Darren Aronofsky Quotes
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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.
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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.
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Animators have to live life 24 times as long as we do - every 24 frames of a second.
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It's not that much of a difference. Basically, your job is the same as a film director. It's a triangle between creativity, money, and time. But they don't really change. You're ultimately trying to get the most creativity and time with the money that you have.
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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.
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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.
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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.
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I was a TV junkie as a kid. I am the Sesame Street generation.
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I try to live my life where I end up at a point where I have no regrets. So I try to choose the road that I have the most passion on because then you can never really blame yourself for making the wrong choices. You can always say you're following your passion.
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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.
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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. I've spent a life loving women, and studying them as much as I can, or am allowed to.
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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.
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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.
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I'm Godless. I've had to make my God, and my God is narrative filmmaking.
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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.
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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.
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I feel that so many sci-fi films and films in general have just become really dependent on and addicted to CGI, and that some of the big CGI films of the summer, you see these effects that look like crap. You don't know if you're watching a cartoon or something that's real. And I didn't want to fall into that trap. I really thought there was a way to use a lot of these old techniques to do some new and really neat stuff.
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It would be nice to make a movie that other people want to make, because every one of these movies, I basically have to find the only company in the world that's willing to make it, and it's always a big challenge. I end up spending a tremendous amount of energy and time trying to get money to make these movies and it's exhausting.
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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.
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When I go to movies I generally want to be taken to another world.
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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.
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As filmmakers, we can show where a person's mind goes, as opposed to theater, which is more to sit back and watch it.
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'Angel Heart' was one of my favorite films.
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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.