'I’m not sure where the artistry in filmmaking is. It’s usually that moment when you’re on set and you’re working with the actors. That’s the time to play around, the moment of theater.' - DarrenAronofsky
, 2006), or artistic sublimity , Aronofsky’s heroes are all obsessives, often to the point of madness.
SMITH: I can’t bear working with a click track, we’re not click track people. But for “Mercy Is …” we all got in one mind because the song is delicate; it’s not a song that showcases a vocal or some virtuoso. The whole agenda was to give Noah the song to sing to a child that his father sang to him. SMITH: I’ve always loved lullabies. My mother had a beautiful voice and sang lullabies to us; I sang them to my siblings and to my own children. And I love the story of Noah. I love the idea of this very stoic, driven man who has one of the most terrible tasks in human history, who has to separate himself from all of mankind while they’re destroyed., I didn’t really understand how dark the subject is. Our main exposure to Noah is as a story for children. The actual story of Noah is not that.
ARONOFSKY: I don’t know where it comes from. It can be an image. It can be an idea. It’s always a feeling, and it’s usually right above my stomach—it’s somewhere there inside—and that’s the heat, that’s where you get the warmth. When you make a film, everybody is saying no to you for two years, and you’ve got to somehow get out of bed and be like, “You know what? Fuck everyone. This is what we’re doing, we’re going to keep going forward and doing it.”.
SMITH: This film, and this story from so early in human history, is a metaphor for what’s happening to our world today.see some kind of environmental connection. The Creator wants to start over. He wants creation to be given a shot at survival, and the true enemy is the wickedness of men. I remember in elementary school they had a list of endangered species. It fit on a page and you would see the tiger and you would see the elephant, and then you learned about the dodo bird.
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