Bill Hader reacts to the films of Canadian auteur David Cronenberg. Source: Eli Roth's History of Horror Apple: podcasts.apple.com/us/podcast... Spotify: open.spotify.com/show/4djlRs0...
Roger Ebert was entitled to hate any movie he wished. But the fact that he, and other critics, seemed oblivious that Cronenberg's "The Brood" was about something, that is poor criticism.
They both were complete anti horror some of the best too didn't matter until the when it was more mainstream ebert begrudgingly gave few thumbs up. But there opinions where suspect with all movies in my opinion
It's too insane to be popular, but it has had a cult following for a few decades now, and has pretty much been acknowledged as one of Cronenberg's best.
You can see how Bills take on Cronenbergs grounded presentation, translates into his own directorial style. Though his method is very different, it manages to make high tension, or even high violence scenes appear so real. He doesn't focus in on the action, he often shows it from a wider perspective, like you yourself are a bystander at that moment. Haders style manages to both show the absurdity of action, and the perspective of those who witness it. Obviously vastly different to the way Cronenberg presents traumatic moments, and yet both have a grounded anchor that bring the audience right into the moment.
You can tell he is a fan and that he gets it. His entire passion for film is like that of a Bachelor or Master in film study. Just the amount of knowledge and films he has at his disposal is aee inspiring.
Man, Scanners is wild. The guy's head blowing up is so intense. Hall of fame gore. Michael Ironsides just slays in that movie. The show down at the end of the film is nuts - it's so awesome. Cronenberg rules.
@@galaga00 when I first saw Scanners I thought the lead actor was portraying a character with a brain injury. It made the movie so much better before realizing he's actually just the worst actor of all time.
My prediction is that Bill Hader will eventually become a filmmaker on the level of Cronenberg, simply because he's shown he's good at it, with Barry, and because he clearly has a deep, encyclopedic knowledge of good movies.
@@MicahMicahelbill hader created, wrote, directed, and starred in Barry. That’s basically his baby. Alec berg also deserves credit too because he was the other co creator and he wrote and directed some episodes too, but hader was the driving force behind the show.
His son's film 'Infinity pool' that's just been released scared the hell out of me. It's very hard for me to be freaked out by a film but this was something else.
The Brood is almost impossible genius. Mr. Ebert I must part ways with you on this one. Cronenberg exists on a plane of, "Well, we're not saying that it COULDN'T happen" And that's why he works so well. We need to discuss not only his major works like Videodrome and Crash but also the "Lost Classics" such as eXisTenZ and yes, A History of Violence, even though I know that the latter is quite the departure. Has anyone seen what his son is capable of? Brandon is definitely taking over for dad one day.
Brandon's great. I did not care of eXisTenZ at all, but his films like History of Violence that depart from his usual style are just as good as his classics, and should be examined as such.
Interesting comment on the retro character in Scanners. Maybe similar for Brian O'blivion providing a different and informed perspective on the unfolding story?
Yes, I really like Ironside and McGoohan but Dane and Silverman are also perfect. I didn’t want to go too far with this thought but for me: Lack makes the movie! I think I saw him I something else and liked him in it. Cronenberg is a wonderful outlier.
I think Cronenberg has a wider commercial appeal especially with horror fans sort like Carpenter was, it wasn’t until Crash towards the end of the 90s did Cronenberg start doing more obscure genres. Where as to me Lynch is more of a true artist in my opinion, you won’t find many other directors doing something as audacious as Eraserhead at the beginning of their career and maintain that voice with each film, the only exception being dune. They are both great filmmakers but to me Lynch gets more credit just because he took way more risks creatively.
@@artofsam Scanners and Videodrome, coupled with his vision of body horror and how it manifested in say Scanners, or The Fly. I think his influence and study under McLuhan is a huge thing, as Videodrome is a piece of art that actually has something positive to grasp onto as far as message, or commentary expressed. And that's why that film for me anyway, is such a favorite, it was in no way a commerical appeal type film in the slightest. I think Crash is what Cronenberg is taken to it's limit, as he allowed it to go all the way, especially with a Ballard type story, which follows the same Baudrillard/McLuhan style commentary. I've never gotten Lynch as an artist, as everything he does is truly nothing, it is surrealist visual expressions not rooted in anything, its like one perpetual open ended question. Reminds me of Modern Art, it has a built in get out of jail free card as if the piece says nothing, than it can't be held to anything, and as such, it can be held as a pretentious "deep" work as if there is something there, it's just oh so difficult to find. Lynch did a network television series, in addition to the ridiculous Dune adaptation, which I think was great, but it never stands out as art to me in the way Videodrome or Crash do. Those films asked serious questions and were legit trangressive pieces of media. Versus what, the wacky presentations in Muholland Drive? The random open ended whimsical characters in a plotless film? Take Wild at Heart....it's shlock, campy shlock modeled after The Wizard of Oz. Failing to see what makes all of that art, versus Cronenberg's actual vision. Again, I'd take defined coherent approaches to life in film, over open ended abstract strokes set in surreal sepia toned suburban america. Eraserhead was experimental, and gets kudos for experimenting, but it never says anything. How I've always felt with Lynch, so I'm gonna have to push back as say he's a poor man's Cronenberg.
@@DiamorphineDeath You’re out of your mind if you think I’m replying to that, keep it short and concise because I honestly don’t understand what point it is you are trying to make.
@@rockinresurrection6542 That's what I gathered and I don't have the time to break down the allogorical meaning of his movies to someone who doesn't care to understand subtext.
I often mention "Canadian lighting" as a characteristic when descring our cinema. It's totally a thing. Glad to hear it from someone else.
Roger Ebert was entitled to hate any movie he wished. But the fact that he, and other critics, seemed oblivious that Cronenberg's "The Brood" was about something, that is poor criticism.
100%
As much as I respect Ebert, he had pearl clutching, moralistic opinions over many great horror movies.
They both were complete anti horror some of the best too didn't matter until the when it was more mainstream ebert begrudgingly gave few thumbs up. But there opinions where suspect with all movies in my opinion
Cronenberg is a genius. He was the king of body horror. His films are completely unique and idiosyncratic.
Idiosyncratic I must look up this high falutin word
Videodrome is so underrated. One of the best movies ever and never gets talked about
Yeah. It’s fucked up. I would have thought it to find a bigger audience by now
It's too insane to be popular, but it has had a cult following for a few decades now, and has pretty much been acknowledged as one of Cronenberg's best.
It’s absolutely not underrated
I like Bill Hader's Cronenberg/ Lynch analysis. I've always felt the same way.
Terry Gilliam as well.
You can see how Bills take on Cronenbergs grounded presentation, translates into his own directorial style. Though his method is very different, it manages to make high tension, or even high violence scenes appear so real. He doesn't focus in on the action, he often shows it from a wider perspective, like you yourself are a bystander at that moment.
Haders style manages to both show the absurdity of action, and the perspective of those who witness it.
Obviously vastly different to the way Cronenberg presents traumatic moments, and yet both have a grounded anchor that bring the audience right into the moment.
You can tell he is a fan and that he gets it. His entire passion for film is like that of a Bachelor or Master in film study.
Just the amount of knowledge and films he has at his disposal is aee inspiring.
Man, Scanners is wild. The guy's head blowing up is so intense. Hall of fame gore. Michael Ironsides just slays in that movie. The show down at the end of the film is nuts - it's so awesome. Cronenberg rules.
Agreed - I still find it hard to sit through the ending of Scanners - its so drawn out and emotionally exhausting.
i remember that the lead actor was the weakest element of that film. a great actor in that role would have really elevated it.
@@galaga00 when I first saw Scanners I thought the lead actor was portraying a character with a brain injury. It made the movie so much better before realizing he's actually just the worst actor of all time.
@@ChristopherBlackwell ha! They should have just incorporated that into the script to salvage his bad acting.
@@galaga00lived up to his real name- Stephen Lack
My prediction is that Bill Hader will eventually become a filmmaker on the level of Cronenberg, simply because he's shown he's good at it, with Barry, and because he clearly has a deep, encyclopedic knowledge of good movies.
doesn't he just act in it? Or does he write as well?
@@MicahMicahelbill hader created, wrote, directed, and starred in Barry. That’s basically his baby. Alec berg also deserves credit too because he was the other co creator and he wrote and directed some episodes too, but hader was the driving force behind the show.
he'd better get a move on. also, people with encyclopedic knowledge of film tend not to be very good filmmakers.
I agree. Cronenberg is one of my favorite directors.
Cronenberg's body horror was always tied to the cultural fears and angst of his time. A very under-rated Director, so incredibly subversive.
His son's film 'Infinity pool' that's just been released scared the hell out of me. It's very hard for me to be freaked out by a film but this was something else.
Thought it was boring
I agree that Candianess is somehow harsh white and pale but also familiar and cozy.
Love David Cronenberg and Brandon Cronenberg!
Love this channel. Keep up the great work!
The Brood is almost impossible genius. Mr. Ebert I must part ways with you on this one. Cronenberg exists on a plane of, "Well, we're not saying that it COULDN'T happen" And that's why he works so well. We need to discuss not only his major works like Videodrome and Crash but also the "Lost Classics" such as eXisTenZ and yes, A History of Violence, even though I know that the latter is quite the departure.
Has anyone seen what his son is capable of? Brandon is definitely taking over for dad one day.
Brandon's great. I did not care of eXisTenZ at all, but his films like History of Violence that depart from his usual style are just as good as his classics, and should be examined as such.
Brandon’s Possessor was one of the best sci fi movies I saw in years. Such an ambitious concept executed beautifully
@@mmkay32agreed!!!!!
Bill Hader amazing me more again.
Bill Hader's the best!
That was a great analysis.
Crash is real fucking good too.
Interesting comment on the retro character in Scanners. Maybe similar for Brian O'blivion providing a different and informed perspective on the unfolding story?
You show the picture of David Lynch like 19 times but didn’t show Cronenberg at all
I was watching a video essay on Night breed, and when he got to the point about Cronenberg I was like "Wait... THAT'S HIM?!"
Naked Lunch is a masterpiece.
I love maps to the stars
What movie was that at 1:12 ?
Scanners is so underrated
this video couldnt be any more "up my alley" if it tried.
Take a shot every time he says "you know."
Yes, I really like Ironside and McGoohan but Dane and Silverman are also perfect. I didn’t want to go too far with this thought but for me: Lack makes the movie! I think I saw him I something else and liked him in it. Cronenberg is a wonderful outlier.
1:00 Billie Elish. :D
1:10 & 3:43, is that Frank Oz?
lol Matt.
This is very good insight unlike that god awful synopsis of Dr Strangelove by De Niro, that dude must have 2 brain cells.
Ebert got most of his reviews wrong. Sorry he's gone, but maybe really watch the movies, Don not judge them for ratings.
His later films are much better.
Cronenberg is a superior version of Lynch in my opinion; always resonated much more with his films.
I think Cronenberg has a wider commercial appeal especially with horror fans sort like Carpenter was, it wasn’t until Crash towards the end of the 90s did Cronenberg start doing more obscure genres. Where as to me Lynch is more of a true artist in my opinion, you won’t find many other directors doing something as audacious as Eraserhead at the beginning of their career and maintain that voice with each film, the only exception being dune. They are both great filmmakers but to me Lynch gets more credit just because he took way more risks creatively.
@@artofsam Scanners and Videodrome, coupled with his vision of body horror and how it manifested in say Scanners, or The Fly. I think his influence and study under McLuhan is a huge thing, as Videodrome is a piece of art that actually has something positive to grasp onto as far as message, or commentary expressed. And that's why that film for me anyway, is such a favorite, it was in no way a commerical appeal type film in the slightest. I think Crash is what Cronenberg is taken to it's limit, as he allowed it to go all the way, especially with a Ballard type story, which follows the same Baudrillard/McLuhan style commentary. I've never gotten Lynch as an artist, as everything he does is truly nothing, it is surrealist visual expressions not rooted in anything, its like one perpetual open ended question. Reminds me of Modern Art, it has a built in get out of jail free card as if the piece says nothing, than it can't be held to anything, and as such, it can be held as a pretentious "deep" work as if there is something there, it's just oh so difficult to find. Lynch did a network television series, in addition to the ridiculous Dune adaptation, which I think was great, but it never stands out as art to me in the way Videodrome or Crash do. Those films asked serious questions and were legit trangressive pieces of media. Versus what, the wacky presentations in Muholland Drive? The random open ended whimsical characters in a plotless film? Take Wild at Heart....it's shlock, campy shlock modeled after The Wizard of Oz. Failing to see what makes all of that art, versus Cronenberg's actual vision.
Again, I'd take defined coherent approaches to life in film, over open ended abstract strokes set in surreal sepia toned suburban america. Eraserhead was experimental, and gets kudos for experimenting, but it never says anything. How I've always felt with Lynch, so I'm gonna have to push back as say he's a poor man's Cronenberg.
@@DiamorphineDeath You’re out of your mind if you think I’m replying to that, keep it short and concise because I honestly don’t understand what point it is you are trying to make.
@@artofsam He basically just said he doesn't understand Lynch
@@rockinresurrection6542 That's what I gathered and I don't have the time to break down the allogorical meaning of his movies to someone who doesn't care to understand subtext.
What movie is at 0:53? Don’t recognize it.
Rabid