Explore Quotes by Darren Aronofsky

I wasn't a big fan of social anthropology. And, luckily, that created room for me to work in visual arts because I sort of ignored my requirements. I think I was attracted to social anthropology because I liked to travel and was always interested in far-off places.

I've spent a life loving women and studying them as much as I can, or am allowed to.

I don't make films that are easy to market, unfortunately. I think that 'Pi' was the easiest one, because we had that symbol to stick up everywhere, so that was a good gimmick, and created a good mystery, and we didn't have to do huge scale.

I grew up in a family with two very strong women, my mother and my older sister, and they were big influences on my life. I've spent a life loving women, and studying them as much as I can, or am allowed to.

I've always wanted to introduce hip-hop filmmaking to film. There's hip-hop art, dance, music, but there really isn't hip-hop film. So I was trying to do that.

I grew up in a family with two very strong women, my mother and my older sister, and they were big influences on my life.

You hear stories about directors using manipulation to get actors to do certain things, but I think when you're working with professional actors, it's all about trust. They can do anything you want, it's just a matter of them understanding what you're looking for, and the reason why.

It would be nice to make a movie that other people want to make, because every one of these movies, I basically have to find the only company in the world that's willing to make it, and it's always a big challenge. I end up spending a tremendous amount of energy and time trying to get money to make these movies and it's exhausting.

I spent about a year and a half doing technical post work on 'The Fountain'. Although I do like the process, I think my favorite part of filmmaking is the actors.

If you ask any person on this crew what they think of Hugh Jackman they'll admit they've never seen anything like it. I'll give him an emotional note and he'll hit it every time.

I think it's my nature to try and make original content, and that's what I've done, is just try and approach things in an original way, and do things differently.

'Angel Heart' was one of my favorite films.

Classical scores go up and down; they're kind of hysterical in a way. And movie scores are much more - they just drive and move forward, and they build and can't go up and down at that same speed. It's a big job to turn that into something that pushes the movie along.

There's always been a lot of pressure and tension on the line. If 'Pi' didn't work out, I have no idea what my career would be. I don't think I would have gotten another shot at it. If 'Requiem for a Dream' didn't work out, they would have called me a 'one-hit wonder with a sophomore slump'.

I know some people that have gone through serious struggles. People that were close to me, and I've seen some terrible things about people who lose it. So I think that type of pain is something that's human and that, actually, can help us look at ourselves a little bit.

When I go to movies I generally want to be taken to another world.

I'm Godless. I've had to make my God, and my God is narrative filmmaking

At the end of Requiem all I wanted to do was get a DV camera and just do a small film. But then the hunger comes back.

Right after I did 'The Fountain,' I wanted to go make a documentary or something that was less constructed - more natural. I was searching for a project, and sniffing around, 'The Wrestler' fit right in

I was a TV junkie as a kid. I am the Sesame Street generation.

I'm Godless. And so I've had to make my God, and my God is narrative filmmaking, which is -- ultimately what my God becomes, which is what my mantra becomes, is the theme.