{"id":1377,"date":"2025-08-25T12:00:00","date_gmt":"2025-08-25T12:00:00","guid":{"rendered":"https:\/\/fightinginthewarroom.com\/THOB\/?p=1377"},"modified":"2025-08-24T16:46:15","modified_gmt":"2025-08-24T16:46:15","slug":"356-the-fountain","status":"publish","type":"post","link":"https:\/\/fightinginthewarroom.com\/THOB\/2025\/08\/25\/356-the-fountain\/","title":{"rendered":"356 – The Fountain"},"content":{"rendered":"\n
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After an indie one-two punch of Pi<\/em> and Requiem for a Dream<\/em>, Darren Aronofsky was riding high as one of the major emerging directors at the turn of the century. For his next film, he would graduate to big budget studio fare with The Fountain<\/em>, an ambitious and era-spanning science fiction tale of love and death. The scaled-down version that reached 2006 cinemas starred Hugh Jackman and Rachel Weisz and remains a love-it-or-hate-it head-scratcher that nevertheless fits perfectly within Aronofsky’s continued themes of the body and soul.<\/p>\n\n\n\n

This episode, we talk about all that went down with the canceled version of the film set to star Brad Pitt and Cate Blanchett. We also talk where we stand with Aronofsky’s work pre-Caught Stealing, Jackman breaking away from Wolverine, and our deep affection for Clint Mansell’s score.<\/p>\n\n\n\n

Topics also include Eddington<\/em>, tree sap, and Donna Murphy doing science.<\/p>\n