The Best Movie Trailer Ever Came Out Eight Years Ago. It’s Still The Best

I wish I was special.

Adam Epstein
July 19, 2018
Quartzy

In 2009, shortly after The Social Network—then known only as “the Facebook movie”—was announced, Mashable ran a story with the headline, “No, You Cannot Turn Facebook into a (Decent) Movie.” Even after it was reported that the brilliant filmmaker David Fincher would direct Aaron Sorkin’s script about Mark Zuckerberg and the early days of Facebook, the Huffington Post published a story proclaiming “The Facebook Movie Puts the zZzZ’s in Zuckerberg.” Some months later, after the film’s cryptic, one-minute teaser trailer hit the internet, the Atlantic remained skeptical, predicting that The Social Network would be “deadly dull.”

People said the film sounded “like parody,” that it looked like “a train wreck,” that the whole thing was “asinine” and made them “weep for humanity.”

Then, eight years ago this week, that all changed. On July 16, 2010, Sony Pictures released the first full-length theatrical trailer for The Social Network, made by the artsy trailer house Mark Woollen & Associates, upending the narrative surrounding the film almost overnight:

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Mark Woollen & Associates - Logo

Mark Woollen & Associates

The Social Network
The Girl With The Dragon Tattoo
Gone Girl

Opinion: SE7EN’s John Doe Didn’t Succeed as He Planned

Jonathan Barkan
July 3, 2018
Dread Central

David Fincher’s 1995 psychological horror/thriller Se7en is one of most enduring and terrifying films of its kind, standing alongside the likes of The Silence of the Lambs, Zodiac, Frailty, and The Vanishing, amongst others. The tale of two detectives, one new to the force and one on the way out, searching for a serial killer whose victims are chosen according to the seven deadly sins, Se7en was lauded upon release and was wildly commercially successful.

While the gritty, grimy, darkness that pervades throughout the film hovers like a miasma of evil, it’s the ending that has cemented the film in cinema history. I urge those who have not seen the film to avoid reading any further because this piece will delve deep into spoiler territory, ruining a great deal of what makes this film so special.

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“Heavy Metal” R-rated animated anthology might finally be happening as a series on Netflix

Last March, during several promotional interviews for his new film Prodigy (1, 23), veteran actor and voice actor Richard Neil talked about one his recent projects:

“I just voiced one of the lead roles in a graphic anthology series directed by Tim Miller, who directed Deadpool. That’s being produced by David Fincher and is supposed to debut on Netflix later this year or early next year.

I cannot even say the name of the series at this time.

In that, I took on a kind of Nick Nolte meets Tom Waits voice. You just have to make sure you can sustain it and not hurt yourself!”

According to Longmire TV series actor Adam Bartley:

“This year, since I’ve finished Longmire I’ve done two films and a motion-capture job, a David Fincher – Netflix untitled short.”

For details on the history of the Heavy Metal anthology project and his development (hell):

Details and Artwork From Tim Miller’s Unmade ‘Heavy Metal’ Reboot

Christopher Marc
December 10, 2016
Omega Underground (Geeks WorldWide)

Tim Miller Hints ‘Terminator’ Shoots In 2018; ‘Goon’ and ‘Heavy Metal’ Announcements Soon?

Christopher Marc
July 26, 2017
Omega Underground (Geeks WorldWide)

Frank W Ockenfels 3: David Bowie, Light, & Portrait Photography

The Hollywood Reporter (YouTube)
June 22, 2018

A craftsman with a camera and an artist with a vision. Frank W Ockenfels 3 takes us through his detailed story of his close relationship with the late David Bowie. A master of light and one of the industry’s most prolific photographers, this is ‘Magic Hour.’

Click for a full screen view:

Frank Ockenfels 3

Original Benjamin Button Model by Kazu Hiro

Click for a full screen view:

2006. Rick Baker's Cinovation Studios deliver the Brad Pitt heads by Kazu Hiro to Digital Domain

Rick Baker’s Cinovation Studios deliver the aged Brad Pitt silicone heads by Kazu Hiro to Digital Domain to be digitally scanned. Top center: Kazu Hiro and Rick Baker. Top right: Eric Barba, Visual Effects Supervisor for Digital Domain (Kazu Hiro, 2006)

2018-01. Make-Up Artist Magazine - Kazuhiro TsujiSculptor and Special Make-Up Effects Artist
Kazu Hiro (Make-Up Artist Magazine, 2018)

kazustudios.com

MINDHUNTER. S01: Emmy FYC DVD Set

Click for a full screen view:

DVD Set kindly donated by Joe Frady

2018-05. Mindhunter FYC DVD Set 000b

Editors on Editing: Kirk Baxter, ACE talks GONE GIRL

American Cinema Editors (YouTube)
May 6, 2018

Editors on Editing: Glenn Garland, ACE talks to Kirk Baxter, ACE about editing the film, GONE GIRL.

Original release:

Gone Girl: Kirk Baxter, ACE
October 2014
moviola.com

‘Mindhunter’: The David Fincher Look is All About Power and Control

Merrick Morton / Netflix

Fincher was very particular about conveying control and dominance through lighting and production design in his Netflix FBI crime drama.

Bill Desowitz
June 18, 2018
IndieWire

David Fincher brilliantly pushes his cinematic formalism in “Mindhunter,” Netflix’s 10-episode crime drama that explores the FBI’s fledgling Behavioral Science Unit in Quantico, Virginia, in the late ’70s. But, for the dialogue-heavy creepy interrogations with imprisoned serial killers by agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany), executive producer/co-director Fincher manages to visually convey constant power shifts.

“It’s about control and dominance and also about misogyny,” Fincher said. “People forget that this goes all the way back to Jack the Ripper.”

And Fincher’s collaboration with production designer Steve Arnold (“House of Cards”) and gaffer-turned cinematographer Erik Messerschmidt (“Mad Men”) was crucial to the authentic ’70s look and dynamic blocking of the interrogation scenes, particularly those involving Ed Kemper (Cameron Britton), who captivates and mentors Holden.

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