Is a 1998 American conceptual psychological thriller film writt and directed by Darr Aronofsky (in his feature directorial debut). Pi was filmed on high-contrast black-and-white reversal film. The title refers to the mathematical constant pi.
The story focuses on a mathematician with an obsession to find underlying complete order in the real world and contrasting two seemingly irreconcilable tities: the imperfect irrationality of humanity and the rigor and regularity of mathematics, specifically number theory.
Unemployed number theorist Max Coh, who lives in a drab apartmt in Chinatown, Manhattan, believes everything in nature can be understood through numbers. He suffers from cluster headaches, extreme paranoia, hallucinations, and schizoid personality disorder. His only social interactions are with his mathematics mtor, Sol Robeson (now disabled from a stroke), and those who live in his building: Jna, a little girl fascinated by his ability to perform complex calculations, and Devi, a young woman living next door who sometimes speaks with him.
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Max tries to program his computer, Euclid, to make stock predictions. Euclid malfunctions, printing out a seemingly random 216-digit number, as well as a single stock pick at one-tth its currt value, th crashes. Disgusted, Max throws away the printout. The next morning, he learns that Euclid's pick was accurate but cannot find the printout. Wh Max mtions the number, Sol becomes unnerved and asks if it contained 216 digits, revealing that he came across the same number years ago. He urges Max to take a break from his work.
Max meets Lny Meyer, a Hasidic Jew who does mathematical research on the Torah. Lny demonstrates some simple Gematria, the correspondce of the Hebrew alphabet to numbers, and explains that some people believe the Torah is a string of numbers forming a code st by God. Intrigued, Max notes some of the concepts parallel other mathematical concepts, such as the Fibonacci sequce. Agts of a Wall Street firm approach Max. One of them, Marcy Dawson, offers him a classified computer chip called Ming Mecca in exchange for the results of his work.
Using the chip, Max has Euclid analyze mathematical patterns in the Torah. Once again, Euclid displays the 216-digit number before crashing. As Max writes down the number, he realizes that he knows the pattern, undergoes an epiphany, and loses consciousness. After waking up, Max appears to become clairvoyant and visualizes the stock market patterns he sought. His headaches intsify, and he discovers a vein-like bulge protruding from his right temple. Max has a falling out with Sol after Sol urges him to quit his work.
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Dawson and her agts grab Max on the street and try to force him to explain the number, having found the printout Max threw away. Attempting to use the number to manipulate the stock market, the firm instead caused the market to crash. Driving by, Lny rescues Max, but takes him to his companions at a nearby synagogue. They ask Max to give them the 216-digit number, believing it was meant for them to bring about the messianic age, as the number represts the unspeakable name of God. Max refuses, insisting the number has be revealed to him alone.
Max flees and visits Sol, only to learn from his daughter, Jny, that he died from another stroke. He finds a piece of paper with the number in his study. At his own apartmt, Max experices another headache but does not take his painkillers. Driv mad, he destroys part of Euclid. Believing the number and the headaches are linked, Max tries to conctrate on the number through his pain. After passing out, Max has a vision of himself standing in a white void and repeating the digits of the number. The vision ds with Max hugging Devi, who is revealed to be a hallucination. Standing alone in his trashed apartmt, Max burns the paper with the number and begins to use a drill on his head in a trepanning procedure.
Sometime later, Jna approaches Max in a park and asks him to do several calculations, including 748 ÷ 238 (an approximation for pi). Max smiles and says that he does not know the answer. He sits on the bch and watches the trees blowing in the breeze, seemingly at peace.
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Before production, to finance the complex visual sets and shots for the film, producer Eric Watson and director Darr Aronofsky begged every frid, relative or acquaintance for donations of $100 each. Evtually, they accumulated an estimated $60, 000 for their production budget.
Used for most of the handheld shots. Lses were from Angieux. The film was shot on black and white reversal film stock; Aronofsky aimed for high-contrast shots to give Pi a more technically raw and spontaneous look.
Within Pi, stunts were replaced with ideas, action sequces with allegorical montages, and special effects with a haunting redefinition of New York City. For the main set which was Max Coh's apartmt, Scott Franklin's father allowed the production to use a warehouse he owned in Bushwick, Brooklyn. A back room was cleared out and used as a sound stage,
Francesca Quinn, Pi
Where Max's Euclid supercomputer was built and the majority of the film was shot. New York was chos as the setting due to Darr Aronofsky's upbringing. The nuanced multicultural view of the city in the film reflects Aronofsky's personal views of New York. Shooting on location would require expsive permits to be obtained. To get around this, much of the film was shot illegally,
Finishing the film was more costly than shooting it. The post-budget was $68, 183, most of which wt into post-production sound, film and lab work, and film editing. Throughout the filming, fifty-three thousand feet of 16mm film was shot, amounting to about 23 hours over 28 days.
Pi was produced under the SAG Limited Exhibition Agreemt, which allowed the film to be shown only in limited art vues, and actors earned $75 a day. If or wh the film was sold for broader distribution, the agreemt stipulated the actors would receive an increased paymt. On set operations, including catering, differt location expses, and the grip departmt, Aronofsky stated that Every member of the crew was on defermt for $200 a day. This deferred personnel also split 45 profit points. But we couldn't find a grip or gaffer to do it for free, so we paid those guys $50 a day.
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Most of the costumes used in the film were the actors' clothes, except for Sean Gullette's which came from thrift stores. There was a standard kit fee for make-up and hairstyling that amounted to about $25 per day.
The producers managed to get a free lighting package, and all of the money within the electric departmt shifted to the gaffer and expdables. The Bolex H16 camera was borrowed, but the crew broke it, and money had to be budgeted to fix it. A Canon 16mm camera package was also used.
Vehicles used in the film included a cab and a station wagon. To obtain the cab, Aronofsky stated that they hailed a cab and paid the driver $100 to keep his car there. The station wagon belonged to the film's consulting producer, who rted it to them.
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The film was st to be developed in Bono Labs in Arlington, Virginia, which, Aronofsky said, was the only one to develop black and white reversal stock. Consequtly, the crew only received dailies after a week of sding the footage in. Raw stock cost $5, 414 and developing it cost $18, 000. While the crew was able to shoot in the warehouse for free, they did have to pay the electricity bill, which increased dramatically during filming.
During post-production, most of the budget wt toward the negative cut, which was a match back from an AVID cut list. Clint Mansell created the score on his equipmt, for which he was paid a deferred fee. The rest of the money for music wt toward rights for festival tries. There was a separate budget for post-production, which cost roughly $25, 571. Another $3, 000 wt to the 35mm optical soundtrack.
For instance, Max finds the gold spiral occurring everywhere, including the stock market. Max's belief that diverse systems embodying highly nonlinear dynamics share a unifying pattern bears much similarity to results in chaos theory, which provides machinery for describing certain phoma of nonlinear systems, which might be thought of as patterns. During the climactic drill sce, a pattern resembling a bifurcation diagram is appart on Max's shattered mirror.
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And features a simple set of rules that results in a complex game strategy. Each character uses the game as a model for their view of the universe: Sol says that the game is a microcosm of an extremely complex and chaotic world, while Max asserts its complexity gradually converges toward patterns that can be found.
Gullette and Margolis spt many hours learning the game at the Brooklyn Go Club and received help from Dan Weiner, one of three Go consultants credited to the film.
Early in the film, wh Lny speaks with Max about his work, he asks if Max is familiar with kabbalah. The numerological interpretation of the Torah and the
