Darren Aronofsky
Darren Aronofsky
Darren Aronofskyis an American film director, screenwriter, film producer and environmentalist. He has received acclaim for his often surreal, disturbing films and has been noted for frequent collaborations with cinematographer Matthew Libatique, film editor Andrew Weisblum and composer Clint Mansell. His films have generated controversy and are known for their often violent, bleak subject matter. "The themes in the six Aronofsky’s films from 1998 to 2014 include the search for perfection, the search for happiness, longing for love, intoxication with...
NationalityAmerican
ProfessionDirector
Date of Birth12 February 1969
CityBrooklyn, NY
CountryUnited States of America
Darren Aronofsky quotes about
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 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 couldn't sleep one night and I was sitting in my office and I realized that I was an independent filmmaker.
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.
Every film had its own grammar. And it's your job as a director to basically figure out a language to tell a story.
I think religion is often very different from spirituality. Religion is often about rules and people trying to control our lives who are actually very unspiritual... God can be found anywhere, and in fact, everywhere. And you don
I think video games and that stuff should be as violent as possible, but age-appropriate. It should be realistic. When it's not realistic you run into kids running around shooting people and not realizing the consequences.
I wasn't a big fan of social anthropology. And, luckily, that created room for me to work in visual arts because I sort of ignored my requirements. I think I was attracted to social anthropology because I liked to travel and was always interested in far-off places.
I think that there's an infinite amount of places where you can stick a camera. There's an infinite amount of choices of what could be going on. There's an infinite amount of places for so many things, so you have to figure out how to do your job.
I'm Godless. I've had to make my God, and my God is narrative filmmaking
The only way I know as a director is to figure out what the film is about. And out of the theme and the sense of what the film is about, all those decisions start to make sense. But to find that truth within it, you have to limit your possibilities and limit your choices. That's where this visual language grows out of.
Classical scores go up and down; they're kind of hysterical in a way. And movie scores are much more - they just drive and move forward, and they build and can't go up and down at that same speed. It's a big job to turn that into something that pushes the movie along.
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.
You hear stories about directors using manipulation to get actors to do certain things, but I think when you're working with professional actors, it's all about trust. They can do anything you want, it's just a matter of them understanding what you're looking for, and the reason why.