The Man Who Made “Black Swan” Fly

The Man Who Made “Black Swan” Fly (photo)

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As Vincent Cassel’s ballet director Thomas Leroy paces a rehearsal space filled with dozens of dancers, stretching and unsure whether to be overjoyed or fearful of a tap on the shoulder, he announces to his company his choice of what they will soon be performing: “‘Swan Lake’ – done to death, I know. But not like this.” A guiding principle for Darren Aronofsky’s “Black Swan,” a complete reinvention of Tchaikovsky’s famed ballet was assured when the director hired the New York City Ballet’s Benjamin Millepied as his choreographer. A sample is here:

“Dance films don’t come around that often and they’re not usually that good,” admitted Millepied, which is probably just as well since he hasn’t had much time to spare since studying under Jerome Robbins in his teens to gone on to become one of the world’s most prolific and accomplished dancers. However, as a fan of Aronofsky’s (“‘Requiem for a Dream’ had a big impact on me as a young adult”) tasked with turning “Swan Lake” from a classic fairy tale into a tremulous fever dream, his screen debut intends to change all that.

“It was a really exciting collaboration because most of the time as a director, I’ll say something to an actor and they’ll turn it into emotion and in the case of Benjamin, I would say something and he would turn it into movement,” said Aronofsky, who happened to first meet Millepied as he was putting together a ballet about birds scored to the Kronos Quartet.

Soon, Millepied was arranging for the director to see “Swan Lake” in London and for Natalie Portman to work with the Paris Opera for a day in preparation in between perfecting the pas de deuxs and pirouettes of the largely untrained leads of Portman and Mila Kunis. And though one only gets hints of what a Millepied-choreographed “Swan Lake” would look like – the film features snippets of ten sequences that he created – it’s the cumulative effect of Millepied’s efforts, aided by a skilled group of ballet luminaries, that makes you believe in every move and the passion behind it. Recently, I got a chance to talk to Millepied about the difference between choreographing for the screen instead of the stage, his own foray into film directing and whether he should worry about Cassel giving French ballet directors a bad name.

12052010_MillepiedBlackSwan.jpgWas it different choreographing something for film rather than the stage?

Completely because when I work for the stage, I’m my own director. Here, I was part of a larger project. [I had to take into account when] there was a principal actor being filmed, whether we would be a tight shot or a wide shot or the sort of energy that Darren wanted. Specifically when all the girls were running at the end, behind [Natalie Portman’s Nina Sayers], that’s very much something I wanted to create, a whirlwind, which Darren and I talked about. It’s very much something that George Balanchine does in his own production of “Swan Lake,” so we had a lot of running in the last act, which we shot a hundred times. I remember the one night we finished that scene, girls were in tears because there’s nothing worse than running in pointe shoes. It was horrible.

Did you have much input beyond choreography?

Once stuff was choreographed, I was in the room when shots were being blocked, so I was there to change things if needed. But I did have a role in bringing ideas or scenes from old movies, or things like that to Darren, especially I showed this film of “Swan Lake” by Mariinsky, which was shot on a shiny black floor that was super striking — he loved that and we used it in the film. There were things like that. I was there to feed him with ballet stories and ideas and Darren was doing his own research as well with other people. It wasn’t just me. He was questioning everybody. But I very much had that responsibility to make sure things were credible.

You actually get a couple of the film’s best lines. How did your role as the dancing partner to the actresses offscreen become an onscreen part?

We didn’t have a lot of time and I was partnering with Natalie and Mila and they were comfortable with me, we were working together every day, so it was the easiest thing because the partnering was a big part of how I made them move. I manipulated them. Once you put them in the real dancer’s arms and they’re really manipulated and moving and doing the extra movement, it made it look more real. So the idea to bring in an actor and have to teach him how to partner, which is extremely difficult, I think Darren quickly realized it would be easier to put me in the film.

12052010_MillepiedBlackSwan2.jpgIt would seem that beyond learning the choreography, an actor might be asked to express emotion differently as a dancer.

Yeah, definitely. It was also like she can do this well, but she can’t do this well, so I have to do a lot of that and use their qualities to make it look good. So that was very much something that required observation. But Natalie works very, very hard and went from being an amateur dancer to look like a ballerina on screen, which was really satisfying. As we were working, I would film her on camera and how she looked and what worked. I would play with filming her upper body and her arms and seeing what angles and what didn’t work, so that’s how I did it with her. I very much observed what would be interesting, what could make her succeed in portraying this ballerina.

I’ve read that you watched Baryshnikov’s “White Nights” a lot when you were growing up. Was your vision for “Black Swan” shaped by other films you had seen?

I think those films were an inspiration as a dancer, as an artist, and wanting to move to America and see where Baryshnikov was dancing maybe or be a part of that, that’s really what it is. I don’t think seeing those films did much for me in terms of [this particular film]. I love film and I’ve taken photos as a hobby for a very long time, so I think there was a cinematic sense that was very much exciting to me to be a part of. I’ve played around with moving with a camera with a dancer, using the camera as a third viewpoint, like a third dancer, which Darren excelled very well at in the film.

I understand you’ve made a short film of your own recently.

Yeah, after “Black Swan,” there’s a friend of mine, Asa Mader, and we had talked about making a film together for a long time, so we co-directed this film [“Time Doesn’t Stand Still”] that we shot in Paris. It’s really about a relationship from beginning to end and things that happen in this apartment. We concentrate on gestures to link the film and to tell our story, but it’s not a dance film. So it was super exciting. I was in it as well, with Lea Seydoux. She was really a knockout.

12052010_MillepiedBlackSwan3.jpgI’m going to make another short in the next year that would be a kind of exploration of dance in film. I think there is a lot to do still and I’m excited about exploring it. I’m working on two commercials in Europe as well and it should be really fun because it’s interesting to really set dance in our time and present it in film, not in a way that it’s cut from reality. It’s not like we act/we dance, but really make it a natural link where it really could go from one to the other. Make it a more natural, pedestrian language, which is what I’m working on.

Did you find much truth to the way dancers were portrayed in “Black Swan”?

Oh yeah. There’s a lot of what we call bunheads. There are these girls that live with their parents and are determined to become ballerinas and sort of have no life beyond the life they have in their dancing careers. And pushing others – it’s a very typical thing. Very. You see it in documentaries that have been done on dancers. It can be very extreme. Parents want their child to become a ballerina and be extremely pushy. It’s typical. It happens a lot.

Do you fear Vincent Cassel’s Thomas Leroy will give a bad name to French artistic directors?

[laughs] Time will tell. I don’t know whether we’ll have less ballerinas in ballet schools or more. I’m not so sure. We’ll see.

“Black Swan” is now playing in limited release.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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