The hopes and dreams of four ambitious people are shattered when their drug addictions begin spiraling out of control. Search Charactour. Sign Up Log In. Recommendations Fans of her also like:. See All Recommendations. This is something that you come across in editing — you have to make these decisions between technical perfection and magic. Aronofsky: I was devastated. And how many chances does she have to do something?
Make her mark. One of the things I loved about Requiem is that I have to deal with four points of views as opposed to one. That started a visual grammar and different techniques that we decided to move throughout the film. Connelly: I was so impressed by Matty and the way he worked. It was a totally different style of filmmaking than I had experienced. I had never done anything like that before. Libatique: It was basically just a weight belt and a monopod stuck out. The effect was great and it spoke to another layer of subjectivity to get to.
That was the crux of the design angle on that movie and he was really excited about it. But I had not pitched on a movie before, so I had no visuals or anything. She basically had to do it in one take — we had to choreograph everything she did. Burstyn: And there was no rest. It was just, do it and do it at top speed. That was very challenging. There were a lot of different technical things going on that I had never experienced before. I was panting by the time we finished.
I remember him sending me a clip of the scene where Ellen Burstyn first takes the speed pills. We realized at that point we were in trouble. I had written a lot of stuff in advance, but in this hip-hopish vein. When I started seeing the rough edit, we put the music to it, and nothing really latched on. Libatique: [Darren] came up with this idea of what would be called hip-hop montages, because of the beats that we cut them to. We came right on the heels of the height of MTV.
As much as the quick cutting has been disparaged as time has gone on, in those small bits, it worked to convey imagery quickly. It happens in a montage, then, you see the aftermath. Aronofsky: We even used it sometimes when [Sara] would check the mailbox. In the same way that we all check our mailboxes on our iPhones now for a little hit of dopamine. Rabinowitz: So much of what everybody loves about the editing of Requiem for a Dream was baked into the script.
The first time there was one of those micro and macro image montages, he explains what each shot is. BOOM, she pops one into the palm of her hand. And the second time he did it, he explained a lot less in the script. Watson: The trap of a heroin movie is, you see people shooting up, right?
Chinlund: It was important that we show these people as people with lives and creative output. Marion and her loft and all her dreams of a career in fashion, and Tyrone was a DJ and we had installed DJ equipment in his loft.
It was a story about people and how easy it is for them to get derailed. It was the responsibility of the sets to show the optimism, the potential of these characters against the darkness of the path it followed.
I knew it had to be intense, and I knew by breaking the hip-hop montage for the first time on the actual insertion, and showing that to the audience, I was making a big statement. The film sends all four of its main characters spiraling into despair as it builds toward its climax, but the most scarring sequence in the finale has to be the one in which Marion, desperate for a fix, shows up at what turns out to be a sex show for a crowd of hollering, bill-throwing men in suits.
Watson: We basically shot [the sex show scene] in the very last night. We had a closed set. We had a lot of rules and regulations going into that. The women in the scene, they were strippers by profession. They were very professional about it. Heather Litteer, Big Tim Party Girl: I was in the underground alternative cabaret scene already, doing burlesque, go-go dancing, indie films, all kinds of theater, Jackie Casting director Lori Eastside called me in and was telling me about this hot new director and who the cast was.
Then she was explaining that the content was really illicit, so to make sure that we could do that. Rabinowitz: I think Jennifer was only there relatively briefly, and they got those shots of her. But everybody was on their best behavior. Yeah, of course. Connelly: It was a scene that was important to the film. Chinlund: We had been dressing the set all day. It was echoing through the canyons of the Upper East Side.
I was so excited. Everybody was professional. We had a little talk and it was the personal information, and he had told me a name. Rabinowitz: It was upsetting to me, how far he pushed the actors.
Rabinowitz: We were just about done with the cutting, and he invited Jennifer to come to the cutting room and watch it. Aronofsky: We got Selby to New York a few times [during shoots], towards the end of the film.
He hung out. He had his own chair. Something was off. It was Hubert Selby Jr. Aronofsky: There was always this idea that the film would start off wider and looser, and get tighter and tighter.
At the beginning of the film, there are a lot of wide, landscape shots, and by the end we wanted it to be the size of a postage stamp. That last sequence, when all the stories intertwine and explode into misery, we really wanted to be somewhat mathematical, where even the shots were getting tighter in focal length — so less and less frames were happening with each shot. Rabinowitz: We took a still frame from every image, from a certain point to the end, and we pasted them around the editing room.
The first time you would get maybe 12 frames of each image. The second time you would get maybe one less. Each one was a few frames shorter. The ending just had no relief. The ramp-up was taking it as far as we possibly could to land on the three of them curled up in the fetal position. Little clips of things that I did. But, but I been busy, real busy. Sara Goldfarb : [excited] Oh, yeah? You got a good job? You doin' real well?
Harry Goldfarb : Yeah, real good. Real good. Sara Goldfarb : What kind of business? Harry Goldfarb : Well, uh, I'm sort of a distributor, like. For a big importer. Harry Goldfarb : [Harry has just found out that Sara is on diet pills] Does he give you pills? Sara Goldfarb : Of course he gives me pills.
He's a doctor! Harry Goldfarb : What kind of pills? Sara Goldfarb : Uh, uh, a blue one, a purple one, an orange one Harry Goldfarb : I mean, like, what's in 'em.
Sara Goldfarb : Everything's all mixed up, confused. Pill : [writing a new prescription] That's nothing to worry about. Just get this filled. Make an appointment for a week. Sara Goldfarb : I'm thinking thin. He soon noticed that Harry's arm was infected, but rather than turning around right away, he joined Harry in his denial that everything is fine. The two ended up in what seemed to be a smaller town, filled with bigots who had no tolerance for two big city guys struggling with addiction.
Harry Goldfarb played fantastically by Jared Leto was a clever young man who instantly put two and two together when he saw his mother's jittery jaw and weight loss. But rather than checking up on her, he just cried for her in the taxi without ever trying to actually do anything to help her. While Harry was an observant son, he failed to see that his arm was badly infected until it was too late.
It would be unfair to attribute that to his lack of intelligence, though. He was in complete denial about the increasingly bleak reality of his life and preferred escaping by getting high. Needless to say, that made the situation even worse. Marion Silver Jennifer Connelly came from a good New York family who was in the wardrobe business and she inherited the family's knack for designing clothes. Of all the main characters, she was the only one who had an interest outside of drugs. As her dependency on heroin worsened, her passion project fell apart.
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