The Dark Knight Grabs WGA and PGA Nominations

Both the Writers Guild of America (East and West) and the Producers Guild have nominated The Dark Knight as one of the best films of the year. This further solidifies The Dark Knight as a Best Picture contender, shocking some Hollywood insiders. Full list of nominations after the jump.

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The /Filmcast: After Dark is a recording of what happens right after The /Filmcast is over, when the kids have gone to bed and the guys feel free to speak whatever is on their minds. In other words, it’s the leftover and disorganized ramblings, mindfarts, and brain diarrhea from The /Filmcast, all in one convenient audio file. In this episode, Dave, Devindra, and Adam discuss the massive slate of films they’ve watched recently, listen to some of your voicemails, and spend as much time as they can discussing the endings and themes of Darren Aronofsky’s The Wrestler and John Patrick Shanley’s Doubt. Special guests Eric D Snider and Andrew Sorcini (from The Drill Down) join us.

Feel free to e-mail us or call us and leave a voicemail at (781) 583-1993. Join us Monday night at 9 PM EST / 6 PM PST as we review Revolutionary Road.

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Topics Discussed

  • (02:02) What We’ve Been Watching
  • (38:45) Your voicemails
  • (44:00) The ending and themes of The Wrestler
  • (1:01:15) The ending and themes of Doubt

Interview: Darren Aronofsky Part 5

Last month, I had another chance to sit down and talk with Darren Aronofsky, the director of Pi, Requiem for a Dream, and The Fountain, about his new film The Wrestler. We’re going to call this part five because it continues the series of interviews regarding The Wrestler that began at the Toronto International Film Festival (Part 1, Part 2, Part 3). You can read the fourth part, which was on the site yesterday, at this link. In the fifth and final part of our Wrestler series, I talk to Aronofsky about 3D, IMAX, High Definition filmmaking, The Fighter, Robocop, Watchmen, hopes for a 5.1 audio remix of Pi and more.

Q: The crumbling ballroom, when and how did you find that place?

Darren Aronofsky: We were scouting Asbury Park. I was like Evan Rachel Wood in the movie. I looked through the crack. I said, “What the hell’s that space?” I could see it through the crack. I was, “Let’s get in there.” We actually never scouted it until we actually shot it. We didn’t have that type of budget. I saw it and  was like, “Get me permission to get in there. That’s the location. Let’s get in there.” On the day of we had permission to go in. I think actually Bruce [Springsteen] might own it. I think he’s bought up, through a corporation, a lot of Asbury Park and they’re redoing it. I don’t know. I’m not sure. You may have to fact check that. That’s what I’ve heard. It’s an old casino. It says casino on the outside. I don’t know if it was a gambling casino or what it was, but it’s just this beautiful space.

Q: It looks like a ballroom.

Darren Aronofsky: Yes. That’s why we improvised the dance. I walked in there and I said, “Mickey, are you going to ask Evan to dance?” Mickey doesn’t like to dance. I was like, “Are you going to waltz? You’re going to waltz. You’re going to waltz here.” He’s like, “I can’t waltz.” I’m like, “I’ll teach you how to waltz.” So there’s a video of me teaching Mickey how to waltz, which is a pretty embarrassing video. I said, “Let’s just give it a shot and see what happens.” I wanted something. It was very much like that scene in Requiem when they break into the building and they go to the roof and they set off the alarm and all that stuff. In the script it was actually, I think it was a snowball fight they had, something silly. I think originally in The Wrestler script they were going to go play skee-ball. Then we realized Asbury Park doesn’t have skee-ball. Then we turned it into a snowball fight. Then it didn’t snow. I was like, “Okay, they need to do something that’s kind of silly and endearing.” That night we saw that space and I said, “All right. They’ll just break in here and do something illegal and then do something touching.” I remember afterwards, Evan walked away and she was sobbing. She had some personal connection with her own life, which is her story to tell. But she really resisted at the beginning. But then afterwards really was glad that she did it. Those things happen.

Q: It seems like much of the process of making this film was you making Mickey do things that he doesn’t want to do and laughing about it.

Darren Aronofsky: There’s a certain amount of that. Mickey is definitely a coaster. He’ll put his feet up on the table and just sort of– He’s like that kid in high school who did no work and got B+’s the whole time, because he’s got so much talent that he’s able to do it. Yes, it was pushing Mickey a lot. My biggest accomplishment on the film was that he wears no sunglasses in the entire movie. Every day Mickey showed up with a pair of sunglasses and it was about convincing him that they don’t want to see the sunglasses. “Mickey, people want to look at your eyes. That’s why they’re paying money. That’s why they’re here.” He knows that. He’s so much armor and he’s so soft inside. Did you meet him yet?

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Interview: Darren Aronofsky – Part 4

Last month, I had another chance to sit down and talk with Darren Aronofsky, the director of Pi, Requiem for a Dream, and The Fountain, about his new film The Wrestler. Part of the interview was a small two-person roundtable, so some of the answers might repeat some of the material we covered in Toronto interview (Part 1, Part 2, Part 3). Darren decided to give up 20 minutes of his lunch break to continue our talk 1:1. We’re going to call this part four because it continues the series of interviews regarding The Wrestler. We’ll have the last one or two parts (I’m still not sure if the remainder will be split) in the next couple days.

Q: I hope this is not a stupid question. Imagine you’re a film critic and you’ve seen Darren Aronofsky’s new film, The Wrestler. It’s great but you’re not quite sure how it’s fitting in in the grand scheme of the Darren Aronofsy touch. How would you fit that in if you were in a film critic position?

Darren Aronofsky: For me, I talked to Peter a little bit about this. The first three films were definitely a chapter for me. I don’t know, maybe it’s a new beginning. Some people have sort of talked about thematic connections between them. I think they’re there, not that I was that conscious of them, but some people bring them up and I’m like hmmm… that’s pretty interesting.

Q: I think there’ a couple of shots I–

Darren Aronofsky: Not even shots, but like even themes about the characters seem to connect to people. I got a lot of characters falling at the end or something like that. I don’t know. I just want to keep challenging myself. I think that this was definitely a real big risk for me in a lot of ways. In some ways it wasn’t. It was such a small film. But in other ways I was just trying to do something completely different and working with a completely different team of filmmakers and working in a completely different way of approaching filmmaking. It just kept it interesting for me. Now I’m kind of excited to keep challenging myself in new ways and seeing what happens. I think it’s important. You’ve got to keep it interesting somehow. Otherwise, I’m going to end up just hanging out or fishing or something.

Q: Your first two films are very stylistic. Not to say that The Fountain wasn’t. But it seems like in the last two you’ve become more minimalist or possibly more traditional in your style. Was that a specific choice on your part?

Darren Aronofsky: I think the first two films were exercises in subjective filmmaking and pushing that to the extreme, trying to figure out every possible technique to put an audience member into the characters’ heads. Pi was constructed that way because I had a limited budget and that became kind of the strategy of how to turn that limited budget into a strength. It was to really cut back on cutting away to the bad guys and really making a whole visual language that was all about pushing the audience into Max Cohen’s head. Requiem, a big reason that I was attracted to it is when I read the novel, I realized that Selby’s a very subjective writer and constantly going into fantasy and to dream. It would allow me to kind of expand on the thing I was doing in Pi, but with a bigger budget and color and with more time and with four characters. So when I read that opening scene of the novel and I saw the mom locked in the closet and the kid stealing the TV, I instantly had this idea of a split screen sort of showing the audience, “Oh, we’re going to see two very personal stories here from two different perspectives.” Then eventually it opened up into four perspectives. They were really exercises and really pushing subjective filmmaking. When I got to The Fountain, it was kind of a transition. I was definitely done with that as an exploration and also the subject matter of The Fountain was much more– It was a romance and it allowed me to move more towards the objective, although I still kind of played a little bit with getting into Tommy’s head and into his reality. It was kind of a transition and kind of expanding my style, I guess. I think getting to The Wrestler was really just going in the completely opposite direction. Basically, the film is 98 percent objective. It’s like a documentary. I call it proactive documentary, because I think in a real documentary everything is reactive. If you’re watching Cops and a guy runs away and then a second later the camera chases after the guy and goes after him, we didn’t have that second delay. We kind of knew what the scene was about and we knew where Mickey or Marisa was going to go. So we were able to choreograph that. We kind of had this proactive style where we were working with the actor to give a documentary feeling, allow realism to happen, but we were ready for it. There’s no really internal sound stuff, except for maybe two or three times I used it, which was like during the heart attacks and when he’s walking to the deli counter and the crowd comes up. Otherwise, besides that, there’s never a personal sound beat. I kind of really didn’t want to do that, but I couldn’t resist. It’s actually a little weak. People responded to those moments, I think

Q: Maybe it works that there’s only two of them.

Darren Aronofsky: Yes, but I’m a very orthodox filmmaker in the sense that I try to be very strict with my rules, because I think it adds to the language. I think sometimes it’s okay to bend the rules for a good moment. It’s just a growth. I don’t know how it answers your question, but [my] style is changing.

Q: I thought you were going to say that Mickey Rourke wouldn’t let you strap a camera to him. (joking

Darren Aronofsky: He probably would have. I didn’t do that in The Fountain, because I was just kind of done with that. Every music video and commercial ended up doing it after us, so it was like enough.

More after the jump.

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Darren Aronofsky appeared on the Howard Stern show today, and was again downplaying the upcoming Robocop reboot/remake, which he is attached to develop and direct for MGM. When asked if he was directing the next Robocop movie, Aronofsky replied “Oh, I don’t know. We’ll See. We’re working on a screenplay. So we’re developing it but we don’t have a screenplay yet. We’re working hard on it.”

The filmmaker was also making some strange/vague comments about the project at The Wrestler junket last week. Other blogs have already begun to speculate that Darren is either off the project, or it just isn’t going to happen anymore. It’s a little to early to jump to conclusions. Darren is a n extremely sly guy, and I’m convinced that this just might be his way of redirecting the questions back to his current project.

Aside from that, Aronofsky revealed a bunch of interesting tidbits during the interview:

The Budget for The Wrestler was about $7 million, but the budget was a whopping $19 million when Nicolas Cage was attached to star. We’ve talked a little bit about this in our Toronto interview with Aronofsky, but he does say that “two days after we won the Golden Lion at the Venice Film Festival [Nicolas Cage] sent a text saying that ‘The Ram was always Mickey, congratulations.’ He is real class.” … “I thought Nic could have done it, but I had worked so long working with Mickey that it was just the Ram in my head was Mickey.”

Tomorrow, Darren is making the journey to Stamford Connecticut to show The Wrestler to WWE Chairman Vince McMahon. I don’t think they would be making such a reach-out if the Fox Searchlight/WWE weren’t interested in doing some kind of promotion for the film.

On Jennifer Connelly‘s double penetration (/Film commenters have corrected me, it’s actually “ass-to-ass”) scene in Requiem for a Dream: “That was a tough night. It was a full night of shooting, and after my DP turned to me and said ‘Darren, thats the most fucked up thing we’ve ever done.'” … “I was just very strait up. It’s based on a novel by Hubert Shely Jr. It’s a very very hardcore novel. One the day of, she started to get very nervous. And I said to her, ‘Look, this film is exactly what the book is. It’s about going as dark and as far as you can go. And if we don’t go that far, we’re undermining the book and the whole point of doing the movie.”

Dave Chappelle was Aronofsky’s first choice for the role of Tyrone in Requiem for a Dream: “I always wanted a comedian for that role because when I read it in the book I thought the guy had a lot of humor. I actually went to Chappelle first and I begged Chappelle to do it.” I’m glad that Marlon Wayans got the part, because I just can’t imagine what Requiem for a Dream would have been like with Chappelle.

I’m usually pretty professional in my business replies but when Fox Searchlight asked me if I would like to host an exclusive video clip of the director of my favorite movie of the year interviewing the director of my second favorite movie of the year, I replied “Oh Hell yes”.

Below is part 3 of 7 of The Wrestler director Darren Aronofsky and director Danny Boyle‘s sit down interview with each other. In this clip, Boyle talks about the technology of Slumdog Millionaire. We’ll post the other videos when they become available

[flv:http://bitcast-a.bitgravity.com/slashfilm/trailers/darrendannytech.flv 460 306]
/Film reader Ari P sent over the following photos of Boyle using the Silicon Imaging SI-2K Mini on the set of Slumdog Millionaire.

Slumdog Millionaire is now playing. The Wrestler is in NY/LA, and will be expanding to a city near you in the coming weeks. (Check the release schedule here)

Bruce Springsteen’s The Wrestler on iTunes

As you probably know, Bruce Springsteen wrote a beautiful original song for The Wrestler, which plays during the film’s ending credits. The song, self titled “The Wrestler”, is now available for download for 99 cents on Apple iTunes. Thanks to Tim at FilmTalk for the tip. I’ve included an excerpt from my Toronto interview with director Darren Aronofsky below, where he talks about how they got Bruce to do the song:

Peter Sciretta: Can you talk a little about the music of The Wrestler. You have Slash doing guitar riffs for Clint Mansell’s score, and you have Bruce Springsteen… How did you pull that one off?

Darren Aronofsky: Well, Bruce Springsteen did the film for one reason. And it had nothing do with me. In fact, to be honest, I met with Bruce, and he’s heard of me, which is very flattering, but he had never seen any of my work. He did it for one reason and that was that he did it for Mickey. He’s a friend of Mickey’s. He’s a tremendous fan of Mickey’s and when he heard about this film, he felt that this was something that Mickey’s been looking for for years. So he wanted to help, and that’s the only reason he did it. And he did it for basically nothing.

Peter Sciretta: That’s awesome.

Darren Aronofsky: Purely out of love for Mickey. And so I can’t wait for him to see the movie because Asbury Park is in it and I think he’ll be psyched.

Peter Sciretta: Oh, I’m surprised he hasn’t seen the movie. You listen to that song and it’s so dead on…

Darren Aronofsky: He actually put more effort into it. He read the screenplay which is probably harder than watching the movie. He read the screenplay, knew it and basically just pumped it out. It’s a beautiful song. As Mickey says, rock stars love him, and so he got Axl [Rose] to close a deal on Sweet Child of Mine. It was really fun rediscovering all that old Hair metal and finding a place for it in the film. And then Clint did a very subtle job in this movie, as compared to what we’ve done in the past. The film really didn’t call for a big score and what I really admire about what Clint did with the help of Slash is that they did very very very subtle work.

The Wrestler hits theaters in Los Angeles and New York today. Take a look at the full release date roll-out schedule to see when the film is coming to your city.

In this episode of the /Filmcast, Dave, Devindra and Adam discuss their apprehensiveness about a Crow remake, ponder the cheesiness of the X-Men Origins: Wolverine trailer, and debate the choice of Chris Weitz to take over New Moon. Special guests Neha Tiwari and Laremy Legel (from the Film.com podcast) join us. Devin Faraci from CHUD also joins us to report from Butt-Numb-A-Thon and explains the use of the term “Watchmen” in the new film.

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One of the first things most people notice about Darren Aronofsky‘s The Wrestler is the authenticity of the the situations and the performance of the main character Randy “The Ram” Robinson, played by Mickey Rourke.

Having had a background of involvement in the behind the scenes during the second pro wrestling boom (Austin, The Rock..etc), I was amazed at the authenticity of the pro-wrestling subculture. From the fanny packs to the locker room before an indie show, the film has the most realistic depiction of the business that I’ve ever seen (aside from maybe the documentary Beyond the Mat, which is also wonderful and you should seek out).

Vulture was able to talk to former WWF World, Hardcore and ECW/WCW/WWF Tag Team champion (and New York Times bestselling author) Mick Foley (who was also known as “Mankind”, “Cactus Jack” and “Dude Love”). So what did a real pro wrestler think of The Wrestler?

“I walked in something of a cynic, figuring there was no way an actor could ever really get a feel for what we do without having done it. But within the first five minutes, I was completely sold. From an emotional standpoint, I found Mickey Rourke to be so believable. He made it so easy to suspend disbelief that within five minutes in the movie, I never once thought of him as being Mickey Rourke, let alone an actor. He was Randy the Ram. It was the little cues that really registered — like how he lived to get a reaction from people, even if they were just customers at the deli counter.”

But that doesn’t mean that Mick didn’t have a couple issues. He says that the steroid transaction “seemed a little forced.” While he admits that wrestlers take drugs, he doubts that a transaction like that would happen out in the open locker room. Also, at one point, The Ram’s wrestling tights are cut off and he throws them in the trash.

“In a real-life situation, a guy like Randy would understand the value of the wrestling tights [that he throws away]. And no matter how injured he was, he would’ve taken those tights home with him and immediately put them up on eBay! In fact, I once had an article of clothing that had to be cut off me in the hospital and, believe me, that made it a cooler piece of memorabilia.”

You can read the full interview on NYMag.com.

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Interview: Marisa Tomei Talks The Wrestler

Last month I had the opportunity to sit down with Marisa Tomei and talk about her latest film, The Wrestler. Tomei’s performance was awarded Best Actress by the San Francisco Critics Circle yesterday. The interview was conducted in a two person roundtable with Jeff Anderson.

/Film: I had one question, and I’m hoping it’s not a dumb one or one that you’ve been asked too many times, but say you’re in the middle of shooting The Wrestler, and you’re walking around and people are like “Hey Marisa, what are you working on right now?” What do you tell them? Do you tell them “I’m playing an exotic dancer,” and what kind of reaction does that get? Or do you say “I’m working with Darren Aronofsky.”

Marisa Tomei: It depends who it is. It depends who asks me. It depends what I want to tell them and what kind of reaction I want to elicit.

/Film: Because exotic dancer is a strange thing. There’s this sort of– there’s a lot of them. Some of them win Oscars and some of them– so I don’t know– there’s a weird connotation to that role before people see it, when you’re just working on the film before people know what the movie’s going to be.

Marisa Tomei: Oh, yeah, well what is the history? Do you mean like Julia Roberts or–

/Film: Do they conjure up Pretty Woman or Leaving Las Vegas, or do they conjure up something else?

Marisa Tomei: Right.

/Film: I guess the answer is it depends on who it is. If it’s somebody in high school that you didn’t like, you would tell them “I’m working with Darren Aronofsky.”

Marisa Tomei: <laughing> Exactly, which would really be impressive because we went to the same high school, so…

/Film: Really? Oh, I didn’t know that.

Marisa Tomei: Yeah. We’ve recently– I mean we realized it, but now we really embrace it.

/Film: But you didn’t know each other in high school.

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