I mean, Crash is a kind of blueprint for the year 2000. JGB: I think Crash is the most extreme imaginative statement I've made of my feelings about the modern world that we live in. I've always wanted to see my novels filmed and Crash most of all.ĭ&C: Do you consider it one of your darker novels? You say it's the most original, but what else might separate it from the rest of your work, in your mind? Crash is an autobiographical novel in the sense that it's about my inner life - my imaginative life - it's true to that, not that life I actually have led. JGB: No, I've always wanted as many of my novels as possible to be filmed and Crash is really, I think, my best novel, my most original novel and in a way my most autobiographical novel, notwithstanding Empire of the Sun, which was actually about my childhood in Shanghai. In a way the 1990s have caught up with Crash - the people are much more willing to face the implications of the landscape in which we live, which was saturated with sex and violence.ĭ&C: Would you have been happy to see it just stay as a book? I mean, it seemed impossible in the context of the early 1970s cinema but of course the 1990s are very different. JG Ballard: When I wrote Crash in 1971/72 - 25 years ago - it did seem pretty unlikely that it would ever be filmed. This interview appeared in Dazed & Confused, Issue 31, June, 1997:īallard in Conversation Immediately After His First Viewing of Crash.ĭazed & Confused: Did you think at any time that Crash would make it as a movie?
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