Posted: Sat Sep 06, 2008 12:47 am
I've always maintained Aronofsky is a writer-director in search of a writer. Thankfully it looks like he's found one.
Agreed! His only good film was so far was an adaptation of a great novel. Finally he got someone else to write for him after the abysmal screenplay The Fountain. As he told an audience I was in, "I just like cool music and bugged-out imagery, man."rs98762001 wrote:I've always maintained Aronofsky is a writer-director in search of a writer. Thankfully it looks like he's found one.
I find the Venice jury pretty good myself. The only doubt I would have as to the quality of the film would be that it was the last in a series of stinkers.Nothing wrote:Have loathed every past Aronovsky flick, and you judge an award by it's jury - no-one on there I'd trust, except perhaps Lucretia Martel. But... this does sound interesting. We'll see.
First hi. Secondly i never have understood this sentiment (Pi is my favorite of his). I understand people who don't like Lynch, Banal, ecad. not getting it, but assuming you like those guys why's everyone ragging on his writing?chaddoli wrote:Agreed! His only good film was so far was an adaptation of a great novel. Finally he got someone else to write for him after the abysmal screenplay The Fountain. As he told an audience I was in, "I just like cool music and bugged-out imagery, man."rs98762001 wrote:I've always maintained Aronofsky is a writer-director in search of a writer. Thankfully it looks like he's found one.
I have always wondered this as well. I find Aronofsky's writing very good. The Fountain is a personal favorite of mine and apart from the mall scene prior to her passing out, the dialogue was very emotional and rich.knives wrote:i never have understood this sentiment (Pi is my favorite of his). I understand people who don't like Lynch, Banal, ecad. not getting it, but assuming you like those guys why's everyone ragging on his writing?
Martel has some good work to her name, as I mentioned. I love Gordon's ZIDANE film, loathe his 24-HOUR-PSYCHO; he's not someone I would necessarily trust to pass judgement in a narrative cinema competition. As for the director of BEVERLEY HILLS COP III...moviscop wrote:I find the Venice jury pretty good myself.
Both Alexander Walker and William Goldman have written vivid accounts about their time serving on Cannes festival juries.Antoine Doinel wrote:Not to derail the thread, but the value of film festival awards are only a few notches above the Oscars. Yes, I suppose they celebrate a higher calibre of film, but they also fall prey to the same kind of political schmoozing and marketing that the Oscars do.
Does anyone know what the budget for this film was. Did they break even with the purchase from Searchlight?Antoine Doinel wrote:Fox Searchlight picks up the film for US distribution.
EW-- Fans of both the hit TV show Lost (which features a guy haunted by a sinister sequence of numbers) and indie filmmaker Darren Aronofsky (whose breakthrough film, Pi, was about a dude obsessed with devilish digits) will have to wait a bit longer to see if these two geek tastes can taste great together.Antoine Doinel wrote:I just hope he gets around to directing an episode of Lost like he was supposed to do last season.
He also tentatively has The Fighter, a boxing film, on deck as well. I kinda hope that film and Robocop both fall apart, and Aronofsky uses The Wrestler cred to get Black Swan back into production.moviscop wrote:Robocop is not going to disappear like other projects have. I think we are all stuck with this one.
that is only factoring in one piece of the whole pie. money comes from other areas.knives wrote:If the film cost the producers 7 mil and they sold it for four, wouldn't that be at a loss to them?
Rourke. Golden Lion. GNR. Sold.Instead, Aronofsky opts to use a lot of metal and rock from the 80's. I believe this is the first time he's used popular songs in one of his films, and for the most part, it works to a great effect ("Sweet Child o'Mine" is a moment that really stands out)