{"id":5976,"date":"2014-10-02T01:45:15","date_gmt":"2014-10-01T17:45:15","guid":{"rendered":"http:\/\/onthe8spot.com\/?p=5976"},"modified":"2014-10-02T01:45:15","modified_gmt":"2014-10-01T17:45:15","slug":"6-lessons-on-filmmaking-from-darren-aronofsky-filmmaker-magazine","status":"publish","type":"post","link":"http:\/\/onthe8spot.com\/index.php\/2014\/10\/02\/6-lessons-on-filmmaking-from-darren-aronofsky-filmmaker-magazine\/","title":{"rendered":"6 Lessons on Filmmaking From Darren Aronofsky &#124; Filmmaker Magazine"},"content":{"rendered":"<blockquote><p>Using Format to Create Cohesion<br \/>\nPer Aronofsky, filmmaking is\u00a0about \u201chow to make things blend.\u201d With\u00a0Pi, his decision to use black and white reversal film immediately pulled together elements he felt were otherwise divergent. In creating this alternate world, the high contrast visuals functioned as\u00a0a\u00a0suspension of disbelief.<br \/>\nFilm as an Exercise in Subjectivity<br \/>\nWhat sets film apart from theater is its ability to \u201cput an audience in a character\u2019s mind.\u201d While\u00a0Pi was told from Max Cohen\u2019s perspective,\u00a0Requiem for a Dream\u00a0juggled four points of view, which determined\u00a0Aronofsky\u2019s\u00a0use of split screen. Additionally, the \u201chip hop montages,\u201d with their rapid edits, were intended to mirror the all-consuming repetition of addiction.<br \/>\nvia <a href=\"http:\/\/filmmakermagazine.com\/87738-6-lessons-on-filmmaking-from-darren-aronofsky\/#.VCw3EKiSyZh\">6 Lessons on Filmmaking From Darren Aronofsky | Filmmaker Magazine<\/a>.<\/p><\/blockquote>\n","protected":false},"excerpt":{"rendered":"<p>Using Format to Create Cohesion Per Aronofsky, filmmaking is\u00a0about \u201chow to make things blend.\u201d With\u00a0Pi, his decision to use black and white reversal film immediately pulled together elements he felt were otherwise divergent. In creating this alternate world, the high contrast visuals functioned as\u00a0a\u00a0suspension of disbelief. Film as an Exercise in Subjectivity What sets film &hellip; <\/p>\n<p class=\"link-more\"><a href=\"http:\/\/onthe8spot.com\/index.php\/2014\/10\/02\/6-lessons-on-filmmaking-from-darren-aronofsky-filmmaker-magazine\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;6 Lessons on Filmmaking From Darren Aronofsky &#124; Filmmaker Magazine&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[79],"tags":[],"class_list":["post-5976","post","type-post","status-publish","format-standard","hentry","category-reposts"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"http:\/\/onthe8spot.com\/index.php\/wp-json\/wp\/v2\/posts\/5976","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/onthe8spot.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/onthe8spot.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/onthe8spot.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/onthe8spot.com\/index.php\/wp-json\/wp\/v2\/comments?post=5976"}],"version-history":[{"count":0,"href":"http:\/\/onthe8spot.com\/index.php\/wp-json\/wp\/v2\/posts\/5976\/revisions"}],"wp:attachment":[{"href":"http:\/\/onthe8spot.com\/index.php\/wp-json\/wp\/v2\/media?parent=5976"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/onthe8spot.com\/index.php\/wp-json\/wp\/v2\/categories?post=5976"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/onthe8spot.com\/index.php\/wp-json\/wp\/v2\/tags?post=5976"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}