Charlie Rose is one of the few television personalities in the US that consistently does long-form interviews for artists and entertainment figures. When someone shows up on Rose’s show, you can reliably expect an in-depth conversation that will offer ideas that go much deeper than sound byte level. So having the cast and creators of Gone Girl on the show — author/screenwriter Gillian Flynn, director David Fincher, and stars Rosamund Pike and Ben Affleck — is a great thing. This Charlie Rose Gone Girl talk is a half hour of in-depth conversation about the film and the personalities that created it. Read More »
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In David Fincher‘s big screen adaptation of Gone Girl, Rosamund Pike plays Amy Dunne, a wife who goes mysteriously missing leaving her husband (Ben Affleck) in the public spotlight. The character of Dunne has always lived in the shadow of Amazing Amy, a series of children’s books written by her parents very loosely based on her childhood. Well it looks like the Amazing Amy books are about to be released as a collection, The Complete Amazing Amy, and a preview has been released digitally. Take a quick preview of The Complete Amazing Amy, after the jump.
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When the cameras turn off, a movie isn’t even close to finished. These days, post-production is just as important, if not more so, than principal photography. Yes, capturing the images and performances are absolutely crucial to a film. But figuring out the pacing, making the story cohesive, adding emotion with music, depth with effects, are what really make a movie a movie.
David Fincher‘s Gone Girl is no different. Fincher and director of photography Jeff Cronenweth captured stunning images on the Red Epic Dragon 6K camera but when that was done, the editors, led by Kirk Baxter, took over. For Gone Girl, they used a new workflow that blurred the line between digital effects and editing in a way that’s pretty new and unique. Check out a video about the Gone Girl editing and post-production below. Read More »
David Fincher, author/screenwriter Gillian Flynn and the cast of Gone Girl have been all over the place in the past couple weeks to promote the film. They did a big panel at the New York Film Festival, and Fincher just did a Film Indepenent event in LA, and they’ve done various television press to get word out for the film. Now they’ve done a session at Cinemax for the “Max Final Cut” and the panel talk offers them the chance to talk seriously about the material and to drop some great anecdotes. There’s a very comfortable camaraderie here, which isn’t always in evidence in a full-cast interview. Read More »
I’ve always loved hearing filmmakers discuss movies. We’ve often printed interviews where we ask filmmakers about their favorite films and the /Filmcast has tried to bring on directors to review the latest big screen movies. That hasn’t been as constant of a feature as David Chen and I originally planned, because as it turns out, people in the movie industry generally don’t like to publicly bas other filmmaker’s projects and we generally only got yeses from those directors who had a positive take on the film at hand. But I’ve always enjoyed hearing filmmakers discuss the movies they love and the current state of cinema.
Richard Kelly, writer/director of Donnie Darko, Southland Tales, and The Box, has always made his opinions and himself very accessible (actually, I almost wish he wouldn’t have explained the intentions and meanings behind his films, as they serve better as mysteries with no definitive answer). And this week, like many of us, he saw David Fincher‘s latest film Gone Girl and wrote a bit about it on his blog. Find out more about the Richard Kelly Gone Girl review, after the jump.
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Things that are absent can be just as important as what is present. When talking about directors, the classic approach is to focus on the “positive space,” to appropriate a concept. What does the director do? They use handheld or dolly shots in a certain way; maybe they have a consistent approach to blocking two-shots and conversations; perhaps they consistently use close-ups to deliver information to the audience.
And then there’s the negative space. What does a director not do? What do they avoid, and why? With the release of Gone Girl, many people (including us!) are looking back at the consistent filmmaking techniques and concerns employed by David Fincher. A new video essay from “Every Frame a Painting” editor Tony Zhou focuses on the elements that are absent from Fincher’s technique. Why does he avoid close-ups and hand-held shots? What does his positioning of actors tell us about a scene? There’s a lot of information in the great David Fincher video essay, and I expect many people will view Fincher’s work a bit differently after watching. Read More »
David Fincher began his directorial career making music videos for some of the biggest talents in pop music. Beginning with Alien³ in 1992, his work in features has combined a drive for technical achievement off-screen with a consistently recognizable interest in detail-oriented obsession on-screen. He is a consummate craftsman, but one with an uncanny ability to lay his finger right on the cultural pulse. Together, those talents result in films which have gone beyond reflecting cultural attitudes, to defining them.
With the release of his latest film, Gone Girl, we’ve taken the opportunity to revisit the director’s narrative works on film. (And, briefly, in television.) Below is a list of the films of David Fincher ranked by achievement. It’s a highly subjective effort, we realize. Where does Gone Girl fit in alongside Fight Club, Se7en, The Social Network, and Zodiac? What stands out as the best film in his career to date, and what virtues can we find even in his least successful efforts? As you’d expect with Fincher, the answer to that last question is a lot more detailed than it would be for many other filmmakers. Compare our list with your own after reading further.
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More and more filmmakers are making the jump to work in television, where the stories that studios will never finance as mid-budget dramas can flourish as long-form narrative experiments. Cary Fukunaga and Steven Soderbergh have done significant work with True Detective and The Knick, respectively, for which each director took charge of the entire season, rather than just directing an episode or two.
David Fincher only occasionally sat in the director’s chair for a couple episodes of House of Cards, but he’s really taking the plunge with his next series. Utopia sees Fincher reunited with Gillian Flynn (Gone Girl) as they adapt the UK series of the same name for HBO. (That’s the show about people who possess a text that supposedly predicts future disasters, and not the new Fox reality TV disaster.) This time, Fincher will direct every episode of the show’s first season.
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From what we’ve heard, J.J. Abrams was always the director Kathleen Kennedy wanted to direct Star Wars Episode VII. Abrams had the ability and the insane Star Wars fandom to please executives and fans alike. However, don’t forget, he initially turned it down. History gets murky after that, with an incredible list of A-list directors who were rumored to, and reported to, have been contacted. Brad Bird, Matthew Vaughn, Jon Favreau, Guillermo del Toro and many others were mentioned in tandem with the film. Then, of course, J.J. Abrams changed his mind and the rest his story.
Probably the most interesting name mentioned in regards to Star Wars Episode VII was David Fincher. We published a rumor about Fincher meeting with Lucasfilm in November 2012 and, it turns out, that was correct. In a new interview, Fincher confirmed he met with Kennedy about the film but has a much different view of Star Wars than what she had in mind. Read the David Fincher Star Wars 7 quote below. Read More »