Photos Top cast Edit. Marlon Wayans Tyrone C. Love as Tyrone C. Louise Lasser Ada as Ada. Marcia Jean Kurtz Rae as Rae. Janet Sarno Mrs. Pearlman as Mrs. Suzanne Shepherd Mrs. Scarlini as Mrs. Joanne Gordon Mrs. Ovadia as Mrs. Charlotte Aronofsky Mrs. Miles as Mrs. Mark Margolis Mr. Rabinowitz as Mr.
Ajay Naidu Mailman as Mailman. Darren Aronofsky. More like this. Watch options. Storyline Edit. Sara Goldfarb Ellen Burstyn is a retired widow, living in a small apartment. She spends most of her time watching TV, especially a particular self-help show. She has delusions of rising above her current dull existence by being a guest on that show.
Her son, Harry Jared Leto is a junkie but along with his friend Tyrone Marlon Wayans has visions of making it big by becoming a drug dealer. As two young, beautiful, kohl-eyed lovers bound by needles and deferred dreams, Jared Leto and Jennifer Connelly initially seem veritable poster children for that quintessentially 90s concept of heroin chic.
Such is the paradox of Requiem for a Dream, which pushed the envelope in its explicit, from-the-inside view of addiction and its spiralling consequences, while maintaining a philosophical perspective as cautiously moralising as any Just Say No public service announcement.
Requiem for a Dream at Aronofsky's nightmare still haunts. Requiem for a Dream exposes four paralleled individuals and their menacing addiction to heroin, cocaine, and diet pills speed. Taking place in Brooklyn amidst the waning Coney Island, the drugs are very easily obtained and keep each main character in its cycle of dependence. The protagonist Harry Goldfarb is your typical heroin junky with an ambitious plan of "Getting off hard knocks," with help from his cocaine crazed girlfriend Marion and his long time friend Tyrone.
Meanwhile his widowed mother is obsessed with the glamor of television and eventually finds her way to a dietitian who pushes her into the cycle of drug induced enslavement. A film paralleling the lives of Sara Goldfarb, a lonely, TV obsessed widow, and her son Harry, his girlfriend Marion, and his drug dealer friend Tyrone. After learning that she will make an appearance on a TV game show, Sara tries to lose weight so that she can fit into her prized red dress, and becomes hooked on diet pills.
Meanwhile, Harry and his friends are taking heroin and cocaine. We then witness the disasterous consequences and the downward spiral their lives take as a result of their addictions. Pills and heroin offer fulfillment of the dreams of four residents of Brooklyn's Brighton Beach in the shadow of a crumbling Coney Island amusement park. Sara dreams of appearing on television wearing a red dress that's a bit snug.
So she starts a diet assisted by uppers. 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. Suddenly this piece of music just attached to the screen and what was going on. Rabinowitz: Clint Mansell and Brian Emrich, the composer and the sound designer, were on from preproduction. So even as I was putting the film together for the first time, I was using the stuff that they had done. So this was an extraordinary thing.
We could break it down that way. They did their own orchestrations from my demos. We went to Skywalker in San Francisco to record. The music is, in the best possible way, heavy-handed. They were still doing what their artistic souls prompted them to do. In New York at the time, it should have cost 7 or 8. One thing we have learned was that your financial restrictions can force you to come up with creative solutions. Chinlund: We were just giddy the whole time.
That youthful exuberance and excitement and energy, I really do feel like that comes through in the movie, against such dark material. Requiem for a Dream caused a stir on the festival circuit — it premiered at Cannes, and then played the Toronto International Film Festival, where someone reportedly had to be taken away in an ambulance.
Rather than cut the film, Artisan Entertainment agreed to release it unrated, though that would significantly limit the places in which it could play. Watson: The first time I can remember showing it to people was at the midnight screening at Cannes. So all the actors, and all the people that came involved in the movie, we all sat together and watched this movie in this massive 3,person screening room. You could feel this electric feeling as we were watching it. Aronofsky: I remember during the screening, one of my producers was sitting behind me, and as the film was descending into the hell that it becomes, he started laughing.
Walk the red carpet, see the movie, and have the experience. I sat next to Hubert Selby Jr. Aronofsky: Then of course, we never got an R rating. Watson: We had an appeal screening when they gave us an NC rating, and we tried to peer into a very murky world — the closed-door group of people that makes that decision. But on the positive side, controversy creates publicity. And so we definitely milked the publicity of having the NC rating as much as we could.
It really did become a reference point for so many people in films, in commercials, in television, across the board. It was a very trying experience. It was brutal at times. You do what you do and then they go off and have their own lives. I support this football team called Wolverhampton Wanderers. I knew we were going to win that game — we did, we won three-nil. Just between us?
No orgasms. But [playing my part] did affect me being able to break out of that, to being more of a serious actress. I think that I thought it was going to be the thing that would catapult me into more success. But it was hard for me to get people to see me in other ways.
Chinlund: I think people recognize it as being sincere and real and entirely devoid of irony.
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