Jump to: Overview (2) | Mini Bio (1) | Trade Mark (2) | Trivia (7) | Personal Quotes (4)

Overview (2)

Date of Birth 1970Reading, Berkshire, England, UK
Birth NameChristopher Cunningham

Mini Bio (1)

Chris Cunningham made his directorial debut in 1997 with the music video for "Come to Daddy" by Aphex Twin, which was instantly praised, banned, and raved about by many people in the business. He followed up by making the music video for "Windowlicker" by Aphex Twin, and the astounding "All is Full of Love" video by Björk. Recently, he made his short-film debut, "Flex,". His incredible style alone makes him a director to watch out for in later years.

- IMDb Mini Biography By: Muncher-2.

Trade Mark (2)

Onscreen actions and editing synchronised to the beat of a song
Frequently works with Aphex Twin

Trivia (7)

Worked for a year and a half with the late Stanley Kubrick on the sci-fi project A.I. Artificial Intelligence (2001), creating a head prop.
His video for Madonna's "Frozen" was voted #22 in Slant magazine's Top-100 Videos. (19th January 2003).
His video for Björk's "All is Full of Love" was voted #26 in VH1's 100 Greatest Videos (Auguest 2007).
Designed the sleeve artwork for Autechres EP, Anvil Vapre.
Edits most of his own work.
Was originally attached to direct a film adaptation of William Gibson's novel Neuromancer, but the project never came to fruition. Even though the adaptation had several directors considered, Gibson said that Cunningham was the one who can do it correctly. Cunningham has yet to direct a feature film.
Lives in Los Angeles, California, USA. [2015].

Personal Quotes (4)

All I ever do is talk about films and then not make them. As a result I thought: just shut up about it - make a film then talk about it when it's done. But it's got to be something that I'm absolutely frothing about. After three or four years tinkering with other people's material I came to the conclusion that I just had to develop my own material from scratch.
I love anatomy. I love the human form, I always have. That's why I got into painting and sculpting, that's why I got into doing prosthetics, that's why I got into making films about bodies. But the one thing that I hadn't been able to incorporate was sound. And that was my favorite love of all. And as soon as I started doing that in film, that was it for me.
We did versions of it in six different languages, to go round the world. The German version was fucking hilarious, just really brutal. Everything sounded so aggressive and rude. The girl sounded like she was going to get out of the chair and stab you after she'd finished her monologue. [talking about his ad for Playstation, Mental Wealth]
It's funny how, especially in the last ten years, you hear people whining on about, 'Oh, not having to shoot on film is a bad thing.' But every time you think something is not going to be the same without that particular thing, like say the film stock or the lens you like, it's only a matter of time before there's a plug-in that can emulate it. It's fucking amazing. Whatever technique a puritanical filmmaker uses there will be plug-in that a fucking kid can use! I say good riddance to film because it's just a fucking pain in the arse. Just when things are getting good you have to reload the camera and carry these things which weigh the same as a box of fucking house bricks around a set. It's a nightmare.

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