Thread by @TIFF_NET

🔴 Happening now: Celebrate 20 years of REQUIEM FOR A DREAM with @DarrenAronofsky, @BurstynEllen, Matthew Libatique, @iamclintmansell, and James Chinlund.

Part of the Best of TIFF Reunions, presented by @bell. #TIFF20 twitter.com/i/broadcasts/1…

“A lot of people think that making those films, and films that are intense in subject matter, end up being super intense and depressing sets. For me, it was a set of constant discovery and excitement, and fun.” ––@DarrenAronofsky on REQUIEM FOR A DREAM #TIFF20

Star @BurstynEllen delivered a transformative performance in REQUIEM FOR A DREAM, and earned an @TheAcademy Award nomination for it.

“Most work that you do, you can do pretty easily. But this was gorgeously hard. Difficult, and demanding, and it was just exhilarating.” #TIFF20

“I can look back on it fondly today, but when we were going through it, it was a push... we pushed each other, and pushed ourselves to try to be as best as we can.” ––D.O.P. Matthew Libatique on REQUIEM FOR A DREAM #TIFF20

The score for REQUIEM FOR A DREAM was initially going to be based in hip-hop, but the story helped dictate the direction.

“You go in with a lot of ideas, then the film sort of starts telling you what it wants and what it responds to.” ––@iamClintMansell #TIFF20

The majority of REQUIEM FOR A DREAM was shot in sequence, which helped @BurstynEllen calibrate her performance.

Each department contributed to Sara’s transformation. The crew created a master list tracking weight, hair, makeup, and costumes. #TIFF20

The cinematography in REQUIEM FOR A DREAM starts wide to reflect the characters’ connection to their environment, and becomes more internal as the film progresses.

“I think you allow the emotion of the scene to dictate the camera.” ––@DarrenAronofsky #TIFF20

The red dress became key to the design of the film. Production designer James Chinlund wanted to eliminate the colour red from the rest of the film, which became challenging due to budget constraints and shooting on location. #TIFF20

“It was another device for me as a designer to really look at the world very carefully, and it was another tool in addition to Darren’s intensity, that helped me stay focused and sharp and make sure we were making the right choices.” ––Production designer James Chinlund #TIFF20

.@DarrenAronofsky and @iamclintmansell enlisted the Kronos Quartet to achieve the hypnotic score.

“They understood the film...It wasn’t just a standard of watching someone performing it –– they were breathing life into it.” ––Clint Mansell #TIFF20

“Filmmaking is a huge collaborative experience, and if you are orthodox to a certain vision that doesn’t allow the contribution of artists that do work in their medium that’s way beyond anything you can do, then you’re a fool.” ––@DarrenAronofsky on REQUIEM FOR A DREAM #TIFF20

Where does REQUIEM FOR A DREAM sit for today’s panelists?

“I consider it my best work.” ––@BurstynEllen #TIFF20

REQUIEM FOR A DREAM was James Chinlund’s second feature film, and his second collaboration with Matthew Libatique.

“It taught me that it’s possible to achieve greatness, to shoot harder and higher. That doesn't happen on every film, and it taught us that we can do it.” #TIFF20

DO THE RIGHT THING “made it possible for me as a person of colour that I could feel like I could do this and make films. Now...I have people of colour come up to me and say REQUIEM FOR A DREAM does that for them, and that means a lot.” ––Matthew Libatique #TIFF20

And...that’s all for now. Thank you to @DarrenAronofsky, @BurstynEllen, @iamclintmansell, James Chinlund, and Matthew Libatique for joining @cameron_tiff to celebrate 20 years of REQUIEM FOR A DREAM. #TIFF20

The Best of TIFF Reunions, presented by @bell, continue on September 16 with @brielarson, @jacobtremblay, @lennyabrahamson, and Emma Donoghue (@EDonoghueWrites) joining us to take a look back at TIFF ‘15 People’s Choice Award winner, ROOM. #TIFF20