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Darren Aronofsky: Entitled Requiem
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Darren earned bragging rights after directing Requiem for a Dream, a movie that was almost unanimously praised for both its authenticity and groundbreaking visuals. Who knew that a refrigerator could be so terrifying? Film studios and actors are clamoring to work with him, and although he’s still considered a relatively green presence within the industry, Darren now has the unprecedented ability to get any film of his choosing made. It doesn’t get much cooler than that.
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Aronofsky's power lies in his ability to implicate the audience. Requiem for a Dream resists passive watching in much the same way that Peeping Tom (Michael Powell, 1960) does: neither film softens its subject-matter and both force the viewer to acknowledge their part as witness. Peeping Tom capitalizes on the viewer's voyeurism, the underlying compulsion to look and look again. In a similar way, Requiem for a Dream keys into a level of viewer sensationalism, graphically detailing the ravages of consumption at its extreme: the disquieting images make passive viewing impossible.
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While editing π, producer Eric Watson convinced Aronofsky to read another Selby book, Requiem for a Dream, which Aronofsky had actually started reading years before but never finished. He was moved by the novel and wanted to film an adaptation, quickly beginning work on the script with Selby. Aronofsky delivered a relentless and disturbing movie of hopes and dreams shattered and lives laid waste by drug addiction. The film was a clinical depiction of the depths to which some people will sink to in the hope of attaining their dreams. The film premiered at the 2000 Cannes Film Festival and was greeted by a 13 minute standing ovation. It was released in the United States in October, 2000.
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Avid movie buffs have long considered filmmaker Darren Aronofsky to be a visionary, since defying genre cliches with his first movie, the black and white π (PI) in 1998. It's been six years since his jaw-dropping adaptation of Hubert Selby Jr.'s Requiem for a Dream, and his third movie The Fountain is finally seeing the light of day after years of delays to "find just the right time to release it."
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In 1996 Aronofsky and producing partner Eric Watson formed the production company Protozoa Pictures to develop future projects. Protozoa then launched Amoeba Proteus a digital studio with its first undertaking to design and execute the 100 digital shots in Requiem for a Dream.
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Nicolas Cage may don the tights and deliver a box office smack down in Darren Aronofsky’s indie drama The Wrestler. Aronofsky, best known for such trippy films as Pi, Requiem for a Dream and The Fountain, is joined by screenwriter Robert Siegel for this film.
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