a lot of, and of course, some of them are filmmakers who have said that they’ve been influenced by me,” he stated to IndieWire. “So that’s kind of interesting and it makes me feel good. That pleases me.”
He shared that he has seen Coralie Fargeat’s “The Substance,” in addition to “Titane,” including that he met the latter movie’s director, Julia Ducournau, at TIFF, really. Trying again on his complete filmography, when requested if one movie stands out as probably the most violent, Cronenberg stated, “No, not really” and left it at that.
In David Ehrlich’s Cannes evaluate of the his newest, “The Shrouds,” he writes that it “is a grief story as only David Cronenberg would ever think to shoot one: Sardonic, unsentimental, and often so cadaverously stiff that the film itself appears to be suffering from rigor mortis, as if its images died at some point along their brief journey from the projector to the screen. And really, what else would you expect?”