Posted on Thursday, March 6th, 2014 by Angie Han
Considering that Darren Aronofsky‘s Noah centers on a flood of literally Biblical proportions, it seemed a bit ironic that our Noah set visit in October 2012 was delayed several hours by some routine autumn drizzle. But once we finally arrived on the Long Island set, it quickly became clear that the trip would be worth the wait.
Rising out of the nighttime fog was a massive cube-like structure — the famed ark. It was sitting in the middle of a field surrounded by trees, and though I wasn’t more than an hour’s drive from my own apartment, seeing it made me feel like I’d been transported to another time and place entirely. Aronofsky’s films have never been short on ambition, and Noah obviously wasn’t going to be an exception.
Over the course of that evening, we got to speak with Aronofsky and star Russell Crowe to learn just how this stunning passion project had come together over the course of many, many years. Hit the jump to find out what we learned.
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This is what happens when a studio paints itself into a corner. Paramount co-financed Darren Aronofsky‘s Noah with the expectation that it would be able to market the film to faith-based audiences. But, surprise, surprise, what the studio got is a Darren Aronofsky film — something that isn’t exactly a strict adaptation of the book of Genesis.
Paramount and various religious groups have engaged in different ways over the past few months as the studio has courted a religious audience. Various cuts of the film have been tested, and the studio has been more aggressive in pushing the movie to the faith-based audience than a general one. But a couple weeks ago it seems like truth dawned: this is a Darren Aronosfky movie, and that’s not going to change. We’ll see his cut in theaters, and that’s all that really matters.
But one group claiming to advocate for religious audiences and broadcasters has pressured Paramount into adding a note to the film’s marketing, explaining that this is not the literal story of Noah, which instead can be found in Genesis. Read More »
Posted on Wednesday, February 26th, 2014 by Angie Han
Darren Aronofsky may be the latest high-profile artist to find inspiration in the Biblical story of Noah and the ark, but he’s certainly not the only one. That’ll be made clear in “Fountains of the Deep: Visions of Noah and the Flood,” an upcoming exhibit of contemporary art curated by Aronofsky himself.
The show, which will run for several weeks in New York next month, will feature original works by over 50 modern artists, from Jim Lee and James Jean to Nan Goldin and Howard Finster. A few of the notable pieces have hit the web, and you can check them out after the jump.
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We’ve wondered for months which cut of Darren Aronosfky‘s Noah would land in theaters when the film opens in March. Reports of numerous test screenings have floated around for quite a while, and gossip around LA has whispered stories of different editors working on various cuts of the film at Paramount’s bequest. With industry talk of a schism between Paramount and Aronofsky when it came for a vision for the film, there was reason to wonder if we would see the director’s version, not when we would see it.
And while Aronofsky now says “there was a rough patch,” the current word is that none of the Paramount cuts tested any better than execs thought the director’s own version would d.,Paramount has now accepted, and even embraced Aronofsky’s Noah for what it is, and will release the director’s cut. Read More »
Posted on Wednesday, February 5th, 2014 by Angie Han
Darren Aronofsky‘s Biblical epic Noah will be sweeping across the screen in 3D this year — but only if you’re watching from outside the U.S. Paramount is prepping an upconverted version of the film to be released exclusively in foreign markets, in an attempt to lure audiences with snazzy effects. Get more details after the jump.
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That rain-soaked poster for Noah we saw yesterday was just the first hint of a marketing deluge that will be well underway before the film opens in March. Now we’ve got the next wave: the ad for the film that will run during the Super Bowl on Sunday. There’s not much new footage here — we’ve seen almost all of this before. But there is a shot that hints at an army of angels defending upon Earth. Read More »
Posted on Saturday, January 18th, 2014 by Angie Han
We talk all the time here about new projects for our favorite directors, but today we’re going to talk about two films that have just been dropped by their respective helmers.
According to new reports, Darren Aronofsky has walked away from the thriller Red Sparrow, after circling the picture for months. Meanwhile, Oliver Stone is kicking off his MLK weekend by announcing that he is no longer making an MLK biopic. Hit the jump for updates on both projects.
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Posted on Tuesday, January 14th, 2014 by Angie Han
It’s not surprising that Darren Aronofsky has managed to put together an excellent cast for his Biblical epic Noah. What is surprising is that he’s still adding to it, just two and a half months before the film’s premiere.
The director revealed this morning that he had added Nick Nolte in the role of Samyaza, which was previously associated with recurring Aronofsky player Mark Margolis (a.k.a. Hector Salamanca from Breaking Bad). Hit the jump to see what Aronofsky had to say about the casting.
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Briefly: Darren Aronofsky and New Regency have had a good relationship; the director made The Fountain under an old first-look deal with New Regency, and they worked together to produce Noah, which New Regency financed with Paramount. And while there’s been talk of difficulties with Paramount and Noah, it seems like Aronofsky and New Regency are working together well enough to sign a new deal.
Aronofsky and his Protozoa Pictures signed a new three-year first-look deal with New Regency for feature development, at the same time as Protozoa has signed a similar deal with HBO to develop shows for Aronofsky to direct for television.
“It is a thrill to be re-teaming with my old friends at New Regency,” Aronofsky said. “Arnon [Milchan] has been a great supporter since we made The Fountain together. It is a golden age for the small screen and moving into that realm with HBO as partners is a dream come true. I am excited to see Protozoa’s output explode over the next few years.” [Deadline]
Posted on Friday, December 6th, 2013 by David Chen
When Darren Aronofsky’s The Fountain was released in 2006, didn’t perform very well commercially or critically. But in the intervening years, the film has become somewhat of a cult hit, thriving on DVD and online streaming as more people have discovered it and attempted to plumb its depths.
I remember my first experience seeing the film in theaters. I was blown away by the raw performances, the gorgeous space/cell imagery, and the way Aronofsky seamlessly blended these three parallel storylines together. But many things also confused me. In my attempts to figure out what was actually going on, I realized that people actually had multiple interpretations of the film, several of which I just didn’t buy due to the evidence in the movie.
What follows is a video essay that represents my best attempt at explaining the events of the film. Find it after the jump and share your own theories in the comments.
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