Darren Aronofsky, born February 12, 1969, is known for his American Films and collaborations with cinematographer Andrew Weisblum and soundtrack composer Clint Mansell. Aronofsky is probably best known for films involving graphic surreal scenes, without a doubt containing drugs, nudity, gore, sex and even sometimes all of the above. While the scenes and script are structured to make its audience’s stomachs drop, it’s the way they fulfill a complete story that makes the work of Darren Aronofsky so unique.
Films categorized as "psycho sexual" don't often make it to the big screens nor are they typically nominated for Academy Awards for Best Picture like Black Swan; films with a $60,000 budget like "Pi" rarely go on to make over $3,000,000 then put something together like "Requiem for a Dream" to rank among the best 'drug films' of all time by AskMen.com, DashboardCitize.com, TheMoveiGourmet.com, Ranker.com and TheTopTens.com.
Of Darren Aronofsky's seven films, not one would be considered anything less than bold. Starting with his début film, Pi (released with the name as a symbol), Darren was able to kick out a career of over twenty films for actor Sean Gullette in films with a budget of just over a half a million dollars and won the directing award for Best Drama. The film was shot in black and white and difficult to follow, which ironically is the way the main character Max’s life, played by Sean Gullette, seemed to be at all times.
Max is an extreme mathematical genius yet suffers from social phobias and mental illnesses, which make daily life complicated and to top it off he is constantly trying to make sense of the work through balancing equations.
The film often moves so fast it makes you sick putting yourself in Max's sh...
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...ttention to detail will launch him that much further into a successful career. It is a question that writers, film creators, musicians, and virtually all other artists have asked. How to create that which is genuinely innovative and forward thinking, yet will sell to the masses and reach a large amount of people. Darren Aronofsky somehow solves the riddle.
Works Cited
"The ASC -- American Cinematographer: Danse Macabre." The ASC -- American Cinematographer: Danse Macabre. Web. 15 Apr. 2014.
Ebert, Roger. "Requiem for a Dream Movie Review (2000) | Roger Ebert." All Content. Ebert Digital LLC, n.d. Web. 20 Apr. 2014.
Mitchell, Elvis. "Requiem for a Dream." The New York Times Film Reviews, 1999-2000. New York: Routledge, 2002. 414-15. Print.
Venice, Richard Corliss /. ": Natalie Portman's Oscar Moment?" Time. Time Inc., 03 Dec. 2010. Web. 10 Apr. 2014.
Max and Freak relationship is very good. They both like each other and our good friends.Frea thinks of Max as his legs, so he can walk. Max thinks of Freak as his Brain, so he can think and be smart. It’s almost like they
...t have an ultimate goal to express something they care about on film. They must not only express this in their script, but carry through on it by directing, producing and pulling together many other aspects of the film by themselves. Three filmmakers that fit this description to a “t” are Kevin Smith, Spike Lee and Alfred Hitchcock. These three men all went out with the same goal: To express their views of life in extraordinary films. They all went above and beyond their call of duty and are now ranked among the top filmmakers of history, the rank of film auteurs.
Lisa Cholodenko grew up in Los Angeles and she began her film careers working as an assistant editor; however, she then moved to New York and earned an MFA in screenwriting and direction at the Columbia University School of arts. At Columbia University School of Arts, Cholodenko filmed her first short movie Dinner Party. Besides being a director, Lisa Cholodenko also was a film professor at Columbia University, an advisor and is currently on the Board of Governs of Academy of Motion Pictures Arts and Science. It was surprising to be able to find out how active Cholodenko is in the film industry and in the university she attended. This portrays how committed Cholodenko is to creating successful movies and to be a part of others film victory.
The setting is decades into the future and the world has reached a post-apocalyptic state. Australia has become a wasteland ruled by tyrants and war bosses. Gas is the pinnacle of all resources and is fought over constantly. Max Rockatansky, former police officer, has become a loner in the wasteland and searches for a reason to live after what he has gone through. Throughout the 4 movies of the Mad Max franchise, we observe Max transitioning through several kinds of pain and obstacles. In the first movie, police officer Max takes care of the motorcycle gang who murdered his family and a plethora of others. Road Warrior was a different movie entirely with a more wasteland feeling and showing what Mad Max truly is with fast action scenes. Mad
Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.
Even more difficult than defining art is coming to an agreement of what constitutes art. Along this extensive history of debate came the consideration of whether film is art. Films were not considered an art form and had not been seriously debated until film theorist Rudolf Arnheim challenged what art could be with his theory. Arnheim, who claims that the more a film differs from reality the more it should be considered art, would certainly argue that a film like Black Swan (Aronofsky, 2010) is art in that it significantly displaces the viewer from their lived reality. He rejects the “assertion that film is nothing but the feeble mechanical reproduction of real life” (“Film Theory and Criticism” 228), instead postulating that human perspective and choices should be involved in the process of making a film to meaningfully shape elements of our lived experience. In Black Swan, director Darren Aronofsky uses multiple tools and aspects of the medium of film to create a surreal narrative. The film Black Swan qualifies as art by Rudolf Arnheim’s standards because of the ways that the viewers’ experience of the film differs from our experience of reality.
The great director clouded his intent and motives by reportedly stating that the entire film was nothing more than one huge joke. No one laughed. Instead they cringed in their seats, waiting for the next assault on their senses. The violence and bloodletting of PSYCHO may look tame to those who have grown up on Jason and Freddy Krueger, but no one had ever seen anything like it in 1960.
The novel Life of Pi, by Yann Martel, and the short story “Miss Brill”, by Katherine Mansfield, appear to contain the same internal ideas. The strongest similarity between the stories are the characters. But that is also the strongest difference. PI and Miss Brill suffer from loneliness, misunderstood simple mindedness, and having to deal with others putting them down.
First and foremost, despite the fact that he was restrained by his own body’s mediocre strength, Freak, otherwise known as Kevin, was able to make Max come to the consensus that he did not occupy a mental disability and instilled him with confidence in his academic progress. During the period in which they attended the same classes together, Kevin had always assisted Max in accordance to what he thought was ...
In the world of cinema, there’s almost always a discussion regarding what scenes would be suitable for the grasping imagination of any audience, young or old. Alfred Hitchcock’s 1960 film, Psycho, sparked a plug for the movie industry as it was the first movie of its kind to display such graphic scenes of sex and violence to a worldwide audience.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
Travers, Peter. Rev. of Almost Famous, dir. Cameron Crowe. Rolling Stone. Rolling Stone, 13 Sept. 2000. Web. 29 March 2011.
With many different genres and types of filmmaking, it can result in a large variety of stories and conflicts. Nevertheless, film has always brought people together as a society. If there is one thing everyone can notice about films is the achievement in style and directing. The three directors talked about in this paper are the most successful at delivering a breathtaking style and direction to their films. Baz Luhrmann, Wes Anderson, and Martin Scorsese have produced and directed films over decades and each film as impacted not only the United States but worldwide. With the unmistakable trademarks that each director has, it is very easy to feel sucked into the world in which they are shaping around you and the story. Because of these three directors, the film world and industry has been revolutionized for many centuries to come.
Despite the critical misgivings about Simpson/Bruckheimer productions, audiences still tend to flock to their brand of mayhem, hyper masculinity, thunderous sound effects, and cutting edge special effects. And while they have had their share of bombs (like the dismal “Days of Thunder” or “Gone in 60 Seconds”) more often than not, they make movies the public seems to love.
Born on 30th of July 1970 in London United Kingdom to a British father and American mother. Because of that he has both British and American citizenship and has been living in both London and Chicago since his childhood. He found his passion for filmmaking at early ages and at age 7 he made his first short film with his father’s camera. Eventually just like most directors he did not attend film universities, instead he went on to study English literature in London, his hometown. One of his early short films which is probably his best also, is ‘Doodlebug’ which he made in