“Hollywood’s highest-ranking Evangelical Christian” — and a key figure in the Bible-movie revival — leaves Paramount

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From Darren Aronofsky’s Noah to Timur Bekmambetov’s Ben-Hur, if there was any major Hollywood studio that committed itself to the recent Bible-movie revival, it was Paramount. (Fox came a close second by producing Exodus: Gods and Kings and distributing Son of God.) And Paramount owed its interest in the genre partly to the fact that its vice chairman, Rob Moore, was an evangelical Christian.

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Russell Crowe still supports Darren Aronofsky’s Noah

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Several other Bible movies have come along in the two years since Noah came out, but for my money none of them can hold a candle to Darren Aronofsky’s film for sheer imagination, epic visuals and a passionate engagement with the biblical text.

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Watch: Gerard Butler confronts Geoffrey Rush miles above a flat Earth in the first clip from Gods of Egypt

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Alex Proyas sure likes his trippy cosmologies. The director’s last film, Knowing, got downright biblical in its vision of worlds destroyed and worlds renewed. His next film, Gods of Egypt, opens this Friday — and as you can see in a new clip, it features a vision of the cosmos that is part ancient mythology and part “sci-fi fantasy”.

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Darren Aronofsky’s next film will star Jennifer Lawrence

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We’re fans of Darren Aronofsky’s Noah here at FilmChat, and indeed we’ve been fans of Aronofsky going all the way back to his first feature film π. (Click here to read the phone interview I did with him in 1998. I interviewed him again in 2014.)

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Darren Aronofsky on Noah and the environment in Paris

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Darren Aronofsky is in Paris right now, taking part in a massive art project for the climate talks there, and the New York Times posted a short blurb yesterday in which he referred to the environmental themes of his most recent movie, Noah:
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Supercuts explore key visual motifs in Aronofsky’s films

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Back in October, I posted a series of screencaps demonstrating the visual and thematic links between Noah and Darren Aronofsky’s earlier films. One of these days, if I ever familiarize myself with video editing software, I might do something similar in video form. In the meantime, “supercuts” that chart the visual links between Aronofsky’s films — up to and including Noah — have begun to surface. You can check out two of them below the jump, and I will add more to this post if any come along.

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