Ever since his emergence with the breakout indie feature "Pi" (1998) - a schizophrenic sci-fi meditation on life, death and the cruelty of fate - writer-director Darren Aronofsky became something of a...
Brooklyn, New York, USA
|This Film is Not Yet Rated||2006||Actor||Interviewee||20067|
|Scream Awards 2011||2011 2010 - 2011||Actor||n/a||20117|
|Requiem for A Dream||2000||Director||n/a||4|
|The Fighter||2010||Executive Producer||n/a||1|
|Requiem for A Dream||2000||Screenplay||n/a||1|
|Pi||1998||Other Writer||voice over writer||1|
|The Fountain||2006||Story By||n/a||1|
|Requiem for A Dream||2000||Creator||("Month of Fury ('Tappy Tibbons Show')")||2|
|The Fountain||2006||Song||("The Last Man")||1|
|Requiem for A Dream||2000||Song Performer||("Bialy & Lox Conga" "Bugs Got a Devilish Grin Conga" (The Moonrats))||1|
|David Blaine: Real or Magic||2013 2012 - 2013||Consultant||n/a||1|
|Phat Beach||1996||Second Unit Director||n/a||1|
|House of Yes||1997||Special Thanks||n/a||1|
|Inked deal to script and direct a feature based on the comic book "Ronin" (not to be confused with 1998 feature of the same name)|
|Raised in Coney Island, Brooklyn, New York|
|After high school, moved to Israel to live on a kibbutz|
|Re-wrote the film "The Fountain," from a $75 million epic to a $30 million film and released it in 2006, starring Hugh Jackman and Rachel Weisz|
|Selected to participate in Sundance Screenwriters Lab, working on the script "Requiem for a Dream"|
|Wrote and directed "Requiem for a Dream" (adapted from the novel by Hubert Selby Jr); screened at Cannes|
|Nominated for the 2011 Independent Spirit Award for Best Director ("Black Swan")|
|Nominated for the 2011 Golden Globe Award for Best Director - Motion Picture ("Black Swan")|
|Nominated for the 2011 Golden Globe Award for Best Director - Motion Picture|
|Feature directing and screenwriting debut, "Pi"|
|Directed the well received, "The Wrestler," about professional wrestler Randy 'The Ram' Robinson (played by Mickey Rourke)|
|Moved to Los Angeles to study at the American Film Institute|
|Nominated for the 2011 Directors Guild of America Award for Outstanding Directorial Achievement in Feature Film|
|Nominated for the 2011 Independent Spirit Award for Best Director|
|Nominated for the 2011 Academy Award for Best Achievement in Directing|
|Nominated for the 2011 Directors Guild of America Award for Outstanding Directorial Achievement in Feature Film ("Black Swan")|
|Directed "Black Swan," a psychological thriller starring Natalie Portman and Mila Kunis as ballet dancers in a New York City production of Swan Lake|
|Senior thesis film "Supermarket Sweep" was a national finalist in the Student Academy Awards|
Aronofsky was born on Feb. 12, 1969 and raised in the Manhattan Beach neighborhood of Brooklyn, NY. Both his parents, Abraham and Charlotte, were school teachers, giving the young lad an interest in artistic pursuits - if not filmmaking just yet. He was at first, interested in black-and-white photography, then began writing angst-ridden teenage prose while attending Edward R. Murrow High School. Influenced early on by "The Twilight Zone," Bill Cosby and MTV, Aronofsky began developing an interest in film when he saw Spike Lee's "She's Gotta Have It" (1986) by sheer happenstance - the blockbuster he meant to see was sold out - and was immediately blown away, in part because the film took place in his native Brooklyn. Aronofsky meanwhile headed to Harvard University in 1987, where he studied anthropology, but began shifting towards film, thanks to his animator roommate whose completed films at the end of every year looked much more appealing than a pile of boring papers. He switched gears to general studies and began making short films, one of which, "Supermarket Sweep," was a 1991 Student Academy Award National Finalist.
A year after graduating Harvard, Aronofsky departed for Los Angeles to attend the American Film Institute, where he earned a master's in directing. After returning to New York in 1995 with advanced degree in hand, Aronofsky began work on his first independent feature, "Pi," a surrealist thriller that followed a reclusive mathematics genius, Max Cohen (Harvard classmate Sean Gillette), in his obsessive drive to find a unifying numerical pattern in the stock market, which attracted the attention of a Wall Street company seeking to dominate the financial world and a ruthless Kabbalah sect wanting to unlock the secrets of their sacred texts. Aronofsky put together the project with help from numerous friends and family, generating $60,000 through hundreds of $100 donations, while his mom contributed bagels and cream cheese for the crew. Shot guerilla-style throughout New York City, "Pi" originated from an epiphany Aronofsky had on a road trip to Belize that, despite the seeming chaos of life, there is an underlying order unifying everything. "Pi" emerged from the 1998 Sundance Film Festival a fan favorite, while Aronofsky propelled his career by winning the festival's Directing Award for Drama.
Because of the relative success of "Pi" - it was a critical darling, but by no means a blockbuster with a $3 million take at the box office - Aronofsky was able to pay back back the many contributors who made his first film possible. He then began planning his second film, starting with the desire to make "the darkest, most f*cked up movie possible," he told The Sunday Herald. That desire led Aronofsky to adapt Hubert Selby's stark tale about addiction and obsession, "Requiem for a Dream" (2000), in typically bleak and unrelenting fashion. The story followed three young heroin addicts - Harry, Marion and Tyrone (Jared Leto, Jennifer Connelly and Marlon Wayans) - in their quest to become successful drug dealers while barely being able to support their own habits. Meanwhile, Harry's mother (an excellent Ellen Burstyn) goes on a maddening overdose of television and diet pills after she gets a call to appear on her favorite game show. All fall prey to their various delusions, succumbing instead to their overpowering addictions. The stark and often depressing film, which was brought to vibrant life through Aronofsky's signature hip-hop style of filmmaking, garnered critical kudos, as well as an Best Actress Oscar nod for Burstyn.
Labor of love hardly described Aronofsky's next project, "The Fountain" (2006), an ambitious and often bewildering tale told in three different time periods, but employing the same actors in different roles who were - thematically at least - linked. Ultimately a love story about a scientist (Hugh Jackman) struggling to save his wife (Rachel Weisz) from terminal cancer, "The Fountain" took Aronofsky six years - and many wasted millions of dollars - to make. In August of 2002, his original conception for the film starred Brad Pitt and was set to film in Australia. But after months of struggling with financing and story issues, a disgruntled Pitt left seven weeks before production, leaving Aronofsky, a large crew and a replica of an ancient Mayan temple in the lurch. After suffering a near-mental breakdown - he disappeared to China for several weeks - Aronofsky returned depressed and withdrawn. Eventually, he resolved to make the film, sanity be damned, managing to get Warner Bros. - the first studio to back the project - to fund a revamped version to be shot on a soundstage, minus elaborate special effects and battle scenes conceived for the original draft. Starring Jackman, Weisz and old favorite Ellen Burstyn, the new "Fountain" was shot for a relatively modest $35 million.
Reaction to "The Fountain" at the 2006 Venice International Film Festival was a mix of lavish praise and punishing scorn, which in turn happened to be the same reaction when critics reviewed the film for its subsequent theatrical release. Though he struggled long and hard to get his film made, Aronofsky only managed to reinforce his reputation as a gifted, but exceedingly difficult genius. The director moved on to his next film, "The Wrestler" (2008), a sports drama about a former pro wrestler, Randy "The Ram" Robinson (Mickey Rourke), who once reveled in the glory of being star, but was forced into retirement after suffering a heart attack. Years later, he works a menial job while remaining estranged from his daughter (Evan Rachel Wood). But when his old rival, The Ayatollah (Ernest "The Cat" Miller), attempts to draw him back into the ring, Ram is confronted with the potentially fatal consequences of making a comeback, especially after he strikes up a relationship with a fading stripper (Marisa Tomei) and starts to make amends with his daughter. Stripped of the cinematic flourishes Aronofsky indulged in with his previous film, "The Wrestler" was hailed by critics and earned the director a Golden Lion for Best Film at the 2008 Venice Film Festival.
Following his triumph with "The Wrestler," Aronofsky went to work on his next film, "Black Swan" (2010), a psychological thriller set in the highly competitive world of professional ballet. The film starred Natalie Portman as Nina, a ballerina for a New York City company who finds herself facing fierce competition for the leading role in "Swan Lake" from an edgier new talent, Lily (Mila Kunis). As their rivalry intensifies with the rapid approach of opening night, Nina begins to lose her grip on reality while entertaining increasingly darker revenge fantasies against Lily. After premiering at the 67th Venice Film Festival - where it received a long standing ovation - "Black Swan" earned numerous nominations and a handful of wins from critics' associations, while Aronofsky landed Golden Globe, Independent Spirit and Academy Award nods for Best Director.
|Abraham Aronofsky||Father||Taught science and was a dean at Bushwick High School; appeared briefly in "Pi" (1998) and "Requiem for a Dream" (2000)|
|Charlotte Aronofsky||Mother||Provided crafts services during the making of "Pi" (1998); appeared briefly in "Requiem for a Dream" (2000)|
|Henry Aronofsky||Son||Born May 31, 2006; mother, Rachel Weisz|
|Rachel Weisz||Companion||Began dating 2002; Engaged June 2005; Announced November 2010 that they had been "separated for some months"|
|Edward R Murrow High School|
|Center For Advanced Film Studies, American Film Institute|
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