Requiem for a Dream (Penguin Modern Classics)

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Dellamaria, Miranda (April 4, 2014). "The dA-Zed guide to Darren Aronofsky". Dazed Digital. Archived from the original on February 26, 2016 . Retrieved April 29, 2020. Watson: We engaged a casting director named Mary Vernieu, who helped get us in front of a lot of actors. And a lot of people said no to us. Aronofksy: All of the younger actors got there a month before or something. We even went to a nightclub — to Twilo or the Tunnel one night. I remember it only because in the middle of the night they turned on the lights. I guess they got raided by the police. Watson: The first time I can remember showing it to people was at the midnight screening at Cannes. There’s all this lead-up and hullabaloo, and after the movie screens, they shine a spotlight on the filmmakers. So all the actors, and all the people that came involved in the movie, we all sat together and watched this movie in this massive 3,000-person screening room. You could feel this electric feeling as we were watching it. This story follows the lives of Sara Goldfarb, her son Harry, his girlfriend Marion Kleinmitz, and his best friend Tyrone C. Love, who are all searching for the key to their dreams in their own ways. In the process, they fall into devastating lives of addiction. Harry and Marion are in love and want to open their own business; their friend Tyrone wants to escape life in the ghetto. To achieve these dreams, they buy a large amount of heroin, planning to get rich by selling it.

Aronofsky: It’s a whole different world now. If I were a young storyteller, I’m not sure I’d be making an independent film. I’d probably be trying to tell a story in another type of way. So much of film releases have become these really big movies, and mostly you’re looking for an audience in other ways.

Aronofsky: For me, probably the reason I made the movie, was for that scene [where Harry goes to visit Sara]. It broke my heart every time I read it. I knew that that was the center of the film — if it was a seesaw, this was the fulcrum. And it’s two people sitting at a table — how are you going to make that interesting? REQUIEM FOR A DREAM (18)". British Board of Film Classification. November 23, 2000. Archived from the original on April 16, 2014 . Retrieved January 1, 2013. The movie highlights how addiction can have devastating effects on those closest to an addict, not just on the addict themselves. Jared Leto's Pains on 'Requiem' ". Al Bawaba. Archived from the original on April 8, 2015 . Retrieved March 14, 2020. Watson: The trap of a heroin movie is, you see people shooting up, right? That was one of the things we really talked about — how do we deal with that, because that’s not interesting just to show people shooting up anymore.

Connelly: I was so impressed by Matty and the way he worked. It was a totally different style of filmmaking than I had experienced. For example, there’s a scene where I have a camera rig on that I was wearing. I had never done anything like that before. Watson: [Burstyn] was incredibly generous with teaching us. Probably the most generous with Darren, and trusting of him. And I think that was a two-way street for them. He was bringing a lot of energy and enthusiasm and ideas that she hadn’t encountered as an actress. [Burstyn] would get [to set] before Darren and I, because of what she had to go through with the prosthetics every morning. Here’s somebody with Oscars who’s considered one of the greatest actresses in our history, and she’s working harder than us. Wayans: I slept in the same clothes, literally, for ten days. I barely washed. I would talk like the character. My boys would come over to the house — Omar Epps was concerned, like, Are you okay? Libatique: There’s a scene we shot, where Harry and Marion fight in Marion’s apartment, with a handheld camera. We shot it twice. Emotionally, Jared was really there between takes one and five, and Jennifer was better later. [Darren] comes to me one day. He’s like, “I want to shoot that again. I’m going to shoot that scene again.” I’m like, “Are you kidding me? We don’t have the time to shoot that again.” And then I realized, he’s right. Because the actors needed a certain amount of time to be prepared for where they had to go. Song of the Silent Snow (1986) brought together fifteen stories whose writing spanned more than twenty years.TFCA Past Award Winners". Toronto Film Critics Association. May 29, 2014 . Retrieved August 24, 2021. Requiem for a Dream (2003) - A made-for-TV movie directed by Christopher Reeve based on the novel of the same name by Hubert Selby Jr. Selby's novel was optioned by Aronofsky and producer Eric Watson. Selby had always intended to adapt the novel into a film, as he had written a script years prior to Aronofsky approaching him. Aronofsky was enthusiastic about the story and developed the script with Selby, despite initial struggles to obtain funding for the film's production. He and the cast speak of the film being about addictions in general, and not just drugs, and how one’s attempts to fulfill their dreams can fuel an addiction with a theme of loneliness and avoidance of reality in different ways. Principal photography took place in Brooklyn, New York, from April to June 1999. During the post-production process, the music was composed by Clint Mansell while Jay Rabinowitz worked for editing. A man obsessed / is a man possessed / by a demon." Thus the defining epigraph of The Demon (1976), a novel that, like The Room, has been better understood and more widely embraced abroad than at home.