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Natalie Portman (Natalie Portman) and director Darren Aronofsky (Darren Aronofsky) of the movie "Black Swan» (Black Swan)
The psychological thriller "Black Swan» (Black Swan) tell us about the New York City Ballet, and it is about one of his dancers - Nina (Natalie Portman), which is completely obsessed with dancing. As artistic director of its main aims in "Swan Lake", Nina has to learn to portray innocence and grace of the White Swan, as well as sensuality and seductive nature of the Black Swan. Uncertainty as to whether it can show its dark side, the dancer begins to cast doubt on the motives of Lily (Mila Kunis), a new dancer, who impressed everyone with his talent completely given as required. When Nina's fears come to light, it quickly loses control and plunges into the world of delusions and paranoia.
Darren, can you tell us about the first meeting with Natalie about the film, which took place 10 years ago?
Darren Aronofsky: I became a fan of Natalie's since looked like "Leon» (The Professional). It turned out that her manager old friend of mine from college, so to arrange our meeting was not so difficult. We met in Times Square, drank a truly awful coffee and discussing those early ideas about the movie that I had had at that time. Natalie told me that I made the whole scenario in my head, but it was a complete lie.
Natalie Portman: No, what he described to me then, was very similar to the film, which we recently filmed.
Aronofsky: So, after our meeting, I took up the preparation for the film, which was very difficult, because getting into the ballet world - not an easy task. In most cases, when you are shooting a movie, you come to the people of interest to you and say that you need their help in the study and the knowledge of certain things, and - voila - before you open the doors, See and do what you want. As it turned out, the ballet was not particularly interested in us, so it took a long time to get the information you need and put the pieces together. A few years after our first meeting, Natalie told me that she will soon be too old for the role, but I assured her that she will cope. So, about a year before the start of filming, or a little earlier, I finally finished the script. Here's how it all started.
Natalie, why it was the role of your dreams?
Portman: As a child I was dancing, about 12 years before, and, like most little girls, idealized this art. Dance - a story without words. So I have long wanted to star in such films. And when there was Darren with his wonderful ideas that relate not only to the world of dance, but also to a very complicated character - even to the two characters - it was for me a good opportunity to realize his dream, especially with director Darren, for which I I would have done anything.
Stills:
Darren, you're the same arm as the artistic director of the film?
Aronofsky: I would very much like to become such a skilful leader, Thomas Leroy from the film. I'm really very direct, and very often because it deters famous actors. Natalie Portman - the most well-known actress among those with whom I was able to work his entire career.
Natalie, how easy is it you managed to incarnate in a new way?
Portman: It was a tough test, and I had a great support from the crew. All the teachers and coaches, choreographer and director never refuses to help. I started to learn the basics of ballet for a year ahead of schedule. The first 6 months I practiced with teacher 2 hours a day, and all the time was spent on strengthening my muscles, in order to follow training I was able to avoid injury. The next six months we started 5 hours a day. We have added a swimming - I swam for miles a day - and 3 hours of study ballet. And then we got to the dance, so it turns out, I trained for almost 8 hours a day. Such physical discipline really helped me to understand the emotional side of my character: a monastic way of life, which only consists of rehearsals - you do not drink, do not meet with your friends, do not eat a lot and are constantly exposed to the body of unbearable pain. Therefore, the life of a ballerina can easily be called self-flagellation.
How did you prepare for the role of the White and the Black Swan? These were some lessons?
Portman: Choreography for these two characters are not very different. I had a great teacher, Georgina Parkinson, who, unfortunately, died 2 weeks before the beginning of filming. It was the main choreographer for the role of Odile / Odette in "Swan Lake." She worked through me every detail: from the movements of the fingers before, where and how to look. In fact, there are only a few gestures that are different games of the White and Black Swan.
Hotshots:
What's the first you've eaten, after it finished shooting the film? After all, you always had to hold strict diet.
Portman: Macaroni. For breakfast, lunch and dinner.
Aronofsky: Actually filming "Black Swan" were very complex. Sometimes, even that was not enough money, so we had to take breaks. I have something really did not mind silence, because I get 2 or 3 extra weeks to better understand the scenario. And just recently I found out that Natalie rolled her grand hysterics his manager because of these interruptions in the shooting process because it meant for her to sit for a few weeks on a diet of carrots and almonds. It is, clearly, has suffered more than any other.
Natalie, what would you wear pointe shoes (shoes ballerina)?
Portman: These shoes - real torture device. The dancers, of course, are accustomed to it, but for me it was a novelty.
The study of psychology at Harvard helped you better understand her character?
Portman: It was just a case where the fact that I studied at the University of exactly turned into a life that is very, very rare. One hundred percent of obsessive-compulsive behavior (obsessive involuntary appearance of impeding or frightening thoughts). And scratching, anorexia and bulimia only confirm this. Ballet is very similar to predispose to psychiatric disorders, because here there is a certain sense of ritual: wearing pointe shoes every day, preparing of new shoes for the performance. We can say that ballet is similar to religion. And the dancers have a godlike character - its artistic director. It's really very pious, ritual and religious art. The same can be said about the actors when you're shooting in a movie, you just obey his director. It is - everything for you and you dedicate yourself to it, because you want to help him realize his idea on the screen.
Video from filming:
Natalie, for the filming of movies you fully enter into the role. And how is it that you have herself after shooting ends?
Portman: I'm not one of those who like to be like their characters in real life. Of course, it requires some effort to remain permanently in the image during the shooting, but after work, I again become a. One of the reasons that we have with Darren was an absolute understanding, I would say, a kind of telepathy, it was his constant efforts to be focused, disciplined and focused. This is trying to be me. I'm not a perfectionist by nature, but I like discipline. I think it is very important work that has strength, and try to be as kind to his colleagues. We need to remember every day about their goals and to be focused on it.
Aronofsky: I have dealt with some of the actors who had their own methods of entering into the image, but I think it's all nonsense. You just have to work when the camera shoots. Of course, when filming emotional scenes, the actors want to keep the right attitude and in between takes, but if they say "Cut", then "Cut". When there is a shot - there is a camera, spotlight, and people walk around you - can not be completely shut down, and all of this is not to think. Good actors can completely transform into his character on the screen and make it compelling. But when the sound "remove" to you as soon as people come from the crew: it is necessary to correct a microphone or podpudrit face. How, then, to remain in the image? In any case, we must be able to switch.
Natalie, what is it like working with Barbara Hershey as your mother?
Portman Darren came up with really great that Barbara wrote letters as Erica to Nina, in the first part of the film. He handed them to me in those days, when the frame of my character had to feel a connection with her mother. And Barbara wrote great letters in which her character felt. They helped to communicate our story believable, communication and love.
Aronofsky: I'll never read these letters. Just I decided that it should be only between Natalie and Barbara.
Promotional photos:
Darren, what can you say about the shooting style of the film?
Aronofsky: The "Black Swan" I used the same style as in the movie "The Wrestler» (The Wrestler), which was quite risky, because never before seen such an emotionally intense film that would be shot on handheld camera. This one has ever done, and I really liked that I could turn the camera the way I need to. As a result, the first part of the film, which was a very naturalistic, causes the viewer a completely different sense than the second. It makes people think that they look completely different type of movie that will never be able to excite them, but everything is exactly the opposite yes: this picture makes you a sense of the immediate presence of the development of events. At first it looks like a documentary, but then you are covering a wave of emotions, and you can not be indifferent.
What do you think, what will be the reaction of the dancers on the way you portrayed their art?
Aronofsky: I think that many dancers are incredibly happy that finally a film that showed the ballet as a serious activity and not as a place for romance novels. If you look closely at the ballet - "The Sleeping Beauty", "Romeo and Juliet" and "Swan Lake" - it is incredibly dark and gothic. Our picture could easily be called "Swan Lake": we took a story and the eponymous ballet and interpret all the characters in our film heroes. In fact, it's just a retelling of "Swan Lake". Movie shows problems, the darkness and the reality is all the same difficult to be a ballerina, but on the other hand, we wanted to tell you about the beauty of this art.
Natalie, what do you think about all the conversations that this movie, and it's your job to bring the crew "Oscar»?
Portman: At most, what you hope when shooting a movie and invest your soul into it, as did we all, is that people will appreciate it. The fact that after viewing audience come excited and happy to discuss seen, is extremely flattering. It is a great honor.
Darren, can you tell us about the first meeting with Natalie about the film, which took place 10 years ago?
Darren Aronofsky: I became a fan of Natalie's since looked like "Leon» (The Professional). It turned out that her manager old friend of mine from college, so to arrange our meeting was not so difficult. We met in Times Square, drank a truly awful coffee and discussing those early ideas about the movie that I had had at that time. Natalie told me that I made the whole scenario in my head, but it was a complete lie.
Natalie Portman: No, what he described to me then, was very similar to the film, which we recently filmed.
Aronofsky: So, after our meeting, I took up the preparation for the film, which was very difficult, because getting into the ballet world - not an easy task. In most cases, when you are shooting a movie, you come to the people of interest to you and say that you need their help in the study and the knowledge of certain things, and - voila - before you open the doors, See and do what you want. As it turned out, the ballet was not particularly interested in us, so it took a long time to get the information you need and put the pieces together. A few years after our first meeting, Natalie told me that she will soon be too old for the role, but I assured her that she will cope. So, about a year before the start of filming, or a little earlier, I finally finished the script. Here's how it all started.
Natalie, why it was the role of your dreams?
Portman: As a child I was dancing, about 12 years before, and, like most little girls, idealized this art. Dance - a story without words. So I have long wanted to star in such films. And when there was Darren with his wonderful ideas that relate not only to the world of dance, but also to a very complicated character - even to the two characters - it was for me a good opportunity to realize his dream, especially with director Darren, for which I I would have done anything.
Stills:
Darren, you're the same arm as the artistic director of the film?
Aronofsky: I would very much like to become such a skilful leader, Thomas Leroy from the film. I'm really very direct, and very often because it deters famous actors. Natalie Portman - the most well-known actress among those with whom I was able to work his entire career.
Natalie, how easy is it you managed to incarnate in a new way?
Portman: It was a tough test, and I had a great support from the crew. All the teachers and coaches, choreographer and director never refuses to help. I started to learn the basics of ballet for a year ahead of schedule. The first 6 months I practiced with teacher 2 hours a day, and all the time was spent on strengthening my muscles, in order to follow training I was able to avoid injury. The next six months we started 5 hours a day. We have added a swimming - I swam for miles a day - and 3 hours of study ballet. And then we got to the dance, so it turns out, I trained for almost 8 hours a day. Such physical discipline really helped me to understand the emotional side of my character: a monastic way of life, which only consists of rehearsals - you do not drink, do not meet with your friends, do not eat a lot and are constantly exposed to the body of unbearable pain. Therefore, the life of a ballerina can easily be called self-flagellation.
How did you prepare for the role of the White and the Black Swan? These were some lessons?
Portman: Choreography for these two characters are not very different. I had a great teacher, Georgina Parkinson, who, unfortunately, died 2 weeks before the beginning of filming. It was the main choreographer for the role of Odile / Odette in "Swan Lake." She worked through me every detail: from the movements of the fingers before, where and how to look. In fact, there are only a few gestures that are different games of the White and Black Swan.
Hotshots:
What's the first you've eaten, after it finished shooting the film? After all, you always had to hold strict diet.
Portman: Macaroni. For breakfast, lunch and dinner.
Aronofsky: Actually filming "Black Swan" were very complex. Sometimes, even that was not enough money, so we had to take breaks. I have something really did not mind silence, because I get 2 or 3 extra weeks to better understand the scenario. And just recently I found out that Natalie rolled her grand hysterics his manager because of these interruptions in the shooting process because it meant for her to sit for a few weeks on a diet of carrots and almonds. It is, clearly, has suffered more than any other.
Natalie, what would you wear pointe shoes (shoes ballerina)?
Portman: These shoes - real torture device. The dancers, of course, are accustomed to it, but for me it was a novelty.
The study of psychology at Harvard helped you better understand her character?
Portman: It was just a case where the fact that I studied at the University of exactly turned into a life that is very, very rare. One hundred percent of obsessive-compulsive behavior (obsessive involuntary appearance of impeding or frightening thoughts). And scratching, anorexia and bulimia only confirm this. Ballet is very similar to predispose to psychiatric disorders, because here there is a certain sense of ritual: wearing pointe shoes every day, preparing of new shoes for the performance. We can say that ballet is similar to religion. And the dancers have a godlike character - its artistic director. It's really very pious, ritual and religious art. The same can be said about the actors when you're shooting in a movie, you just obey his director. It is - everything for you and you dedicate yourself to it, because you want to help him realize his idea on the screen.
Video from filming:
Natalie, for the filming of movies you fully enter into the role. And how is it that you have herself after shooting ends?
Portman: I'm not one of those who like to be like their characters in real life. Of course, it requires some effort to remain permanently in the image during the shooting, but after work, I again become a. One of the reasons that we have with Darren was an absolute understanding, I would say, a kind of telepathy, it was his constant efforts to be focused, disciplined and focused. This is trying to be me. I'm not a perfectionist by nature, but I like discipline. I think it is very important work that has strength, and try to be as kind to his colleagues. We need to remember every day about their goals and to be focused on it.
Aronofsky: I have dealt with some of the actors who had their own methods of entering into the image, but I think it's all nonsense. You just have to work when the camera shoots. Of course, when filming emotional scenes, the actors want to keep the right attitude and in between takes, but if they say "Cut", then "Cut". When there is a shot - there is a camera, spotlight, and people walk around you - can not be completely shut down, and all of this is not to think. Good actors can completely transform into his character on the screen and make it compelling. But when the sound "remove" to you as soon as people come from the crew: it is necessary to correct a microphone or podpudrit face. How, then, to remain in the image? In any case, we must be able to switch.
Natalie, what is it like working with Barbara Hershey as your mother?
Portman Darren came up with really great that Barbara wrote letters as Erica to Nina, in the first part of the film. He handed them to me in those days, when the frame of my character had to feel a connection with her mother. And Barbara wrote great letters in which her character felt. They helped to communicate our story believable, communication and love.
Aronofsky: I'll never read these letters. Just I decided that it should be only between Natalie and Barbara.
Promotional photos:
Darren, what can you say about the shooting style of the film?
Aronofsky: The "Black Swan" I used the same style as in the movie "The Wrestler» (The Wrestler), which was quite risky, because never before seen such an emotionally intense film that would be shot on handheld camera. This one has ever done, and I really liked that I could turn the camera the way I need to. As a result, the first part of the film, which was a very naturalistic, causes the viewer a completely different sense than the second. It makes people think that they look completely different type of movie that will never be able to excite them, but everything is exactly the opposite yes: this picture makes you a sense of the immediate presence of the development of events. At first it looks like a documentary, but then you are covering a wave of emotions, and you can not be indifferent.
What do you think, what will be the reaction of the dancers on the way you portrayed their art?
Aronofsky: I think that many dancers are incredibly happy that finally a film that showed the ballet as a serious activity and not as a place for romance novels. If you look closely at the ballet - "The Sleeping Beauty", "Romeo and Juliet" and "Swan Lake" - it is incredibly dark and gothic. Our picture could easily be called "Swan Lake": we took a story and the eponymous ballet and interpret all the characters in our film heroes. In fact, it's just a retelling of "Swan Lake". Movie shows problems, the darkness and the reality is all the same difficult to be a ballerina, but on the other hand, we wanted to tell you about the beauty of this art.
Natalie, what do you think about all the conversations that this movie, and it's your job to bring the crew "Oscar»?
Portman: At most, what you hope when shooting a movie and invest your soul into it, as did we all, is that people will appreciate it. The fact that after viewing audience come excited and happy to discuss seen, is extremely flattering. It is a great honor.
