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David Poland

By David Poland poland@moviecitynews.com

DP/30 Sneak Peek: Darren Aronofsky on The Wolverine

Next week, the full-length Aronofsky and Portman Black Swan DP/30s. But with the official announcement of the deal for Darren’s next movie, here’s this clip from the chat…

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7 Responses to “DP/30 Sneak Peek: Darren Aronofsky on The Wolverine”

  1. LexG says:

    STACHE!!!! Awesome.

  2. actionman says:

    the sleazy porn star moustache is very bold. questionable and bold.

  3. Don R. Lewis says:

    I was JUST gonna log in to say that stache HA to go. He looks like the film critic/spy character Fassbender played in INGLORIOUS BASTARDS.

  4. NickF says:

    Darren is the best hire Fox could ever make.

  5. Keil Shults says:

    I suppose Aronofsky’s mustache could be the physical manifestation of his rebellious nature. If his choice in preferred film stock seems anachronistic, why shouldn’t his facial hair do the same? It is possible that Aronofsky’s grooming choices are part of a low-key strategy to subvert Hollywood — a follicle-fueled call to arms? Could his insistence on shaving the lower half of his face, but leaving the upper lip adorned with whiskers be his way of showing the film industry that he is above them?

    All this and more will be explored in my upcoming book, “Beards and Berets: An Illustrated History of Filmmaker Affectations.”

  6. Barry S. says:

    It’s phony and disingenuous for Aronofsky to claim the late Stuart Rosenberg as his “mentor.” The man was embarrassed to have Aronofsky as a student. After seeing Requiem For a Dream Rosenberg was famously quoted as saying, “Will that idiot ever grow up and make a film without his over-the-top performances and cheap visual gimmicks?”

  7. Great article. I really enjoy share for my friends and post on my blog.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon