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Darren Aronofsky

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126
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2017-09-09
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2017-09-09
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  1. “Website and check it out I mean, just keep seeing the weird stuff go out and, you know, support and then spread the word. So I think if you dig the movie, get it out there and get everyone to go see it. I'm hoping that this type of film that you'll want to talk to other people about.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  2. “How can they stay high? Both my full name, Darren Aranowski at on Instagram and Twitter. Instagram is pretty cool. I've been doing this cool thing. I don't know if you've been following it, but I found two young film students and they were moving out to go to film school in LA. And I rented them a big projector and a cube truck. And they'd been driving through the country projecting the word mother in different languages onto all different types of structures around the country. And so I've been posting these beautiful images that these young filmmakers have been making to help self-promote my film, but also it's been a fun project to learn about all these different places all over America. It's kind of humans of New York. Is that humans of, is that the name of the humans?”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  3. “Amazing Well, I mean, it's mother with a lowcase M and an exclamation point, which causes all different type of difficulties with social media because of the exclamation point. But I mean, by the time this comes out, I hope it's going to be around. If not, I mean, just Google Mother Movie and you'll be seeing a bunch about it, I hope.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  4. “I mean, the guys working today, Eric Roth, Scott Silver, read any of their scripts that great writers, Chris Terrio, I mean, there's a lot of great writers working right now. There's a lot of great scripts that I've read. I mean, Charlie Kaufman's scripts are great and fun to read.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  5. “Best student was a Turkish kid who was going back to Turkey to tell a small story about an apple tree on the side of Mount Arat that starts a village fight. And tiny story. It could be huge. Who knows? But he was serious and he just wanted to tell that story. And so I gravitated to him and I spent most of my time in the class working with him to help him because he was the guy who was going to go make a movie and was serious and knew what he was doing. And I said Let me focus on this kid so the other kids can see be inspired by his path.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  6. “Like when I was a kid, no one knew what Spielberg did. We heard the name Lucas and Spielberg, but that was it, you know. But not really, you know, no one, how do you become a director? And when I start to do it even in the early 90s, it wasn't really, it was early Sundance days, wasn't really this track record of how to do it. So I wasn't like looking for the reason to be that it could lead to something that was clear. It was just something that was interesting and fascinating to me. So at this point, when there are all these paths to, you know, fame and money and all that, and if you make one film, you can go and do Marvel movie or something like that, which is happening all the time now. I think you want to find people that are looking to tell the stories and then help them tell stories. And like when I, the last class I taught at NYU, my”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  7. “I mean, really, the real, I guess, the gift of any teacher is to see whatever the goals of the student. As long as their righteous goals be achieved, you know, so, you know, I would probably want to teach students that were, you know, probably had just wanted to tell good stories. And then I would want them to see them make them as well as they could and then have them connect with as many people as they could. The awards, the money, that's all silly stuff. I mean, it's great for everything, but it's really has as many issues with it as good things. So, I mean, it's just, you want to find people, and I'd want to find students that really just want to tell stories and entertain. And not that they want to be a filmmaker because we're the rock star of the present day or the NBA basketball player of the day, you know, where it's because that's what they want to do. When I started telling stories, it wasn't.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  8. “Always Bird Eye's view. That's how I've always. I came up. I mean, I know the filmmakers do it, but it was when I was 20 years old starting to do films. That's how I started. And it's probably from playing dungeons and dragons as a kid. It's like, you know, you get that sky view and like I drew little triangles and I came up with all these different shapes and forms. I have my own like language that I've developed over the years for how to do it. And I have the ability to look at. That architectural plans, and then to see it in 3D below. So that's how I do it. I do it very much from a bird-eye view.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  9. “No, no, no, no. Seen from their projects. They describe it to me, they tell me what they want. Up the scene, and then I'll teach him, I'll give him my direction on how I would block it. I'll work with the actors. I'll just show them my process, and then I'll take a chalk bought out, and I'll show them how do we shoot it? And I'll just draw my designs to show them how to draw it. So I give them a chalkboard.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  10. “I don't do it regularly because I haven't found the best place. I taught NYU for a bit and a few other places. But I mean, I just To be honest, I kind of wing it to see what kids are doing. You know, I'll come in, I'll talk to them about what their dreams are, what their projects are. I'll ask, they all sort of share. So I have them all describe each other's stuff. But I love doing scene study with kids where I have them put up a scene and work with actors, put up a scene.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  11. “Think that allowed me to have persistence, you know, which I always say is nine-tenths of the game is persistence is you got to get up to the plate to get that chance to take that swing and to get to the plate just takes a lot of work. But then when you get there, it's preparation and homework. Having done all your homework and as well as you can as much as you can and then As you're taking the swing is make it a responsible swing for the team make sure that that I love the baseball metaphor. I wonder how much longer I keep going.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  12. “I mean, it's a combination. I mean, I had excellent parents that, you know, almost always supported me and always told me that not to work so hard, not to work too hard. You know, when I would say, I got to go work, they'd say, well, don't work too hard. It was their saying. I mean, that was after I got out of college. So up to college, they were both school teachers and academics was super important. But they also created a lot of very good responsibility and boundaries, but also didn't necessarily create opportunities, but gave me breathing room with support to find opportunities. So I struggled in my 20s, but I was able to struggle in my 20s. And so that was, I think, a big part was having that type of support system. And my sister. So family was a major part of.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  13. “I don't know. It's hard for me to say, but definitely one of the best things about my life, as I talked about there, is I still hang out with the guys I went to nursery school. I still hang out with the guys I went to high school with. I still hang out with the guys I went to college with. And I think that having the roots, like I'm into roots, I'm into loyalty. And I think that I work with the same filmmakers pretty much. And I think, I don't know, I had a, my friend Jed once said the guy who dies with the most friends wins. I thought that was pretty good advice.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  14. “I mean, my friend Dan is like who does visual effects for me. I met him first day of freshman year of college, says, you know, when people ask me what you changed, I say, you know what? Was an asshole in college and he's still an asshole. But that's my telling me that. That's an old friends are for. Yeah, exactly. Exactly.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  15. “We're going to find my calling. And then it happens for you, hopefully. And it happened for me. I found something that it was the first time I ever gotten A in college was filmmaking. I was a B minus student until film came along. And suddenly, boom, it was like something that kept me out of my girlfriend's room. You know, it was like, I'd rather be cutting the movie than laying in bed. So I was like... I found it, but I think eventually it comes, but it could have been a lot of things, I think. I don't think necessarily like, I mean, it's this weird kind of weird art form, and it could probably come to me in lots of different ways. It was just something that I was like, okay, I see a path. I see something there. And it's interesting and fascinating. And there's a lot to learn in there. And so I just went for it.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  16. “I mean, I guess so. I mean, I think for me, it was storytelling more than films. Although I think there were definitely things in my past and experience that, you know, helped me very early on I got into photography, into black and white photography when I was in junior high school. And I would, you know, go into the dark room and develop the film. I loved it. And I don't know why that fell into my lap. It just so happened they had this lab nearby and I was able to take a class there. And then I just started thinking about photographs and taking pictures and all that. And that all led to this. But I think it could have gone anyway. It's funny because when I was in college, I didn't know what I wanted to do the first couple of years. I was in college. I hadn't discovered filmmaking until I was a junior in college. And I remember walking around hitting myself in the head going, I'm never going to find what I want.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  17. “And do what you want. I could tell he was a type of guy that should be doing that TV show because I could see he was already past that point where he had crossed and he was just going to, so I was like, do it. But then you find people who just want to do what they do. And, you know, and then you just want to support them and give them as much love and support to get it because they're trying their hardest to do something that only they can do.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  18. “It's a good question. I mean, I mean, you know, you got to be doing if I'm always from the school, you got to do it because you have to do it, but you don't have any other choice but to do it. Just recently, I ran into a filmmaker and he was sort of complaining and whining about doing a TV show. Because you really wanted to be making films, and that, and then, but you know what my advice to him was not just stick with your gut.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  19. “You know, I think though that when it's the work, you go for it and people get excited by that. And if you're actually being truthful about that, but there are times and places where I've tried to do too much and people pointed out to me, hey, that's probably. Know it's not fair for these reasons, and I hear that, and then I just listen to myself if that's the truth or not.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  20. “It's always about the work. And I think if you can relay back to that, that this is about us bringing this to life in the best way. And I think there are people that would take that line of argument and turn it into abuse or push the line to something that's not safe or fair. And I think I'm pretty empathetic to other people's feelings, maybe to a fault, because I think some directors, it may, it kind of helpful sometimes to push past some of that pain and be blind to it, but that's never, that's just not my character. I can't do it. I feel when people are uncomfortable very easily. And it makes me probably better as a director to read performance, but it probably gets me less than what I always need because I feel sorry sometimes. I have mercy, I guess. How dare you? So, yeah.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  21. “I mean, it's just the project. I don't think it's never meant to be abusive. No, no, no, no, no, no, but I'm just saying I think that's the reality is it's not abusive. It's about the work.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  22. “I think it's. Well, you saw a slightly unfinished, only the first half of the film was kind of really dialed in. So it's going to get better, I hope. That's what we're supposed to be doing as we speak. You know, sound design for me as a huge tool, and I got totally turned on when I was a young kid, I saw a documentary on the guys who did the sound design for Star Wars and they were out in the desert banging on wires, making lightsaber sounds. And it blew my mind. I was like, oh, wow, you know, that's such a cool idea that you can use any sound to do this and matching up sound and image you can really mess around. So I've always been fascinated by that. But, you know, since I make these films where I really am trying to make the audience have a visceral experience with the character, in this case Jennifer Lawrence's character, I try to draw the audience into her subjective point of view by creating a soundscape that starts off realistic.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  23. “That was a big thing I realized very young in my career was a pretty good movie, but something's off. And it was always a sound.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  24. “I think it works on a lot of levels. I was always thinking it was going to be really scary. And tilting into the horror genre. Jen Lawrence, when she saw it, actually thought it was incredibly beautiful and moving that there was a beauty to it. And I've heard that reflected in a lot of ways. And so it's definitely not your normal night at the time. And hopefully, they're not too many profane words directed in my direction.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  25. “Want to see something different at the cinema, you know, please come on down. I think that's what we tried to do was make a very unique roller coaster, except, you know, it may go off the tracks and into the concrete wall, but I can't really be, I don't want to be responsible for that. But that's what happens.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  26. “Everyone, well, I think, look, I think you got to know you're going into a roller coaster ride. And it's like, you know, when you get to the amusement park and you see that loop-to-loop and you're like, no freaking way, you should be ready for it. I mean, and no matter how much I prep you, and Tim can tell you it goes there. Right. I mean, it's intense. So if you want an intense, different ride, if you're, you know.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  27. “I never read that one. Betraying my lack of education. You know, that one, you shried. That one's great. But it's basically a cry from the 60s of his generation, or at least that's the way I took it.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  28. “And then you suddenly have all these freakish new materials where every single bag of lace potato chip you have is something that's around for 10,000 years longer, particles that are part of us. And you can't escape it. And so quickly from my childhood where there still was places on the planet that weren't really feeling any impact to now where it's all changed. It's scary that people are just completely denying it and turning their backs on it. And out of that, just, you know, I just want to howl. It's like, you know, I felt the Ginsburg howl and I just wanted to howl. And I guess it's my howl.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  29. “It was set in 1883, I think. If every single person on the planet disappeared, dropped dead, was abducted, or whatever at that point in time. Besides some forged metals, belt buckles, horseshoes, bullets, guns, everything, every remnant of humanity would be gone in a century, you know, completely gone, because everything was built out of earth materials.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  30. “I guess Prince William Sound was very much wilderness when I was a kid. And something happened to me when I was in Prince William Sound. I had a, we were kayaking, as I said, for weeks, and I was eating a granola bar. And the rapper fell into the water. It was like a foil wrapper. And I freaked out. I like stopped. I tried to, it just went right under. And because of that guilt of that, I still, when I see trash on a beach, I pick it up for that foil, you know? It's like that guilt has carried me. And because at that time it very much felt untouched. Like I was one of the first humans to ever experience it. There isn't a place on the planet anymore. Not because of pollution only, but because of climate change. That isn't affected by humans. There is nowhere on the planet that is true wilderness as it was 60 years ago. You know, when I was riding a Western, and I really...”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  31. “Dominating their lives, yet refusing to see what's going on. Like how can you not say, wow, there might be some connection going on? And I don't know. I come from a science background and I witnessed how little tiny, small changes by men can deeply have huge effects very quickly that are out of control. And then this new idea of these feedback loops, which isn't that new anymore, but these ideas that are becoming more idea that there's these tipping points where things are just going to start to accelerate. And as a parent, I just sit there and I go, oh my gosh, I look at the beauty of my child and want them forget about having a job, having a freaking atmosphere and having the ability to, I mean, it's just crazy to ever think, you know, he'll see a really an elephant in the wild and in any type of wilderness way. I mean.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  32. “Well, the origin story is hard because it's murky. I think it came out of these endless headlines, The Endless Stream of Notifications on your telephone, ability to scratch right beneath the surface of our kind of civilization and realize how many desperate and awful things are happening around the planet still in this pretty enlightened time. There's a lot of rage and a lot of helplessness because like what can I do? How can I stop this? And being an environmentalist when we're completely under assault, when science is telling us is going on and the same people that use their smartphone every second and every minute of the day are the people who say, well, science isn't always right. Yet the product of science is in their pocket.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  33. “Which is crazy because when we're doing crowd scenes with lots of people, you know, it would be a lot easier to tell the story by having Jen get lost in the crowd and crowd come through, but no, I was like, and my DP Matt was like, why don't we, it could be, and we talked about it for a while. And I was like, no, I think let's just remain orthodox here. Let's remain truthful to the intent. The one thing I was worried about, people would feel claustrophobic or bored by the style and that doesn't seem to be the response. People aren't seeing those limitations. And I think that's because we just turned it into a language and into a style that people can understand.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  34. “Less of the economic issues, although always you have to be very economically responsible for what you're doing. But I went really extreme on this film, which was like, I basically said there's three shots for every scene, which is an incredibly low amount of shots that I would normally do in a movie. And it just became an interesting exercise, an experiment. And there were times when Maddie, my DP, was like, don't you want to never do a character come between Jennifer and the camera? No one ever crosses the lane. I”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  35. “Well, I think coming out, starting as an independent filmmaker with very limited resources makes you be very, very, you strategically have to figure out economical means to basically take advantage of all the limited resources you have. So I ended up actually stylistically creating techniques that actually turn those limited economics into a stylistic choice. So I've always been preaching that boundaries are the most important thing in any form of an art. And I think it's extremely important to do the same in filmmaking and to make real choices about how you want to do those limits. Sometimes they're self-imposed.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  36. “On Jennifer Lawrence's face or her point of view, which means what she's looking at. That's the only coverage in the entire film. So that's why this edit has been almost a year-long cut because I had such a limited amount of language to work with and I had to make every moment by moment by moment work even though that's not really happening in real time.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  37. “Start to play into action. And for this film, it was a very, very restricted visual language that was part of one of the challenges I put in front of myself. Normally you'll have a wide shot in a movie. And the nice thing about a wide shot is if an actor somehow does something that's not, that's like dramatically new, emotionally new, or if they decide to comb their hair a different way in each take. If you go out to a wide shot, basically the illusion is broken for a moment because the viewer's eyes have to take in more different parts of a scene or there's other things to look at so that when you pop back into a closeup, you can get away cheat almost what's happening and no one would ever notice. In the case of my film, since there was no wide shots, it was extremely challenging. I mean, the only shots in the film are either the over Jennifer Lawrence's shoulder.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  38. “At a certain point, you know, when the script is done, and in the case of mother, I was actually lucky enough to have a three and a half month rehearsal period where basically I convinced Jennifer Lawrence and Javier Bardem and Michelle Pfeiffer and Harris to join me in a warehouse out in East Brooklyn where we basically taped out the set and got we would work on the scenes and then we'd get up on our feet and we would just start to block them. And then in the last two weeks of that three and a half month long process, I actually brought in my cameraman and we shot the entire movie moving the camera on on video as kind of homework, which was really fascinating because you figure out all different types of problems like, oh, how is the camera going to get from it's a constant moving handheld camera? So how am I going to get the camera from here to there because there's a wall there? And that's an”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  39. “There's a second tier, which is as the filmmaker, you're trying to make it as economical as possible, meaning as few setups, as few times to move the camera as possible, because every time you have to sort of change where the camera is, you have to change the lighting. And that just takes time. And you want to get as much time shooting as possible. So you're trying to figure out blocking that works best for the simplest amount of technical problems unless you really trying to do something technically super challenging stuff. So you try to balance those. And it's kind of a balance because sometimes you'll tell the actor, oh, can you help me out here with blocking? Because it means we have to do less. But sometimes you don't want to get in their way and you want them to be creatively free. So you want to give them an open playground to play around in with they can do and move. So it's a balancing act, but it's a big part of it.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  40. “Yeah, sure. Blocking is basically just how actors move in a scene. That's all it is, but it's really truly a big part of the work because for a lot of reasons. First, you want to create blocking that's organic and natural to what the actors are doing in the scene. So you want to make sure whatever the actor is doing makes sense with what their objective is in the scene or what they're doing in the scene or what they're not doing in the scene or what they're hiding in the scene. So you kind of want to think about what that is all about.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  41. “Being the writer and then the director, I can sort of not worry about that that much. But there are two different steps. I think first you're writing and you're following along the emotional truth of the characters and following scene by scene what's going on and watching the story unfold. And then there's the next stage at a certain point you kind of hang up most of your writing cap because you can always rewrite if you're the writer. then you start to become the director and start to think about blocking and movement. And that was a very, very big deal in this film.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  42. “Month of Fury, we called it. So, if I ever did a self help, that would be, you know, hey, if you want to co write it and start a movement, I know you got stuff.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  43. “Yeah, I have another friend, my best buddy, who actually on day 29 ended up proposing to a woman, which I was like, you never propose on day 29. What are you out of your freaking mind?”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  44. “Refined sugar, so that's everything like toothpaste anywhere where there could be sugar, you know, no red meat, and then no orgasm. So in the movie, Requing for a Dream, the third one is not actually pitched because I just thought it would be good as a little secret. Now I'm sort of giving it away. Although it's come out of it, it's actually in there. It's actually in there a bit. It's an Easter egg that's hidden in the film somewhere. It was funny because when we started working on it, I suggested to the actors that they should go on a month of fury before we make the movie just to understand what it is to withdraw, which is a big part of the movie because it's hard if you're not a drug addict or a smoker to actually stop something for 30 days, to fast, as you talked about. It's really tricky. And here were three things that were seemingly not hard to do. And it was funny to run.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  45. “All together? Yeah, you do all three for a month, for 30 days. And it was actually a very interesting, you know, so he preached it to me because he would do it before he would box or actually.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  46. “But also kind of get stories. So I developed this whole kind of characters and world for this movie about this. And eventually I didn't make that film, but I was able to take that character. And when I had to bring Hubert Selby Jr.'s Requiem for a Dream Alive, Sarah Goldfarb, the old lady, watched a lot of TV, but we couldn't afford the TV to put TV on the channel. So I decided to make my own TV show and create kind of a Tony Robbins-esque because Tony was just starting and it was he didn't sort of evolve into the kind of figure he is now at the time he was sort of a televan. No one really knew what it was and it was odd. So I kind of created my own sort of version of that and had this guy on TV and I had to give him a philosophy. So I had an actor friend who was also a boxer and he had this thing called Month of Fura. Refined sugar”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  47. “And I worked on a script that was set in Coney Island, and I had a guy, a really talented kid I grew up with, who probably, if he went to Wall Street, would be a hundred millionaire type of guy. But he ended up getting involved in this kind of culty organization that are those guys who go around and sell roses and little toys around the streets wearing ties. I don't know if you ever see them. They're a lot on the West Coast, and they're basically kind of pyramid schemes where you basically open up an office and you hire like 10, 20 year old kids and they go and they hustle for you and then you buy it from a guy above you and then if you get a few you slowly move up this type of thing and they have these huge conventions in Vegas with where they all come together and they have all these chants where they juice each other up and get all excited and when I was in film school he was in the West Coast area and so I just sort of studied it and hung out with him once again here's another play hang out with a friend”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  48. “I'm not sure what your reference does. Oh, I think, oh, there we go. It's coming back to me. It was funny. I had a, well, in Requem for a dream, there's something in the background called Month of Fury, which was, I guess it was early self-help. Wow, this is going way back. And actually kind of flows a little bit into probably why a growing friendship is happening here because similar roots in a certain way. But when I was in film school, and this is another great thing for young film students to know is like there's usually the first screenplay you write that will never get made. And believe me, that happens. And at a certain point, you have to take the bold step to abandon it, you know, because there's a learning process in that first script.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  49. “God, I didn't even piece this together. It's like, you know, in Requiem for a dream, they dyed their hair red and then out there it's purple. So very funny.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT

  50. “Is the real cultural experience. My favorite, you know, when I went to Japan for the first time, which was with pie, I was a big, huge fan of, I dreamt for so long to go to Tokyo. And I was like, you know, I kind of want to make a statement here. I kind of, you know, I want to be remembered. You know, I'm coming with this little film. What can I do? So I dyed my hair purple. And I came and I do an interviews the whole time with big bright purple hair. And no one mentions it. And I get to my last interview and it's kind of a young hip guy who's like a pop star in Japan and we become buddies. And I'm like, man, you know, like I made my hair purple, but no one's commented on it. And he goes, come to the window. We look outside at a major intersection. He says, who has purple hair out there? All the old ladies dye their hair purple.”

    2017-09-09 · The Tim Ferriss Show · #263: Filmmaker Darren Aronofsky — Exploring Creativity, Ignoring Critics, and Making Art · IDENTIFIED FROM THE TRANSCRIPT