The “body horror” maestro talks about his new film “Crimes of the Future,” his affinity for the stars of “Twilight,” and his renewed passion for directing
) and Whippet , two National Organ Registry officials who are awestruck by the bizarre byproducts of Tenser’s body.is not for everyone, and that’s without even getting into a shocking opening act having to do with a young boy capable of eating inorganic material and the child’s mysterious father Lang .
In the movie, you have an artist who is cutting himself open and offering up his most intimate deep insides to an audience, knowing that this makes him incredibly vulnerable to backlash of all kinds. It could be just misunderstanding, or rejection, or anger. That’s the nature of art, as far as I’m concerned. He is the avatar of an artist, basically—the Tenser character.is being called “body horror,” and I understand why.
Really, I almost don’t remember what happened in the past. There were attempts to make the movie. [Robert] Lantos, in particular, was the producer who was involved at a certain point. I think when it stalled, I was then offered, I was broke, and suddenly there was a movie that was fully financed and I wouldn’t have to suffer through the agony of financing. I mean, that’s mainly producers suffering it, but directors suffer along with it.
Basically, Robert—it still took him three years to get the financing together. We got 19 entities involved, and no studios; you’re just dealing with some government agencies that invest in film, like Telefilm Canada, and you’re dealing with distributors like Neon here and Metropolitan in France, and they will advance you some money and so on. So, there are no studios, there’s just us. That’s normally the way I make films. There’s no Big Brother that you have to worry about.
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