Léa Seydoux

Contemporary dancer Tassos Karahalios plays Ear Man aka Klinek in David Cronenberg's "Crimes of the Future" body horror drama.

I mean, in Greece, he’s a myth.” Karahalios summed up, “[Cronenberg] is one of a kind. “I forgot I have needs.

His leads, Saul (Viggo Mortensen) and Caprice (Léa Seydoux), are performance artists who inhabit a steampunk dystopian future where humanity evolved to the ...

The primary frustrating issue with Crimes of the Future is that it gets very gluttonous regarding what kind of story it wants to tell. It's intriguing and enamoring how Saul and Caprice navigate their world while their relationship is tested by the evolution of modern art surrounding them. Compared to his other works, the horror elements are disturbing but also the tamest to date, which is purposeful for the narrative he tells. To use Saul’s notoriety to shed light on the next phase of human evolution. Alongside his partner Caprice (Léa Seydoux), Saul Tenser (Viggo Mortensen), a celebrity performance artist, publicly showcases the metamorphosis of his organs in avant-garde performances. As the human species adapts to a synthetic environment, the body undergoes new transformations and mutations.

An interview with David Cronenberg, Lea Seydoux, and Viggo Mortensen about their new film, Crimes of the Future.

My agent said, "Do you want to meet David Cronenberg?" I said I'd love to meet him but I don't like that script to be honest, feels like an exploitation script to me, nothing against the screenwriter, but it was an adaptation of a pulp novel. He did a Jury Prize much against the president of the jury when "Crash" was here. And then, one fine morning, it was more clear, and I could relate to it because it was more realistic. When I read the script I was trying to figure out what it was about. I had moments where I was really struggling, even me like, in parts where, "Oh, I know this part, it's fine, I know what I have to do," and sometimes I was like, "How the f**k am I going to do this?" They were not the films that I was watching when I was little, but it's really something. I'm always scared, and at the same time, I think I'm addicted to that feeling. So all talk of your choice of when you make a movie is laughable if you're a filmmaker because you make the ones that you're able to get to happen and it's always difficult. When they called me and they told me that potentially there was a part in his next film for me, I was just in the line at that very moment to see a new restoration of “Crash.” I discovered his films quite late, actually. She was totally into the Oscars and made a little polling booth in the closet and did all of that stuff. Then you're in the maelstrom of shooting, which is crazy time, you've got actors moving in and out, you've got locations that disappear, you've got weather, you've got 150 people that you're working with. It means you have a new film to release into the world and it will get the best possible exposure and compassion here.

Viggo Mortensen (or, as he was once called, “Morganstern,” more on that in a bit) has reteamed with David Cronenberg for their fourth collaboration, ...

So I said to my agent, “That was really bizarre, and I don’t think it went very well.” And she said, “No, no, you’ve got the part.” I go, “What is the part?” And she said, “I don’t know. Let’s do it one more time.” I go, “What do you want me to do?” And he goes, “Do the same thing.” So I did it again. And then he says, “Okay, let’s do one.” And I say, “Mr. Allen, what do you want me to do?” He says, “You react to him.” And action. Can I see the scene so I can prepare?” “No, you’ll be told what to do.” So then finally I go. I know it’s something that takes place in the 1920s or the ’30s, silent movie era, and you’re just in the scene as some kind of Hollywood party.” So I got a ride in, I don’t know, a van out to Long Island. This is the middle of winter and in this big mansion. And I look at the chair and he looks at the chair like, “What’s he going to do? What’s this actor going to do with the chair?” So I sit down, looking at him, and he’s looking at me. So I walk in and he’s sitting in a chair behind a table and he’s looking at me. They said, “We want to meet you for this thing.” I said, “Can I see the script?” “No, no, no. When I spoke to you for Falling I mentioned this and it happened again. I think that I like the challenge. And so working with him, even the first one, A History of Violence, to now, he’s become more specific and precise about the amount of shots, the amount of takes.