Production
The story is structured as a futuristic thriller, involving industrial espionage and intrigue, car chases, conspiracies, and shoot-outs (including a gruesome scanner duel between Vale and Revok at the end). It was the nearest thing to a conventional science fiction thriller Cronenberg had made up to that point, lacking the sexual content of Shivers, Rabid, or The Brood; it was also his most profitable film until The Fly six years later.
Because of the oddities of Canada's film financing structures at the time, it was necessary to begin shooting with only two weeks' pre-production work, before the screenplay had been completed, with Cronenberg writing the script between 4 a.m. and 7 a.m. each morning throughout shooting. Since the production design team had no time to build sets, in some instances the crew had to drive around looking for things to shoot. As a result, Cronenberg has said, Scanners was a nightmare to make.
Make-up artist Dick Smith (The Exorcist, Sweet Home) provided prosthetics for the climactic scanner duel and the iconic exploding head effect.
Read more about this topic: Scanners
Famous quotes containing the word production:
“The production of obscurity in Paris compares to the production of motor cars in Detroit in the great period of American industry.”
—Ernest Gellner (b. 1925)
“In the production of the necessaries of life Nature is ready enough to assist man.”
—Henry David Thoreau (1817–1862)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)