Volume 3 directors break the rules with David Fincher, Tim Miller, and Jennifer Yuh Nelson at the helm.
Moderated by Laura Prudom
July 20, 2022
Netflix Queue
David Fincher had produced two volumes of his Emmy Award-winning anthology series Love, Death + Robots before he decided to make his animated directing debut in the third volume. His episode, “Bad Travelling,” tells the story of a sailing vessel attacked by a giant, bloodthirsty crustacean. “My take on it skewed more towards [the reality TV series about crab fishermen] Deadliest Catch meets Alien, with a touch of motorcycle touring gear thrown in for good measure. It’s not swashbuckling at all. You get this idea that this is a rough job — it’s not something you aspire to.”
Love, Death + Robots, was a project that Academy Award-nominated Fincher (Mank, Mindhunter) and fellow executive producer Tim Miller (Deadpool) had longed to make for years. Inspired by the boundary-pushing comic magazine Heavy Metal (co-founded by acclaimed comic artist Moebius in the 70s) and motivated by a keen desire to move the needle on animated storytelling, they worked to craft a platform that could house a range of creators and styles under the same roof.
Since its 2019 debut, Love, Death + Robots has impressed an ever-growing fanbase of critics and audiences with its bold, fearless approach. “It’s not even creative freedom,” describes Oscar-winning Spanish animator Alberto Mielgo, “I would say, almost creative anarchy.” Mielgo, whose first season animated short “The Witness” earned two Emmys, returns in the third season with “Jibaro,” a meticulously crafted 3D animation chronicling a deaf knight’s deadly dance with a golden siren. “Jibaro” is the only original work featured in Volume 3.
The other eight installments are artful adaptations of sci-fi and fantasy short stories, covering a wide range of animation styles and narratives: Emily Dean’s trippy, Moebius-inflected tale of an astronaut in peril, “The Very Pulse of The Machine;” Jennifer Yuh Nelson’s (Kung Fu Panda 2 & 3) testosterone-fueled, robo-bear action movie send-up, “Kill Team Kill;” and Fincher’s “Bad Travelling” among them. Miller’s entry “Swarm” notably brings sci-fi legend Bruce Sterling’s fiction to the screen for the very first time. Patrick Osborne’s 3D-animated short “Three Robots: Exit Strategies,” meanwhile, is the series’ first sequel, rejoining Volume 1’s “Three Robots” protagonists K-VRC, XBOT 4000, and 11-45-G as they piece together humanity’s final days on Earth.
Queue brought together creators Fincher, Miller, and Nelson (who serves as the anthology’s supervising director) with contributing directors Mielgo, Dean, and Osborne to discuss the anything-goes approach to the series and their wide-ranging inspirations.
The Fincher Analyst 