By Jena Ardell
By Jon Campbell
By Alan Scherstuhl
By Tessa Stuart
By Roy Edroso
By Jon Campbell
By Albert Samaha
By Zachary D. Roberts
Alas, it must have been that one extra line that's made her voice almost as gravelly as that of the original Sabina, Tallulah Bankhead, these days. Cracks Kristen, "As long as I don't become her offstage,that'll be fine."
Leaving the crinkly Doritos bag behind, I grabbed for some distinctly non-apple ? at the premiere of Darren Aronofsky's ? and discovered yet another phenomenon I love: that of the bouncy, affable young auteur with underpinnings so dark he could black out the entire East Coast. Aronofsky's the well-groomed, polite type who spews gratitude on his way to the top, while surprising you with a bleak vision replete with immense confidence and virtuoso camerawork triumphing over the shortage of humor, nice people, and good accents. Best of all, he's cutely sincere about his bravado, as when he seriously told the crowd about a certain big shot who supported the movie, "He totally got it--and I can't tell you how brilliant his aesthetics are."
After the screening, things became slightly less aesthetically brilliant as Aronofsky invited me to follow him into the bathroom for an exclusive urinal-side interview. I did so and looked down at my own parts the whole time, just in case hisworst nightmare is the same as Vincent Gallo's. It turns out Darren's favorite directors, tinkle tinkle, are Kurosawa, Polanski, Gilliam, and Fellini, and with the lead character's head-shaving bit, he laughed, "I was trying to be the cyber Taxi Driver." His next project? A movie version of Requiem for a Dream by his idol Hubert Selby, whom he tracked down when he called the Writers Guild and asked for his representation, "and it was his home phone number!"
Rather than call Selby, we zipped up and went outside, where ?'s star, Sean Gullette--his hair all grown back--told me, "Darren's quite the genius dictator. He's going to be a great director." Don't you just hate that? But let me let you go.