A Quote by Douglas Booth
Darren Aronofsky is on another level. You get lost in a scene, and he'll come over and whisper something in your ear, and suddenly everything makes sense.
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In 'Requiem for a Dream,' the director Darren Aronofsky's adaptation of Hubert Selby Jr.'s lower-depths novel, Jared Leto has lost so much weight, he looks like another person altogether.
I love walking onto the set and the blindfold is taken off and then everything I do is fresh and in the moment. That's why I loved working with Darren Aronofsky.
Allowing the fly to sink to the fish's level, the angler makes a retrieve. The fly comes directly at the fish, which suddenly sees its approach. As the small fly get nearer, the fish moves forward to strike, but the tiny fly doesn't flee at the sight of the predator. Instead it continues to come directly toward the fish. Suddenly the fish realizes intuitively that something is wrong(its never happened before), so it flees until it can assess the situation. An opportunity for the angler has been lost.
Becoming a father increases your capacity for love and your level of patience. It opens up another door in a person - a door which you may not even have known was there. That's what I feel with my son. There's suddenly another level of love that expands. My son is my greatest joy, out of everything in my life.
If you keep hearing the same thing over and over again from your fan base, you should pay attention to that. But that's just another bunch of loud voices in your ear. I would imagine it makes it very hard to stay in touch with your own gut. You try to think of it as just another episode, but that never works. It just isn't.
Seeing someone you know be good at something is really appealing. Seeing how Darren Aronofsky behaved on set, it was another aspect of him, the director. He'd never directed me at home in the kitchen before. It was just seeing a whole other aspect of someone. It was really, really exciting. I loved it.
I want to work with Darren Aronofsky, Damien Chazelle, Alejandro Gonzalez Inarritu and, of course, Majid Majidi.
When something like this happens, you suddenly have no sense of reality at all. You have lost a piece of your past. The infidelity itself is small potatoes compared to the low-level brain damage that results when a whole chunk of your life turns out to have been completely different from what you thought it was. It becomes impossible to look back at anything that's happened ... without wondering what was really going on.
'Noah,' for me, wasn't a decision about taking on the Bible. It was about working with Darren Aronofsky.
But the people did get it. They had lost something -- not exactly their fear, but their patience. Suddenly it seemed unbearable to go on accepting these systems, these portly little idiots in their blue suits, for another year, and then for another day, another hour. That special sort of impatience is the power-surge of revolution.
'Black Swan' does what Hollywood movies have always done - it spends its energies on getting some surface things right while getting everything important wrong. Darren Aronofsky, the director, applies the same techniques and the same sensibility here as he did with 'The Wrestler,' only with a prettier protagonist.
Rehearsing a scene beds a role into you. But sometimes, if you over-rehearse it without unearthing any new meaning in it, you can suddenly forget your lines. You realise that you are on a stage, not in the real world. The scene's emotional power, and your immersion in it, disappears.
Sometimes Thomas Mackee will stick an earphone into my ear and ask me to listen to a song. When I get over the revulsion of putting something in my ear that's been in his, I sit back and let the music take over, and for a half hour there's something comforting about someone's heart beating at the same rhythm as mine.
So many guys come onto the scene who aren't supposed to be there. You pull for one, and then you see there's another and another and another, and you start to say, 'Who cares where a player was drafted? He can play football, and he can play at this level.'
If I'm preparing for something and I've got a huge day the next day, I have to get into character the night before to assess the scene. I can't assess a scene unless I'm in character, if that makes sense.
I'm keeping everything on a human level, but essentially everything in our lives has to be on a human level. Any specification of something by art history doesn't make any sense. The point is, if you have a loving, adorable, supportive mother anywhere in the world and you tell her all of your dreams, all of your aspirations, and the reward you would like, and she understands you, then it's not worth doing.
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