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Darren Aronofsky Biography | Darren Aronofsky
Darren Aronofsky is an American filmmaker and screenwriter, born in New York, USA. Being an artist, he loved classic movies and most of his teenage life he spends doing graffiti art.
He proceeded to Harvard University to study film after his high school
Darren Aronofsky Age
The screenwriter was born on February 12, 1969, Brooklyn in New York City, United States of America, he is 49 years old as of 2018.
Darren Aronofsky Family
Aronofsky is the son of Charlotte and Abraham Aronofsky who were both teachers and from a Jewish origin. He has one sister name patty, who attended a professional ballet school through high school.
Darren Aronofsky Wife| Darren Aronofsky And Rachel Weisz
He started dating Rachel Weisz the English actress, she was first and the only wife of Darren Aronofsky. They met each other in 2001 and married around 2004 with their child Henry being born on the last day of 2006 spring. They later divorced in 2010 but continued to support and raised there son in New York.
Darren Aronofsky Dating | Jennifer Lawrence
He started dating actress Jennifer Lawrence in 2016 after parting with his wife. They met during the filming of mother and later split in November 2017.
Darren Aronofsky Son
The American filmmaker has an 11-year-old son as of 2018 by the name Henry Aronofsky whom they had with Rachel Weisz.
Jennifer Lawrence And Darren Aronofsky|Jennifer Lawrence And Darren Aronofsky
Jennifer Lawrence and the screenwriter, mate in September 2016 during the film of mother they later split in November 2017, after a year of dating
Darren Aronofsky Image
Darren Aronofsky Career
Aronofsky’s debut feature, titled Pi, was shot on November 1997. The film was financed in part from numerous $100 donations from friends and family. In return, he promised to pay each back $150 if the film made money, and they would at least get screen credit if the film lost money. Producing the film with an initial budget of $60,000, Aronofsky premiered Pi at the 1998 Sundance Film Festival, where he won the Best Director award. The film itself was nominated for a Special Jury Award. Artisan Entertainment bought distribution rights for $1 million. The film was released to the public later that year to critical acclaim and it grossed a total of $3,221,152 at the box-office. Pi was the first film to be made available for download on the Internet
He followed his debut with Requiem for a Dream, a film based on Hubert Selby, Jr.’s novel of the same name. He was paid $50,000 and worked for three years with nearly the same production team as his previous film. Following the financial breakout of Pi, he was capable of hiring established actors, including Ellen Burstyn and Jared Leto, and received a budget of $3,500,000 to produce the film. The Production of the film occurred over the period of one year, with the film being released on October 2000. The film went on to gross $7,390,108 worldwide. Aronofsky received acclaim for his stylish direction and was nominated for another Independent Spirit Award, this time for Best Director. The film itself was nominated for five awards in total, winning two, for Best Actress and Cinematography. Clint Mansell’s soundtrack for the film was also well-regarded, and since their first collaboration in 1996, Mansell has composed the music to every Aronofsky film. Ellen Burstyn was nominated for numerous awards, including for an Academy Award for Best Actress, and won the Independent Spirit Award. Aronofsky was awarded the PRISM Award from the Robert Wood Johnson Foundation with the National Institute on Drug Abuse for the film’s depiction of drug abuse.
In May 2000, Aronofsky was briefly attached in making an adaptation of David Wiesner’s 1999 children’s book Sector 7 for Nickelodeon Movies, the project remains unmade. In mid-2000, Warner Bros. hired Aronofsky to write and direct Batman: Year One, which was to be the fifth film in the Batman franchise.] The screenwriter, who collaborated with Frank Miller on an unproduced script for Ronin, brought Miller to co-write Year One with him, intending to reboot the series. “It’s somehow based on the comic book”, he later said. “Toss out everything you can imagine about Batman! Everything! We’re starting completely anew”. Aronofsky collaborator Matthew Libatique was set as the cinematographer, and Aronofsky had also approached Christian Bale for the role of Batman. Bale later would be cast in the role for Batman Begins. After that project failed to develop, Aronofsky declined the opportunity to direct an entry in the Batman franchise.
In March 2001, he helped write the screenplay to the horror film Below, which he also produced. In April 2001, he entered negotiations with Warner Bros. and Village Roadshow to direct a then-untitled science fiction film, with Brad Pitt in the lead role. In June 2001, actress Cate Blanchett entered talks to join the film, which he wanted the title to remain secret, had given the working title of The Last Man. Production was postponed to wait for a pregnant Blanchett to give birth to her child in December 2001. Production was ultimately set for late October 2002 in Queensland and Sydney. By now officially titled The Fountain, the film had a budget of $70 million, co-financed by Warner Bros. and New Regency, which had filled the gap after Village Roadshow withdrew.
Darren Aronofsky Net Worth
His net worth of $25 million dollars.
Darren Aronofsky Films|Darren Aronofsky Movies
2010 Black Swan
2010 The Fighter
2008 The Wrestler
2006 The Fountain
2000 Requiem for a Dream
1994 No Time
1991 Supermarket Sweep
Pi Darren Aronofsky
He wrote and directed the film Pi, a 1998 American psychological thriller film, where the title pi refers to the mathematical constant.it is notable for the covering of arrays of themes.
Noah Darren Aronofsky
The screenwriter directed the film, Noah. a 2014 American epic biblical drama film, which is inspired by the Biblical story of Noah’s Ark from the Book of Genesis
Darren Aronofsky Batman
He was set to be the director of Batman: year one film project based on Batman, which was never produced. A Year One-esque film finally emerged in 2005, called Batman Begins.
Darren Aronofsky Black Swan
Darren directed the film American psychological horror film in 2010, relies on mental, emotional and psychological states to frighten, disturb, or unsettle readers, viewers, or players.
The Fountain Darren Aronofsky
He directed the 2006 American epic magical realism romantic drama film The Foutain.
Darren Aronofsky Requiem For A Dream
The filmmaker directed the film Requiem for a Dream, which is a 2000 American psychological drama.it films four different forms of drug addiction, that leads to each character being imprisoned.
Darren Aronofsky Religion
He says he is not a religious rather he is an atheist.
Darren Aronofsky Interview
Allow Darren Aronofsky to Explain mother!
TIME: mother! is an allegorical epic that has split critics. Why make this film now?
It started off with me wanting to return to the horror genre after Black Swan. I thought that the home-invasion movie would be a good place to start because everyone understands what it means to have a guest who stays too long. At the same time, I thought it would be interesting to talk about another home — not your home, not my home, but our home.
Do you mean the earth?
The mother of us all. The one who gave us all life. I wanted to tell a movie from Mother Nature’s point of view and talk about her love and her gifts and the way people ultimately cause her pain.
I kept thinking of The Giving Tree while watching — the way that humanity keeps taking and taking from Jennifer Lawrence’s character until there is nothing left of her. Was that an influence?
It was. It’s such a strange book to be one of the most important children’s books in history. It’s a really, really tragic book. I can’t say it was consciously in my head. But very quickly afterward, I realized I had unconsciously tapped from it.
What were some other inspirations?
The Exterminating Angel, this film by the great surrealist Luis Buñuel, where all the guests at a dinner party got locked in the room for some surreal reason. Through it, he was able to make a commentary on society.
I was thinking about how to talk about global things in a human way. It’s very hard to understand the largest forest fire in history. It’s abstract to understand what that actually means. We see images but don’t absorb it. But everyone understands if someone comes over and burns a hole in your carpet with a cigarette. I tried to take global events and reduce them to a human scale.
I kept thinking, just leave, but of course, she can’t.
She is at home. There’s the allegory. You lean into it. But she’s also in love. She’s guilty of a certain amount of insatiability as well, which is she wants love from this man, and she’s willing to let herself suffer to a certain point. That’s very truthful. I know people like that.
Mother! shows people worshipping and then literally tearing apart certain characters. Is it a meditation on the consequences of fame?
To be honest, I wasn’t thinking about that. I think it was a by-product of casting Jennifer Lawrence and Javier Bardem and Michelle Pfeiffer, who has dealt with that in their own lives.
Where do you draw the line when it comes to depicting violence?
I have a real problem with violence and sexuality being used for no reason. Those are very easy tools to rely on and very dangerous to abuse. I try to be truthful to what violence is. There’s nothing glamorous about it.
But every newspaper, you read Section A and there are terrible things happening in the world. But we can’t fathom it. The power of this movie is taking four huge movie stars and putting those [violent] images up in your face. It’s very intense. There are films that are comfort food. I’m not working in that range. I like to push the edges of where feelings are really felt, of what’s expected.
Do you see yourself as the Bardem character, as some critics have assumed?
I felt like I was empathizing most with Jen’s character, but I can see why they would think that. I make movies, he’s a writer — there’s clearly a connection about the male ego. But I’m connected to every character. I was the ballerina in Black Swan. I was the wrestler in The Wrestler. I was the math whiz in Pi.
The story is told from the perspective of a mother and the camera stays very close to her. How did you wrangle with how to tell and shoot a story entirely from a female character’s point of view as a man?
Look, I think we’re all people. I think the beauty of cinema is that you can see a movie about a six-year-old girl from Iran or an 80-year-old guy from Edinburgh, and if the film is made well you can completely get their experience.
When I was a teenager, I would doodle only men, men’s faces and stuff. And then when I got to film school, I thought, “I’ve never done something from a female perspective. I should try it.” And, you know, [making this movie] I’m collaborating with a woman. I would never say, “No! That’s not how a woman would do something!” I may ask, “What’s going on?” But I allow the actor to do her thing, to show the experience through her own instrument.
The movie also draws from biblical stories. Why do you keep returning to religion in your films (as with Noah and Pi)?
These are myths that belong to the world. They are some of the oldest stories that we’ve been telling repeatedly since the beginning of humankind. There’s a power to them.
So you’re attracted to the symbolism?
When you think of Icarus, you instantly know what that story means. We never debate whether he actually put on a pair of wings and flew up to the sun. If you were to fight over that, you’d lose the whole point of the story. Through symbols, you can talk about things that are pertinent to people living now.
Speaking of which, mother! came out as the U.S. was reeling from two of the worst hurricanes in history.
The worst. Harvey was the worst rainstorm in the history of the United States. A forest fire in British Columbia is the worst fire in the history of Canada. The year 2016 had the hottest summer in the history of the world, and the 10 years before that were the hottest in the history of the world. It’s not a coincidence.
You sound frustrated.
It’s very frustrating. I’m a parent. My grandfather came to America to give me and my sister a better life. I can’t give that to my children.
But I’m an optimist about the future. I think by descending into the dark, you can reveal the light. I hope the movie inspires people to act.
Do you think the film is ultimately optimistic?
I think it’s cathartic.