A Quote by David Cronenberg
You know, there's a saying in art that in order to be universal you must be specific. So I think every artist feels that he is dealing with specific things but that it also has significance universally.
Related Quotes
I think what Hollywood is learning at large is that there is profitability in stories that are culturally specific and that you can only address the universal through the specific.
I believe that one of the most sound ideas in dramatic writing is that in order to create the universal, you must pay very great attention to the specific. Universality, I think, emerges from truthful identity of what is.
I have a specific set of, I have a specific sort of negative energies to deal with that might be specific to me, but it definitely something that all artists have to deal with at one point or another. But I think for me, it's just maybe more specific.
When you say something, say it not for a specific day, not for a specific era, not for a specific country, but say it for all the days, for all the eras and for all the countries. Speak universal, and thus you don't have to speak thousands times; you speak once and you will be heard even ten thousand years later!
What a photograph shows us is how a particular thing could be seen, or could be made to look - at a specific moment, in a specific context, by a specific photographer employing specific tools.
All novels are about certain minorities: the individual is a minority. The universal in the novel-and isn't that what we're all clamoring for these days?-is reached only through the depiction of the specific man in a specific circumstance.
Most people think that intelligence is about brain, where really it's about focus. Genius is just attention to a subject until it becomes specific, specific, specific.
I like movies that are specific. Movies that home in on a very specific subculture, a specific discipline, a specific world.
I don't think it was me getting rid of any sort of imageI do specific things in my career that are tailored for a specific audience. Obviously I have a younger generation that looks at me - and I really appreciate that. And I just did an animated movie, so I want to respect that and still do things that will earn me that respect. But I also want to do things that challenge me and put me out of my element.
Whale Rider' was a very authentic and specific movie about the indigenous culture from where I come. Amazingly, by the fact it was so authentic and so specific, it became really powerfully universal.
I try to teach a modernist and postmodernist position. On one hand, if you're a painter, you need to know the history of painting. But I'm also interested in the moment we live in. I love television, and movies, and books, and music. So I also think of art as this cultural production along with all this other stuff that's happening. So that's a kind of postmodern, not media-specific, but the times, what is your art relevant to this moment we live in versus media specificity? That's my teaching philosophy, both of those things are important.
With 'Mask,' 'Smooth Talk' and 'Blue Velvet,' I loved the specific experiences so much. Each one was a specific filmmaker with a specific vision.
When I write, I have a sort of secret kinship of readers in all countries who don't know each other but each of whom, when they read my book, feels at home in it. So I write for those readers. It's almost a sense of writing for a specific person, but it's a specific person who I don't know.
I think I'm always conscious of not letting things fit into a specific box. Being a filmmaker and trying to chart a career, you never want anyone to be able to pigeonhole you into one specific thing.
I think it's a universal thing in every family, that people have their own specific versions of pivotal events or even small memories.
When I do research, I cast my net very widely and then snatch what feels right out of that. Occasionally I'll read a specific book for a specific book, but usually I'm trying to increase my general understanding.
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