Darren Aronofsky Quotes
Turning 30 was when my parents both got cancer and were fighting it and beat it, but their mortality started to get to me. Everything wasn't as hunky-dory like it was.
As filmmakers, we can show where a person's mind goes, as opposed to theater, which is more to sit back and watch it.
I had some big ups and downs when I was in my 20s and the one thing I learned was, no matter how low it gets, something good will come along - something always comes out of that dark period.
I think it's important as a filmmaker, as any person working in the arts, that you've got to try new stuff and challenge yourself and take chances.
I couldn't sleep one night and I was sitting in my office and I realized that I was an independent filmmaker.
I hope that Requiem is better than Pi. I hope that Pi is better than my student films, and I'm hoping that I'm getting better as I get older.
Every film had its own grammar. And it's your job as a director to basically figure out a language to tell a story.
At the end of Requiem all I wanted to do was get a DV camera and just do a small film. But then the hunger comes back.
Also expressionistic filmmaking - making the audience feel like they were inside the characters' heads. And so we create all these different types of techniques to put the audience there.
Casting ethnic characters is a very hard thing to do, but it's important. It's also interesting.
I think people are people and if their feelings are real and truthful, they can connect.
For too long we have been taking, and the Earth has been giving. But that free-for-all, that all-you-can-eat buffet, it's over. The salad bar is closed.
I've spent a life loving women and studying them as much as I can, or am allowed to.
Animators have to live life 24 times as long as we do - every 24 frames of a second.
Now there is so much expertise and brainpower it's hard to be at the cutting edge of what's cool and not do something that's totally geeky.
To me, watching a movie is like going to an amusement park. My worst fear is making a film that people don't think is a good ride.
I was 12 or 13 years old. So I started to write poetry and fiction, even though I was really into biology because my dad was a science teacher. I kept writing all those years.
I only want to work with actors that really get it and make it work. I didn't want it to be a star-driven thing anymore.
I have a team, the same team of filmmakers I worked with on 'Pi' and 'Requiem'. Which is my cameraman, and my composer, and my producer. We've all worked together for a number of films.
I spent about a year and a half doing technical post work on 'The Fountain'. Although I do like the process, I think my favorite part of filmmaking is the actors.
I'm Godless. And so I've had to make my God, and my God is narrative filmmaking, which is -- ultimately what my God becomes, which is what my mantra becomes, is the theme.
I think I came to film-making through writing. I started to write, and people, teachers, responded to my writing.
I think it's my nature to try and make original content, and that's what I've done, is just try and approach things in an original way, and do things differently.
I've always wanted to introduce hip-hop filmmaking to film. There's hip-hop art, dance, music, but there really isn't hip-hop film. So I was trying to do that.
In the story, which is only a few chapters long in Genesis, Noah never even speaks until after the flood - but when you have Russell Crowe, you're going to make him speak.
But steady-cams are very different than hand-helds, because hand-held gives you that verite feel.
I grew up in a family with two very strong women, my mother and my older sister, and they were big influences on my life.
Everything she does comes from within, from some dark impulse. I guess that’s what makes her so thrilling to watch. So dangerous. Even perfect at times. But also so damned destructive.