Darren Aronofsky explains why he decided to take on the fantastical Bible story in his new film and curate an art show about it.
When I asked Russell Crowe to star in "Noah," I promised him one thing: I would never shoot him standing on the bow of a houseboat with two giraffes sticking up behind him. That's the image most people have of Noah and the ark and I didn't want to give audiences what they were expecting. I wanted to break the clichéd preconceptions we have from children's toys, adverts, 1950s biblical epics and even much of the religious art of the last two millennia: the old man in a robe and sandals with a long white beard preaching in some Judean desert. I wanted Noah's story to feel fresh, immediate and real. So when my team and I started to imagine how to bring the prediluvian era to life, we threw away all the tropes and returned to the Bible.
In Genesis we found many hints of a world very different from what is commonly portrayed. For instance, giant fallen angels called the Nephilim walked the planet. How would we bring them to life? There were no rainbows before the floodwaters drained, so how do we know the sky was even blue? Men could live so long that Methusaleh was 369 years old when his grandson Noah was born but didn't die until hundreds of years after Noah's birth. Later in the Bible, mighty beasts, leviathans and behemoths ranged over land and sea. This didn't sound like ancient Judea. It sounded like something much grander and less familiar. Here was a mythological world potentially as distinct as Middle Earth: a biblical, fantastical world.
We realized that if we listened to the original text we would find a blueprint for a Noah story that was unique and unexpected. For instance, returning to the ark: When you look in Genesis, you find exact measurements for a big rectangular box, a giant coffin. It makes perfect sense. The ark didn't need a curved hull of planed wood with a pointed bow and stern. The world was entirely covered with water and there was no need to steer and nowhere to go. So we created the rectangular-shaped ark for the film, biblically accurate down to the last cubit.
Next we had to answer, what did the first rainbow look like? How do you truly represent the cornucopia of the animal kingdom? And how do you unleash the "fountains of the deep"? These visual challenges inspired us to dream big for the silver screen.
I was curious what other minds would come up with if they tried to represent the original story. So I decided to reach out to my favorite artists and ask each of them to return to Genesis and create something in his or her own medium. The response was overwhelming. It was interesting how most turned their backs on the comedic, folk-tale-like rendition of Noah and found the darkness in the story. I guess that is because, after all, it is the first apocalypse story. Even though it is a story of hope, family and second chances, it is also a story filled with great destruction and misery: For every pair that survived, there were countless other creatures on the planet that drowned during the deluge, innocent and wicked alike.
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