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David Poland

By David Poland poland@moviecitynews.com

DP/30 Sneak Peek: Darren Aronofsky on The Wolverine

Next week, the full-length Aronofsky and Portman Black Swan DP/30s. But with the official announcement of the deal for Darren’s next movie, here’s this clip from the chat…

7 Responses to “DP/30 Sneak Peek: Darren Aronofsky on The Wolverine”

  1. LexG says:

    STACHE!!!! Awesome.

  2. actionman says:

    the sleazy porn star moustache is very bold. questionable and bold.

  3. Don R. Lewis says:

    I was JUST gonna log in to say that stache HA to go. He looks like the film critic/spy character Fassbender played in INGLORIOUS BASTARDS.

  4. NickF says:

    Darren is the best hire Fox could ever make.

  5. Keil Shults says:

    I suppose Aronofsky’s mustache could be the physical manifestation of his rebellious nature. If his choice in preferred film stock seems anachronistic, why shouldn’t his facial hair do the same? It is possible that Aronofsky’s grooming choices are part of a low-key strategy to subvert Hollywood — a follicle-fueled call to arms? Could his insistence on shaving the lower half of his face, but leaving the upper lip adorned with whiskers be his way of showing the film industry that he is above them?

    All this and more will be explored in my upcoming book, “Beards and Berets: An Illustrated History of Filmmaker Affectations.”

  6. Barry S. says:

    It’s phony and disingenuous for Aronofsky to claim the late Stuart Rosenberg as his “mentor.” The man was embarrassed to have Aronofsky as a student. After seeing Requiem For a Dream Rosenberg was famously quoted as saying, “Will that idiot ever grow up and make a film without his over-the-top performances and cheap visual gimmicks?”

  7. Great article. I really enjoy share for my friends and post on my blog.

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The next thing that really changed my world and thoroughly influenced my writing were the films of Robert Bresson. When I discovered them in the late seventies, I felt I had found the final ingredient I needed to write the fiction I wanted to write.

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What was the final ingredient?

DENNIS COOPER

Recognizing that the films were entirely about emotion and, to me, ­ profoundly moving while, at the same time, stylistically inexpressive and monotonic. On the surface, they were nothing but style, and the style was extremely rigorous to boot, but they seemed almost transparent and purely content driven. Bresson’s use of untrained nonactors influenced my concentration on characters who are amateurs or noncharacters or characters who are ill equipped to handle the job of manning a story line or holding the reader’s attention in a conventional way. Altogether, I think Bresson’s films had the greatest influence on my work of any art I’ve ever encountered. In fact, the first fiction of mine that was ever published was a chapbook called “Antoine Monnier,” which was a god-awful, incompetent attempt to rewrite Bresson’s film Le diable ­probablement as a pornographic novella. So I came to writing novels through a channel that included experimental fiction, poetry, and nonliterary influences pretty much exclusively. I never read normal novels with any real interest or close attention.
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The whole world within reach.
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