Canadian filmmaker David Cronenberg is one of the most important sci-fi and horror directors of the 20th century alongside David Lynch and Alfred Hitchcock. His unique cinematic style and eye for dramatic, suspenseful builds have earned him numerous awards over the years.

Most notably, Cronenberg was awarded the Special Jury Prize at the 1996 Cannes Film Festival for his work on the 1996 psychological thriller crash. The prize is particularly prestigious because it is not awarded annually, but only occasionally at the request of the official jury, which in this case awarded the prize “for originality, daring and daring”.

Its impressive back catalog mainly consists of sci-fi horror films, such as: shudder (1975), scanner (1981), videodrome (1983) and The fly (1986), but Cronenberg also made seminal contributions in other genres during his five decades in the business.

Despite his prestigious position in the filmmaking world, Cronenberg has stated that it’s still very difficult to get by in the modern stream-heavy film business. In conversation with diversity Earlier this year, ahead of the Cannes Film Festival, Cronenberg was asked about a canceled series he had started with Netflix.

“I tried and we got to two episodes and then they decided not to do it. And I was disappointed because I was interested in streaming cinematically,” he said. “I thought this would be a very interesting experience for me as a writer, as a creator, and then as a director. And maybe one day I’ll have that experience, but right now it’s still about filmmaking, not filmmaking. So the project I spoke to Netflix about will be a feature film instead.”

Not wanting to divulge too many more details about his upcoming film plans, Cronenberg identified the title as The veils. The interviewer then asked why he thought Netflix passed on the idea. “It turns out that getting a show on Netflix isn’t that easy,” Cronenberg said. “In fact, it seems easier to do an independent film if it’s of a certain type. I’d say maybe a movie that’s not the conservative type of movie Netflix would like it to be.”

The interviewer explained optimistically that it might be good for the future of the film if independent distributors or financiers allowed more creative freedom and abstract ideas.

In response, Cronenberg agrees with the interviewer, but points out that if the streaming networks take hold, they will further supplant the age of cinema. “Well, I think so, because they have to give you something that Netflix can’t give you,” he said. “And they offer that freedom. In a way, that was true of the Hollywood studios. Mostly they were very conservative mainstream. I think things haven’t changed as much as people thought they would. Netflix has certainly influenced the film industry and the exhibition industry with cinemas. To be honest, I think cinemas are dying. I think there will be theaters, but there won’t be that many, and they’ll show niche movies because otherwise they’ll only show Marvel superhero movies.”

Elsewhere in the interview, the conversation culminated in the topic of financing. The interviewer explained that they are confused because Cronenberg’s films often attract A-list casts, yet he often struggles to fund them.

In response to that crash The director said, “Oh, I mean, I talked about this a long time ago with Martin Scorsese, who’s a friend; Everyone thinks Martin Scorsese could have anyone and any budget. It is not true. it’s a fight It’s a struggle and it’s changing. If you’re currently making a movie with Netflix, then you don’t have to worry about money because Netflix has a lot of money. But if you’re making an independent film and you don’t have Netflix, then it’s a struggle. It took three years to get the funding up and running crimes of the future even if we had this cast. Money is hard to find. People are afraid to invest with the flow of the world. Well, now it’s war…”

As we plunge deeper into financial uncertainty with the Russian invasion of Ukraine and the global cost of living crisis, the streaming giants appear to continue to dominate the movie industry. Returning to Cronenberg’s earlier point about the lack of creative freedom on streaming platforms, will this spell disaster for alternative filmmaking in the future?

See the cast and crew of David Cronenberg’s latest film, crimes of the futurehit the red carpet at this year’s Cannes festival below.

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