“I think he just took her and let her shine. And if you look at Silver Linings Playbook, that’s very…”

“I think he just took her and let her shine. And if you look at Silver Linings Playbook, that’s very much Jen. And I think also elements of Joy. What I’m proud of with this movie is that it’s not Jen. And that was the first thing, she’s really not herself. It’s not this boisterous, strong female presence. She’s on the back-foot, she’s very quiet, she’s got a different voice and I think she’s still compelling. To me that’s what you look for in an actor. Like a Meryl Streep, who can disappear into all these different roles and I think Jen has just started that same journey. Absolutely. I think she can do anything. I mean, this was the opposite of anything she’s ever done before, this performance and I think she’s convincing throughout the whole film. She wasn’t in charge and that’s hard for her (laughs). And she’s got this goofy charm, like Lucille Ball.”

Darren Aronofsky on David O.Russell and Jen’s talent.  (via lawrencepedia)

“We spent three months in rehearsals on it and went through the whole thing many many times. And…”

“We spent three months in rehearsals on it and went through the whole thing many many times. And she’s talked about how she didn’t find the character until the first day which is true, I saw it happen. And it was because when we got to set, we were still struggling with what was gonna be on her feet, and then we decided for her to go barefoot and the second she walked through the set barefoot it kind of connected and clicked for her and the character came out. But I don’t know if I’ve ever seen such a raw talent. She’s taught herself how to act and she’s an incredible technical actor too. Usually I’ll give and actor two or three notes, but she’d be able to do six or seven and she hit them all. And technical, just not emotional changes, like can you be another inch this way and that way.”

Darren Aronofsky on Jen and how she found the character.  (via lawrencepedia)

“The first time I saw “Mother!” I just sat there with my mouth open. I’ve seen the film three times…”

The first time I saw “Mother!” I just sat there with my mouth open. I’ve seen the film three times now, and I didn’t fully appreciate the film until the second time. And then on the third time, I understood it to be a masterwork. On knee-jerk, you sit there and think, “what is this?” So I had to see it a second time to get it. And the third time proved to me that he was that same filmmaker of “Black Swan,” of “Requiem for a Dream,” of “Pi.” He’s that same filmmaker who dared me to look at the truth — “I dare you,” is what he says. People can say what they want about it, but you are dared to look at the truth.

What impressed me about “Mother!” was what impresses me about all of Darren’s films, which is his unflinching fearlessness, his storytelling, and his unabashedness in leading you somewhere to blow your mind.

The acting was extraordinary — once again he pulls extraordinary performances from his actors. Michelle Pfeiffer’s performance when she talks about the lemonade is simply a tour de force, so breathtakingly honest. And the build-up to the chaos at the end just left me sweating — I’ve never been more uncomfortable watching a film. Even on the third time watching it, I’m still uncomfortable. These are hard reactions to get from an audience. Some people can look at it and judge it, but to provoke such a visceral reaction from someone, that’s filmmaking to me.

I think some people just can’t take it, it’s too much for the audience. But that’s what makes him brilliant; the fact that he’s going to go there anyway. This will be one of those films that audiences will come to appreciate 10 to 15 years from now — it’s just so shocking right now.

Aronofsky is one filmmaker I steal from constantly. When I did “Precious,” I was stealing stuff from “Requiem” all the time. I tell him that, too. And when I tell him that he blushes. But I don’t even know that I could steal anything from “Mother!” — it still has to sit with me for a second. It is a masterwork, and another one of the jewels to add to his legacy.

Lee Daniels on mother! (via lawrencepedia)

“Not once actually. We talked about The Giving Tree as a reference. I was reading Jane Eyre by…”

“Not once actually. We talked about The Giving Tree as a reference. I was reading Jane Eyre by happenstance at the time. It reminds me of this other short story The Yellow Wallpaper, this Victorian patriarchal. It also reminded me of Wide Sargasso Sea. It reminded me of these patriarchal relationships that men have with their wives: They’re very nice and then politely take away their dignity.. Those were some of my influences. The other tool that was most helpful to me was the house, my connection with the house, being barefoot, feeling grounded and home. Our references were more biblical and universal than Rosemary’s Baby.”

Jennifer Lawrence on if Darren ever brought up Polanksi or Rosemary’s Baby as influences during rehearsal.  (via lawrencepedia)