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But in the moment, as per usual, he was just thinking about his body. While the Cronenberg oeuvre has evolved from B-movie cheapies par excellence Rabid, The Brood, Scanners to dense, reality-stretching literary adaptations Crash, Cosmopolis, Naked Lunch , the frailty of the human form has been the uniting constant. Hitchcock made suspense pictures, Nancy Meyers made romcoms and Cronenberg made disquieting examinations of the many ways in which our own flesh can turn on us. Cronenberg enjoys acting, particularly when it allows him to support a fellow Canadian doing work the whole country can be proud of. As Walter, he was required to record a goodly amount of podcast-quality audio, filling his ears with the oft-unnerving sound of his own voice. You might never like it, though. Cronenberg the elder counts himself as a fan of his upcoming sci-fi horror Possessor, his total lack of competition just another facet of his apparent inner peace. A certain anxiety seems integral to the Cronenberg gestalt and its key themes; inevitable deterioration of the body, the invasive influence of technology, how these both prevent or enable connection to the people around us. There are the veteran directors who work and work and work, their talents declining until the industry gives them the boot.
