D I R E C T O R ' S C H A I R • by David Cronenberg

I took this photo just ten feet outside the studio where Spider’s interiors were being shot in Toronto at the edge of Lake Ontario. I would wander around in the sunshine while lighting was being done to finesse the look of the mouldy, damp, wallpaper-wrapped period interiors. I was taking pictures on and around the set for the first time in my directing career, inspired by the new generation of digital SLR cameras that had brought me back to still photography after my long unhappiness with shooting color film and the lack of control over the printing process that film entailed.

I consider this chair to be found art. Crew members rescued it from a scrap heap and would sit on it during lunch and breaks.

 
I love the rusty screws unwinding from the blotchy chrome seat-back stays. It could almost have been a piece of set decoration transported from the decaying gloom of Spider's 1950s London into the brilliant sunshine of August, Toronto, 2001.

I didn’t know at the time I took the photo that I would call it Director's Chair. In a "real" director's chair you do sometimes feel like you're simply watching a world unfold, one that makes you just a spectator. In a way you desperately want that to happen on your film set: I wanted Spider's inner world to be so alive that it would run without my active involvement. That couldn't happen while we were shooting, but now that the movie's finished, it will. Back to story

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