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Videodrome (1983) More at IMDbPro »

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Videodrome -- A sleazy cable-TV programmer begins to see his life and the future of media spin out of control in a very unusual fashion when he acquires a new kind of programming for his station.


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David Cronenberg (written by)
View company contact information for Videodrome on IMDbPro.
Release Date:
4 February 1983 (USA) See more »
First it controlled her mind, then it destroyed her body... Long live the new flesh! See more »
A sleazy cable-TV programmer begins to see his life and the future of media spin out of control in a very unusual fashion when he acquires a new kind of programming for his station. Full summary » | Full synopsis »
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3 wins & 7 nominations See more »
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User Reviews:
"Videodrome" - Cronenberg takes on the media See more (237 total) »


  (in credits order) (verified as complete)

Directed by
David Cronenberg 
Writing credits
David Cronenberg (written by)

Produced by
Pierre David .... executive producer
Claude Héroux .... producer
Lawrence Nesis .... associate producer
Victor Solnicki .... executive producer
Original Music by
Howard Shore 
Cinematography by
Mark Irwin (director of photography)
Film Editing by
Ronald Sanders 
Art Direction by
Carol Spier 
Set Decoration by
Angelo Stea 
Costume Design by
Delphine White 
Makeup Department
Rick Baker .... special makeup effects designer
Thomas Booth .... hair stylist (as Thomas L. Booth)
Shonagh Jabour .... makeup artist
Steve Johnson .... special makeup effects artist
Michael Kavanagh .... makeup effects assistant
Inge Klaudi .... makeup assistant
Maureen Mestan .... assistant hair stylist
Mark Molin .... makeup effects assistant
Constant Natale .... hair stylist
Bill Sturgeon .... special makeup effects artist
Kevin Brennan .... special makeup effects artist (uncredited)
Tom Hester .... special makeup effects artist (uncredited)
Shawn McEnroe .... special makeup effects artist (uncredited)
Mark Shostrom .... special makeup effects artist (uncredited)
Kevin Sturgeon .... special makeup effects artist (uncredited)
Production Management
Janet E. Cuddy .... assistant production manager (as Janet Cuddy)
Gwen Iveson .... production manager
Second Unit Director or Assistant Director
John Board .... first assistant director
Libby Bowden .... assistant director
Rocco Gismondi .... assistant director
Art Department
Jon Bankson .... carpenter
John Bentley .... carpenter
Enrico Campana .... set dresser
Kirk Cheney .... carpenter
Elaine Cohen .... painter
Janet Cormack .... painter
Tom Coulter .... assistant art director
Joe Curtin .... assistant head carpenter
Barbara Dunphy .... assistant art director
Bill Gibson .... painter
Ed Hanna .... set dresser
Bill Harman .... construction manager
Simon Harwood .... painter
Gary Jack .... set dresser
Nick Kosonic .... scenic artist
Peter Lauterman .... property master
Harry Pavelson .... painter
Thomas Pearce .... carpenter
Robert Pearson .... carpenter
Greg Pelchat .... assistant propman
Reet Puhm .... painter
Alex Russell .... head carpenter (as Alexander Russell)
Alan Sharpe .... carpenter
Bob Sher .... carpenter (as Robert Sher)
Gareth Wilson .... set dresser
Sound Department
Charles Bowers .... dialogue editor
Peter Burgess .... supervising sound editor
Terry Burke .... foley artist
Elius Caruso .... sound re-recordist
Michele Cook .... assistant sound editor
Paul Coombe .... sound re-recordist
Gary Daprato .... assistant sound editor
Bryan Day .... location sound recordist
Mike Hoogenboom .... sound re-recordist (as Michael Hoogenboom)
Michael LaCroix .... boom operator
Beverley Neale .... assistant sound editor
Special Effects by
James Stuart Allan .... carpenter: special effects
Frank C. Carere .... special effects (as Frank Carere)
Robert Rouveroy .... special effects: video effects creator (uncredited)
Visual Effects by
Michael Lennick .... special video effects
Robbie Meckler .... assistant video effects (as Robert Meckler)
Lee Wilson .... assistant video effects
Camera and Electrical Department
Scotty Allan .... best boy (as Douglas 'Scotty' Allan)
Jock Brandis .... gaffer
James Crowe .... assistant camera
Brian Danniels .... grip
Christopher Dean .... grip
David Hynes .... assistant key grip
Maris H. Jansons .... key grip (as Marris Jansons)
Robin Miller .... assistant camera
Donna Mobbs .... camera trainee
Gary Phipps .... electrician
Rick Porter .... still photographer
Casting Department
Peter Lavender .... extras casting
Costume and Wardrobe Department
Denise Cronenberg .... wardrobe trainee (as Denise Woodley)
Maureen Gurney .... wardrobe assistant
Eileen Kennedy .... assistant costume designer
Kat Moyer .... wardrobe assistant
Mary Partridge-Raynor .... wardrobe assistant
Arthur Rowsell .... wardrobe master
Kathy Vieira .... wardrobe assistant
Editorial Department
Elaine Foreman .... assistant editor
Carol McBride .... assistant editor
Michael Rea .... assistant editor
Christopher Severn .... color timer
Bill Wiggins .... post-production coordinator
Location Management
David Coatsworth .... location manager
Music Department
Michael Jay .... music mix engineer (uncredited)
Transportation Department
Donato Baldassarra .... transport coordinator
David Chudnovsky .... driver (as David Chud)
A. Randy Jones .... driver captain (as Randy Jones)
Allen Kosonic .... driver
Jerome McCann .... driver
John Vander Pas .... driver
Jeff Steinberg .... driver
Alan Zweig .... driver
Other crew
Rachelle Charron .... assistant accountant
Pierre David .... presenter
Denise Di Novi .... creative consultant
Kirsteen Etherington .... choreographer
Maureen Fitzgerald .... bookkeeper
Bonnie Gold .... receptionist
Angela Gruenthal .... production secretary
Roger Héroux .... production coordinator
Lacia Kornylo .... production accountant
Monique Légaré .... secretary: Mr. Héroux
Gilles Léonard .... assistant comptroller (as Gilles Leonard)
Serge Major .... comptroller
Monik Nantel .... assistant to executive producer
Gillian Richardson .... script supervisor
Howard Rothschild .... production assistant
Ellen Rozen .... assistant: Mr. Solnicki
Victor Solnicki .... presenter
Richard Spiegelman .... production assistant
Jill Spitz .... unit publicist
Lydia Wazana .... craft service
Richard Zywotkiewicz .... personal assistant: Mr. Cronenberg
Tom Coppola .... special thanks: for music
Paul Freedman .... special thanks: for music
Cheryl Hardwick .... special thanks: for music
Peter Hedeman .... special thanks: for music
Michael Jay .... special thanks: for music
Rosemary D. Merriam .... special thanks: for music
Maury Rosenfeld .... special thanks: for music
Michael Werner .... special thanks: for music
Marty Zofcin .... special thanks: for music
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
87 min | USA:89 min (unrated version)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:X (original rating) | Argentina:18 (re-rating) | Australia:R18+ | Australia:MA15+ (cable rating) | Brazil:18 | Canada:R (Ontario) | Canada:18+ (Quebec) | Canada:16+ (Quebec) | Finland:K-18 (cut) (2002) (DVD) | Finland:K-18 (cut) (1988) (video) | Finland:K-18 (cut) (1983) (theatrical) | France:12 | Germany:BPjM Restricted | Iceland:16 | Italy:VM14 | Netherlands:16 | New Zealand:R18 | Norway:18 | Norway:16 (video rating) | Portugal:M/18 | Singapore:PG (cut) | South Korea:18 | Sweden:15 (cut) | UK:18 | USA:R (certificate #26923) | West Germany:18

Did You Know?

Andy Warhol called the movie "A Clockwork Orange (1971) of the 1980s".See more »
Errors made by characters (possibly deliberate errors by the filmmakers): Barry Convex proclaims Lorenzo de Medici as the author of the two famous ocular quotes. The first, "love comes in at the eye", is from a William Butler Yeats poem called "A Drinking Song". The second, "the eye is the window of the soul", is not definitively attributable to any one source. Seemingly similar variations exist in Cicero, European proverbs and the Gospel of Matthew.See more »
[First line]
Man's voice on television:Civic TV. The one you take to bed with you.
See more »
Movie Connections:
Referenced in Electric Dragon 80.000 V (2001)See more »


What are the differences between the R-Rated version and the Unrated Version?
What would Freud say about a woman in a red dress?
What are the differences between the old UK VHS Version and the R-Rated Version?
See more »
43 out of 56 people found the following review useful.
"Videodrome" - Cronenberg takes on the media, 22 September 2005
Author: dee.reid from United States

It takes the slightest peeks at his career to figure out David Cronenberg ("The Fly," "Dead Ringers," "Naked Lunch," "The Dead Zone," the upcoming "A History of Violence") is a director who is not to be toyed with. I forgot to add in his 1983 horror movie "Videodrome," and there is a reason for that, which I'll talk about later. His works provoke intelligent thought, and terrify those who can't comprehend it. His films stimulate, offend, and move those who care to watch them with an open mind.

Allow me to (try) explain. I won't bother to go into detail about the plot. A sleazy, lowlife TV producer named Max Renn (James Woods) rapidly becomes obsessed with an unusual television signal, which in turn begins to warp his perceptions of reality. Get it? Nah, of course you don't. You're not going to let a one-sentence plot description and, if you own the Criterion Collection DVD, the three essays included deter you from watching it, are you?

You're also not going to let scenes of grisly torture, unspeakable violence, murder, "flesh guns," human VCRs, exploding cancer-deaths (poor Leslie Carlson as Barry Convex), pulsating video cassettes, Deborah Harry in S&M and morphing televisions turn you away, are you? What's more, you're not going to let Woods's effectively "wooden" performance here (his sticking his face into a "living" television) turn you away either?

I won't even try to pretend I understood what was going through Cronenberg's mind when he wrote and directed this picture. I also won't pretend I understood the essays included with the DVD (and I don't think the writers did either). It's warped, it's perverted, it's depraved, and it's insanely intriguing and fascinating. The masses are frightened by "Videodrome" and with good reason. "Videodrome" is Cronenberg's dastardly take on mass-media consumption during a time when television was afraid... afraid to be real. Media violence had not yet become a major issue in America and hypocritical politicians weren't condemning it. But keep in mind this film was made in '83, years before the mind-blowing reality-morphing of "The Matrix" (1999).

There's a little more that I think I can get away with in describing the plot, and Renn eventually traces the signal to Pittsburgh, and is introduced to the station's enigmatic programmer Brian O'Blivion (Jack Creley) and his daughter Bianca (Sonja Smits). He learns of the bizarre nature surrounding Videodrome, and the fate of those of who watch it. As he becomes more and more obsessed, he finds it nearly impossible to turn it off, or turn away. Then those mutations and hallucinations Cronenberg is famous for start happening and when that does, things become nasty and the queasy may want to keep a finger on the fast-forward button. It's no secret Cronenberg loves torturing his protagonists and here, the "new flesh" wants to live long and Woods has the nice warm body perfect for it - he becomes a literal media assassin with a vaginal slit in his stomach that doubles as a programmable VCR and also has a handgun fused to his wrist - he's a virtual slave to Videodrome.

Lastly, the eerie, driving score by Howard Shore swells up during the film's most intense and surreal moments, the most lovely being Woods's lovemaking with his television. I always watch Cronenberg films at least partially for Shore's music. Now I know why Cronenberg selects him for his soundtracks.

"Videodrome," I think, has a lot more relevance today than it did 22 years ago. It's more visceral than gross, is quite brilliant, and doesn't spare us graphic violence and gore. It's alive, it's "Videodrome."


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