Moderated by Mohit Arora
May 24, 2022
clubhouse / Netflix
Install the app and listen to:
LOVE DEATH + RO3BOTS Watchalong with Director’s Commentary and Q&A
Bad Travelling, Directed by David Fincher
Swarm, Directed by Tim Miller
Jibaro, Directed by Alberto Mielgo
1 hr 18 min
Directors Jerome Chen, Jennifer Yuh Nelson, Tim Miller, Executive Producer Jennifer Miller, Alberto Mielgo, and Emily Dean.
The AFA Podcast Interview: Tim Miller, Jennifer Yuh Nelson and Alberto Mielgo
AFA: Animation For Adults
June 3, 2022
Paul Salfen
May 17, 2022
AMFM Magazine
Sophisticated Sci-Fi Is Back in ‘Love, Death + Robots’ Vol. 3
Ramin Zahed
May 20, 2022
Animation Magazine
Tim Miller And Jennifer Yuh Nelson Unleash “Love, Death + Robots” Vol. 3
Jackson Murphy
May 20, 2022
Animation Scoop
Alberto Mielgo Tells a Toxic Tale of Sensuality in ‘Love, Death + Robots’ Volume 3
Victoria Davis
May 20, 2022
Animation World Network
Tim Miller and Jennifer Yuh Nelson Talk ‘Love, Death + Robots’ Volume 3
Dan Sarto and Jon Hofferman
May 26, 2022
Animation World Network
Ben Morris
June 24, 2022
Awards Daily
Alberto Mielgo on His Animated Short “Jibaro” in Netflix’s ‘Love Death + Robots’
Ben Morris
June 26, 2022
Awards Daily
Ben Morris
August 19, 2022
Awards Daily
Talking ‘Love, Death & Robots’ with Tim Miller and Jennifer Yuh Nelson
Joey Magidson
August 19, 2022
Awards Radar
So, how exactly does someone pitch an episode of ‘Love, Death + Robots’?
With Vol. 3 now out, creator/EP Tim Miller and supervising director Jennifer Yuh Nelson explain how it works.
Love, Death + Robots’ Tim Miller Dives Into Animation’s Endless Possibilities
Caitlin Chappell
May 20, 2022
CBR.com
Emily Dean Directs a Love Letter to Moebius in Love, Death + Robots
Caitlin Chappell
May 20, 2022
CBR.com
Love, Death + Robots Director Alberto Mielgo Explains the Name ‘Jibaro’
E.L. Meszaros
May 26, 2022
CBR.com
Love, Death + Robots Volume 3: Tim Miller & Jennifer Yuh Nelson Break Down the Making of the Series
Steve Weintraub
June 4, 2022
Collider
Love, Death + Robots: Alberto Mielgo Talks Returning for Volume 3, New Challenges and More
Nick Valdez
May 22, 2022
comicbook.com
Alberto Mielgo On Creating A “Toxic Relationship” Between Two Predators In “Jibaro”
Ryan Fleming
June 6, 2022
Deadline
Engadget Podcast: A chat with the folks behind Netflix’s Love, Death and Robots
Devindra Hardawar
May 20, 2022
Engadget
Raven Brunner
May 21, 2022
GameRant
Alberto Mielgo (‘Love, Death + Robots’) on the toxic relationship at the center of ‘Jibaro’
GoldDerby / Gold Derby
June 18, 2022
Tim Miller and Jennifer Yuh Nelson (‘Love, Death + Robots’) on how hard it is to choose stories
GoldDerby / Gold Derby
August 8, 2022
‘Love, Death + Robots’ Season 3: Getting Animated About the Dark, Medieval Fable ‘Jibaro’
Oscar and Emmy winner Alberto Mielgo tells IndieWire about returning to the anthology with an animated original about a golden siren and an armored knight.
Bill Desowitz
May 23, 2022
IndieWire
Tim Miller and Jennifer Yuh Nelson Exclusive Interview | LOVE, DEATH & ROBOTS Season 3 (2022)
JoBlo Celebrity Interviews
May 20, 2022
Tim Miller & Jennifer Yuh Nelson On Love Death + Robots’ ‘Demented’ Volume 3
Reuben Baron
May 20, 2022
Looper
David Fincher Waited On ‘Love, Death + Robots’ Episode in Case Show ‘Sucked’
Roxy Simons
May 20, 2022
Newsweek
Love, Death & Robots’ team wants more adult American animation — and anime is helping
Petrana Radulovic
May 22, 2022
Polygon
Erik Amaya
May 20, 2022
Rotten Tomatoes
Love, Death and Robots: Entrevista con Tim Miller y Jennifer Yuh Nelson
Ruben Peralta Rigaud
May 22, 2022
Alberto Mielgo habla sobre Love, Death and Robots, episodio ‘Jibaro’
Ruben Peralta Rigaud
May 23, 2022
Tim Miller & Jennifer Yuh Nelson Interview: Love, Death & Robots Vol. 3
Stephen M. Colbert
May 21, 2022
ScreenRant
Alberto Mielgo Interview: Netflix’s Love, Death & Robots Vol. 3
Stephen M. Colbert
May 21, 2022
ScreenRant
Emily Dean Interview: Netflix’s Love Death & Robots Vol. 3
Stephen M. Colbert
May 30, 2022
ScreenRant
Danielle Ryan
May 20, 2022
/Film
Love, Death And Robots Director Alberto Mielgo Talks About His Stunning New Short, Jibaro
Danielle Ryan
May 20, 2022
/Film
Director Emily Dean creates a trippy Moebius tribute for Netflix’s ‘Love, Death + Robots Vol. 3’
Jeff Spry
June 15, 2022
Space.com
Love, Death and Robots’ most beautiful episode was ‘a love letter to Moebius’
Andrew Webster
June 5, 2022
The Verge
The Dazzling Visual Diversity and Artistry of Animated Series Love, Death + Robots Vol. 3
Trevor Hogg
June 21, 2022
VFX Voice Magazine
David Fincher chats with IGN about directing his first animated episode for Love, Death and Robots Volume 3.
David Griffin
May 20, 2022
IGN
After nearly 40 years in the entertainment business, 3-time Oscar-nominee, David Fincher, has seemingly done it all. From his early years directing music videos for Madonna and Aerosmith, crafting memorable films like Seven and The Social Network, and working on acclaimed TV shows such as House of Cards and Mindhunter, Fincher’s resume appears to be complete. But what about animation?
With the launch of Volume 3 of Netflix‘s mind-bending Love, Death and Robots anthology series, Fincher can finally check animation off his bucket list with his episode, titled “Bad Travelling.” In this seafaring horror story, a group of Jable shark hunters on a far-away planet are attacked by a giant crustacean. With the sailors’ lives in jeopardy, chaos and mutiny ensue.
Although Fincher has decades of experience working behind the camera on live-action projects, we wanted to know if animation brought any new challenges to the seasoned director.
“Ultimately, directing comes down to understanding context and sculpting time, light, and behavior with that innate understanding,” Fincher told IGN. “In some cases, like in the case of motion capture, there are people in onesies with ping pong balls hanging off them, and you’re going, ‘Okay, now remember the ship is rocking and all…’ You’re there to add a little imagination sauce to all the other shit that they’re trying to keep in their heads. I mean, it does tend to look a little like Saturday Night Live. It’s a ridiculous thing to be asking somebody to do a one-act play, dressed in pajamas. So that aspect of it, it’s the same thing. You’re playing dress up, right? And you’re trying to say, ‘Look, from the audience’s standpoint, this needs to happen a little faster here, a little… This can go a little slower. Find that word.’ It’s all the same shit.”
Fincher also talks about his love of director Alberto Mielgo’s ‘Jibaro’ and how he’s “never seen anything like it. I’ve never been that mesmerized.”
Steve Weintraub
May 20, 2022
Collider
If you’re a fan of David Fincher and Love, Death + Robots, you’re about to be very happy. Not only is Love, Death + Robots Volume 3 now streaming on Netflix, David Fincher directed one of the episodes, Bad Travelling, and it’s fantastic. Written by Se7en screenwriter Andrew Kevin Walker, it’s about a giant crustacean and a shark-hunting sailing vessel. I’d love to tell you more…but the best thing about Love, Death + Robots is not knowing anything about what you’re going to watch and just letting it happen.
Shortly after watching the episode, I was able to get on the phone with Fincher for a deep dive conversation about directing Bad Travelling and the making of Love, Death + Robots. During the sprawling conversation, Fincher talked about his history with animation, how he decided on the style of animation for his episode, how they decided where something should end, how everyone involved in the series is doing it for the love of the genre, and if they’ve thought about making a Love, Death + Robots feature film or doing a live-action version. In addition, he talked about his love of director Alberto Mielgo’s Jibaro (another Love, Death + Robots Volume 3 episode) and how he’s “never seen anything like it. I’ve never been that mesmerized.”
Trust me, if you’re a fan of Fincher and this amazing series, you’ll learn a lot about how it’s made.
Check out what he had to say.
May 19, 2022
Netflix
If you awaken, from this illusion…
Love, Death + Robots Vol 3. EXTREMING TOMORROW. May 20, 2022 ❤️💀🤖
Alan Watts – “Dream”
Music: Apache – Lord & Master
Emmy-winning animated anthology LOVE DEATH + ROBOTS returns with a third volume executive produced by Tim Miller (Deadpool, Terminator: Dark Fate) and David Fincher (MINDHUNTER, Mank). Terror, imagination and beauty combine in nine new episodes which stretch from uncovering an ancient evil to a comedic apocalypse, telling startling short stories of fantasy, horror and science-fiction with trademark wit and visual invention.
Fincher, left, directed the short under Covid protocols. “I didn’t quite realize how much I communicate through my face,” he said.
Noel Murray
May 19, 2022
The New York Times
The director made his first animated short for the new season of this Netflix anthology. “It was an incredibly freeing, eye-opening, mind-expanding way to interface with a story,” he said.
Before David Fincher became an A-list director and multiple Oscar and Emmy nominee — lauded for of-the-moment films like “Fight Club” and “The Social Network” and the TV series “House of Cards” and “Mindhunter” — he was one of the co-founders of the production company Propaganda Films. Propaganda was known for its visually dazzling TV commercials and music videos, and Fincher honed his craft in dozens of miniature movies made in myriad styles.
Yet until recently, he had never directed animation, even though he loves the medium so much that he signed on a few years ago to be an executive producer of the Netflix anthology animation series “Love, Death + Robots,” which returns for its third season on Friday.
“Love, Death + Robots” sprung from the ashes of a project Fincher had been developing with the “Deadpool” director Tim Miller since the late 2000s: a revival of “Heavy Metal,” the animated movie series inspired by the adults-only science-fiction and fantasy comics magazine. The first season of “Love, Death + Robots” debuted in 2019, featuring 18 episodes (ranging in length from 6 to 17 minutes) that adapted short stories by genre favorites like Peter F. Hamilton, John Scalzi and Joe Lansdale. An eight-episode second season followed in 2021.
Despite his involvement, Fincher never made a short of his own until Season 3, when he and the screenwriter Andrew Kevin Walker (who wrote Fincher’s crime thriller “Seven”) tackled a tale by the British science-fiction author Neal Asher called “Bad Travelling.” Set on the high seas on a distant planet, the story follows a merchant ship as it is tormented by a giant, intelligent crab that manipulates the crew members and then eliminates them one by one. Fincher described the short as “like a David Lean movie crossed with ‘Ten Little Indians.’”
Christopher Marc
May 9, 2022
The Playlist
This month will see the return of “Love, Death + Robots” on Netflix, which is produced by Tim Miller and David Fincher. With the third volume arriving, something special is happening. Fincher will be helming his first animated short for the anthology streaming series.
Netflix has released a new trailer and announced Fincher is directing the segment “Bad Travelling” which was written by screenwriter Andrew Kevin Walker (“Se7en”) and based on a short story by Miller’s longtime pal, author Neal Asher. This marks Fincher’s first time directing something for the streaming series.
Netflix has also included a synopsis that reads as follows:
“A jable shark-hunting sailing vessel is attacked by a giant crustacean whose size and intelligence is matched only by its appetite. Mutiny, betrayal, and ventriloquism with a corpse.”
May 9, 2022
Netflix
Emmy-winning animated anthology LOVE DEATH + ROBOTS returns with a third volume executive produced by Tim Miller (Deadpool, Terminator: Dark Fate) and David Fincher (MINDHUNTER, Mank). Terror, imagination and beauty combine in nine new episodes which stretch from uncovering an ancient evil to a comedic apocalypse, telling startling short stories of fantasy, horror and science-fiction with trademark wit and visual invention.
EXTREMING May 20, 2022.
Read the LOVE DEATH + ROBOTS. Volume 3 guide
Watch LOVE DEATH + ROBOTS on Netflix
Neil Kellerhouse (Netflix)
Thomas Puhr
April 21, 2022
Bright Lights Film Journal
David Fincher’s Zodiac: Cinema of Investigation and (Mis)Interpretation, edited by Matthew Sorrento and David Ryan. 259 pp. Fairleigh Dickinson UP, 2022.
2007 was a good year for American film, with the likes of the Coen brothers’ No Country for Old Men and Paul Thomas Anderson’s There Will Be Blood earning heaps of critical and popular adoration. Coupled with their success at the Academy Awards (the former won four, including for Best Picture; the latter two), the films’ positions as “instant classics” are well cemented.
Somewhat neglected among discussions of this banner year, on the other hand, is David Fincher’s true-crime epic Zodiac; though initially left in its contemporaries’ shadows (as a point of comparison, it received zero nominations), it may very well have aged better than either of them. If Anderson’s and the Coens’ outings were dirges on late capitalism, then Fincher’s was something of a prophecy – one that anticipated the post-truth morass of our digital age. Given this unexpected prescience, Zodiac is ripe for critical reassessment.
Enter David Fincher’s Zodiac: Cinema of Investigation and (Mis)Interpretation, courtesy of editors Matthew Sorrento and David Ryan. What makes this particular film so alluring is its unique position as a literary adaptation, a piece of narrative nonfiction (one based on a still-unsolved case, no less), a self-reflective critique of news and multimedia, and a relatively early exemplar of what digital cameras can do in the right hands. The book mines these and many other critical avenues – from game theory, to death metal – with somewhat inconsistent, but never dull, results. While reading it, I was reminded more than once of Robert Graysmith’s (Jake Gyllenhaal) climactic, fevered conversation with investigator David Toschi (Mark Ruffalo) in the diner: “This is a case that’s covered both Northern and Southern California, with victims and suspects spread over hundreds of miles,” he tells Toschi as he struggles to connect the case’s overwhelming number of dots. Like the film itself, this collection has its fingers in many pots, is borderline obsessive, and makes some ambitious connections that may or may not actually be there. But, of course, that’s part of the fun.
Dominik also discusses what it was like to direct Season 2’s Charles Manson episodes.
Carly Lane
April 20, 2022
Collider
It’s not often that we as viewers and lovers of television get an inside scoop on what the future of a favorite show would have been — especially once it’s canceled. In the case of Netflix’s Mindhunter, which released its second season back in 2019, the series technically wasn’t canceled so much as a possible third season was put on “indefinite hold” per David Fincher, though the series’ executive producer has also confirmed in interviews since that Season 3 likely isn’t happening, partly due to the fact that it would have required an even steeper budget than the previous one. Now, thanks to Season 2 director Andrew Dominik, we have even more of a sense of why Mindhunter‘s dead-in-the-water third season would’ve had a higher price tag.
In speaking with Collider‘s own Steve Weintraub in a long-spanning interview about his documentary about Nick Cave and Warren Ellis, This Much I Know to Be True, the director also briefly touched on not only his experience with directing two of Mindhunter‘s Season 2 episodes, but also what the third season would have entailed in terms of its main story — as well as which real-life figures the FBI Behavioral Science Unit team consisting of Holden Ford (Jonathan Groff), Bill Tench (Holt McCallany), and potentially even psychologist Wendy Carr (Anna Torv) would have crossed paths with.
The Fincher Analyst 