But for the spectators who grew regulars to especially hardened actress, sensitive, filled-down screen work, its performance in Darren Aronofsky's dance drama will come as a revelation. As Nina Sayers, the New Yorker tapped to star in a production of Swan Lake, taking head for innocent White Swan twentysomething and his dark-souled doppelganger, Portman is going places, that no one has seen her before.
Unless, perhaps, she was in therapy.
"First of all, there are not many roles for women," said Aronofsky, recognizing that its Leader Lady is doing something extraordinary in Black Swan. "So Natalie did not have many opportunities to do something like this...". But it really is it. And really had no problem going on top or will more subtle. It is really fun with it. »
Although the "fun" is not exactly a word one would associate with the grueling physical schema that endured Portman - hours of training with a choreographer, rigorous daily workouts, a complete change of food, dance every day for months before filming began. Then throughout production, as well.
Black Swan opened at the Ritz East Neshaminy AMC, United Artists King of Prussia and films rave Ritz Center/n.j., Friday.
"We talked about the project for the first time, 10 years ago," explains Aronofsky, the man who brought the dead in The Wrestler Mickey Rourke. "Et and then when I gave her script per year of shooting, she began to train and I think that the type of physical work combined to being that deep into the world of dance... a lot of things to draw on...."
"But, you know, I feel players really want to do - really not what they love to do." I would not say I am a pusher, I would say I am more a reel, because when the actors work with me they know that they will go to it the chance....
"I'll show them just how much space there is to explore, and they are very willing to intervene..." I suppose that I had to push a little bit of Mickey, but it is simply because he, you know, lazy. But Natalie game....
"And it is not only the physical work." Emotional stuff she was intense. »
As a wrestler, Black Swan was shot with handheld cameras. In the same way that Aronofsky took the spectator until Randy "The Ram" Robinson of Rourke was hit on the ring - and struck in his life - Nina's Portman dog camera through its repeats its switching subway as it deals with a smothering mother (Barbara Hershey), with the company requiring artistic directior (Vincent Cassel) and the threat of a new dancer, fresh from the coast (Mila Kunis).
"I really wanted the camera to dance with the dancers with Natalie," he explains. "I wanted the fluidity of movement, but I was a little nervous closer to these kinds of approaches to verite documentary cinema film thriller - I wasn't sure if it would suck the thriller." And I couldn't find an example of a film which had been. Therefore, it was a little bit of risk....
"But we are really there." And the wrestler who came because the fight on TV is always turned with three cameras, and I wanted to do what they have done in the films of boxing with the fight. I am so the camera in the kernel.
"And then I took the same idea in ballet, because what I have noticed when you look at the ballet of the audience, he comes really seem effortless." But when you get behind the scenes and you get almost these dancers you can see the sweat, you can see the breath, you can see how difficult it is, you see blood, you can see the pain. And I knew that I had to be there.
Another reason to get close and personal camera was more technical than the credibility sake.
"Natalie, from the size, is really, truly credible as a ballet dancer, but when you begin to enter in the 1920s, you have to go on the tip, you encounter problems, and train hyperextend legs", explains the Director, who have used a couple of professional dancers his star twice in the body blows full performance.
"Then I had another motivation to get near Natalie so." But, because it is a damn good, and I want to see in his eyes. »
Black Swan is a brazen mash-up kind of cinema classics: Michael Powell and Emeric Pressburger's crazy fairytale Red Shoes. Roman Polanski's story of repression and madness, repulsion; all the words Of Joseph l. Mankiewicz, Eve showbiz paranoia.
"Sure, sure," explains Aronofsky. "" "" This is interesting because there are many influences. And as a filmmaker you still watch stuff.... And then a technical side, two documentaries of Frederick Wiseman on the world of ballet, one on the Paris Opera Ballet and the American Ballet Theatre. »
Aronofsky also cites the work stone, visceral film Belgian Jean-Pierre and Luc Dardenne brothers.
"These guys are all there, too, it is difficult to tell where exactly everything that comes." Contact film critic Steven Rea at 215-854-5629 or srea@phillynews.com. Read his blog, "Film Online" http://www.philly.com/philly/blogs/onmovies/
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