November 28, 2022
Alien Theory (YouTube)
Alien 3 has been a divisive film for 30 years now, garnering many different reactions. Could the film serve as an allegory for the HIV/AIDS crisis of the 1980s?
Jeff Cronenweth, ASC on the set of his most recent feature, Being the Ricardos.
The cinematographer’s career exemplifies how talent, versatility, opportunity and collaboration can combine to result in bold camerawork.
February 25, 2022
Directors who have worked with Jeff Cronenweth, ASC observe that he is quiet, centered, and possesses a very dry sense of humor. Working in an eclectic mix of genres and styles, he quickly zeroes in on central concepts, often exceeding expectations with the results. His career as a feature cinematographer began auspiciously with David Fincher’s eye-popping Fight Club (AC Nov. ’99), and his filmography since then includes The Social Network (AC Oct. ’10), Gone Girl (AC Nov. ’14), One Hour Photo (AC Aug. ’02) and the Amazon miniseries Tales From the Loop (AC April ’20). Cronenweth has also shot stylistically bold, groundbreaking music videos for David Bowie, Taylor Swift, Janet Jackson, Nine Inch Nails and many other top artists.
Jeff with his father, Jordan Cronenweth, ASC.
It wouldn’t be at all hyperbolic to say Cronenweth was born into filmmaking. His great-grandfather owned and operated a photographic-equipment store in Wilkinsburg, Pa.; his grandfather Edward worked as a portrait photographer for Hollywood studios during the peak of that unique specialty, earning an Academy Award for his work; his grandmother Rosita was a Busby Berkeley dancer; and his father, renowned ASC member Jordan Cronenweth, served as director of photography on Blade Runner (AC July ’82), Peggy Sue Got Married (AC April ’87), Altered States (AC March ’81), Gardens of Stone (AC May ’87), and many classic music videos for leading artists of the 1980s and ’90s.
Taking this lineage a step further, Jeff Cronenweth has also collaborated with his brother Tim, a successful commercial director, on more than 500 spots.
“A storyteller doesn’t want to tell the same story over and over, and I don’t want to, either. I always want to find something new and challenging to work on.”
— Jeff Cronenweth, ASC
David Fincher: Mind Games is the definitive critical and visual survey of the Academy Award– and Golden Globe–nominated works of director David Fincher. From feature films Alien 3, Se7en, The Game, Fight Club, Panic Room, Zodiac, The Curious Case of Benjamin Button, The Social Network, The Girl With the Dragon Tattoo, Gone Girl, and Mank through his MTV clips for Madonna and the Rolling Stones and the Netflix series House of Cards and Mindhunter, each chapter weaves production history with original critical analysis, as well as with behind the scenes photography, still-frames, and original illustrations from Little White Lies‘ international team of artists and graphic designers. Mind Games also features interviews with Fincher’s frequent collaborators, including Jeff Cronenweth, Angus Wall, Laray Mayfield, Holt McCallany, Howard Shore and Erik Messerschmidt.
Grouping Fincher’s work around themes of procedure, imprisonment, paranoia, prestige and relationship dynamics, Mind Games is styled as an investigation into a filmmaker obsessed with investigation, and the design will shift to echo case files within a larger psychological profile.
On History of the 90’s we’ll travel back in time through the stories that defined a decade. The last 10 years of the 20th century was a time like no other, from Columbine to Ruth Bader Ginsburg to Seinfeld, Air Jordan, and the Spice Girls… if it happened in the 90’s you’ll hear about it on this podcast. Join Kathy Kenzora as we journey through the History of the 90’s every other Wednesday.
In the 1990’s director David Fincher brought us classic movies like Seven and Fight Club, making his mark on the industry as one the best film makers of his generation. But Fincher’s impact on the decade stretches beyond movies. Through dozens of TV commercials and music videos Fincher helped style the 90s.
Guest: Adam Nayman, author of David Fincher: Mind Games
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A conversation with the author about his new book, “David Fincher: Mind Games”
Adam Nyman is a fellow film critic and the author of several books about films and filmmakers, including but not limited to The Coen Brothers: This Book Really Ties the Films Together (2018) and Paul Thomas Anderson: Masterworks (2020). (Though we’ve never crossed paths in person, he also teaches in the department where I did my Master’s program.) He opens Mind Games with a dedicated discussion of the decade or so before Fincher ever made his narrative feature debut with ALIEN³ (1992), but then continues to come back to his commercial and music video work for the remainder of it, wisely treating his adman past as, well, more of an adman present. A few weeks back, Adam and I chatted for an hour about Fincher’s short-form oeuvre, but also his features because—again—the two aren’t as discrete as a lot of people believe. Our conversation has been edited for clarity, but not really so much for length.
Buy the book David Fincher: Mind Games. By Adam Nayman
The director makes beautiful bummers in an industry that prefers happy endings. Perhaps that’s why his movies seem like an endangered species.
For nearly three decades, David Fincher has been making gorgeous bummer movies that — in defiance of Hollywood’s first principle — insist that happy endings are a lie. Filled with virtuosic images of terrible deeds and violence, his movies entertain almost begrudgingly. Even when good somewhat triumphs, the victories come at a brutal cost. No one, Fincher warns, is going to save us. You will hurt and you will die, and sometimes your pretty wife’s severed head will end up in a box.
Long a specialized taste, Fincher in recent years started to feel like an endangered species: a commercial director who makes studio movies for adult audiences, in an industry in thrall to cartoons and comic books. His latest, “Mank,” a drama about the film industry, was made for Netflix, though. It’s an outlier in his filmography. Its violence is emotional and psychological, and there’s only one corpse, even if its self-destructive protagonist, Herman J. Mankiewicz (Gary Oldman), can look alarmingly cadaverous. Set in Hollywood’s golden age, it revisits his tenure in one of the most reliably bitter and underappreciated Hollywood tribes, a.k.a. screenwriters.
Illustration by Rumbidzai Savanhu
The master filmmaker behind Mank on Orson Welles, Pauline Kael and realising a passion project after a 30-year wait.
From the pen of Jack Fincher comes Mank, the story of how perma-soused Hollywood hack Herman J Mankiewicz happened to write one of the greatest screenplays of all time. Sadly, Jack didn’t live long enough to see the words he had written transformed into sound and light, but it’s something that his son David had wanted to realise for close to three decades.
It’s been six years since Fincher Jr’s last feature film, 2014’s Gone Girl, and in the interim we’ve had two series of Rolls Royce TV drama in the form of Mindhunter. For someone who has already made a tech bro riff on Citizen Kane (2010’s The Social Network), and a melancholic homage to his late father (2008’s The Curious Case of Benjamin Button), Mank combines these two career poles, while also posing such existential hypotheticals as, what makes a man? And not only that, what makes a writer, and what makes a director?
LWLies: Let’s go on a quick flashback to the early days and the creation of this amazing script by your father, Jack. He was a journalist and author by trade. Did he pivot to screenwriting later in life?
Fincher: I think he wrote a screenplay that was optioned and Rock Hudson wanted to do it – this was in the late ’60s. That fizzled out. Then he wrote spec screenplays in the ’60s, ’70s and ’80s, and then when he retired in the ’90s, he came to me and said, ‘I’m going to have all this time on my hands, what do you want to read a script about?’ I said I had always been interested in ‘Raising Kane’ which I was exposed to in middle school. I had read Pauline Kael’s essay on microfiche in the school library, and then I noticed a copy of it in my father’s library, and we talked about it. Then, 12 years later, I was about to go off to do Alien3, and he was retiring and wanted a new challenge.
OBSESSION: David Fincher
1. Mank de David Fincher
Le grand film de Fincher débarque sur Netflix le 4 décembre. L’occasion d’un entretien avec le cinéaste, mais aussi avec ses collaborateurs les plus proches. 16 pages spéciales.
Scénario pour une critique par Nicolas Tellop
Filmopathe entretien avec David Fincher – par Nev Pierce
Collaborer avec Fincher entretiens avec Erik Messerschmidt (chef opérateur) – Donald Graham Burt (chef décorateur) – Trish Summerville (costumière) – Kirk Baxter (monteur)
2. Revisiter Fincher
Plongée exceptionnelle dans l’oeuvre de l’un des plus grands cinéastes contemporains. Filmographie commentée, analyses… 50 pages à lire.
4 nuances de Fincher par Jean-Sébastien Massart et Fabrice Fuentes
David Fincher en 14 titres Propaganda Films (clips) – Alien 3 – Se7en – The Game – Fight Club – Panic Room + les plans de Panic Room – Zodiac – L’Étrange histoire de Benjamin Button – The Social Network – Millénium + la musique hantée de Millénium – Gone Girl – Mindhunter
Démoniaque – la perfection du crime par Nathan Reneaud
Fantômes et paranoïa par Jérôme d’Estais
Solitude & obsession – Fincher Dogma par Alexandre Jourdain
Poétique du suicide par Aurélien Lemant
Le système des objets – design finchérien par Dick Tomasovic
To celebrate the 25th anniversary of Se7en and the 10th anniversary of The Social Network, The Ringer hereby dubs September 21-25 David Fincher Week. Join us all throughout the week as we celebrate and examine the man, the myth, and his impeccable body of work.
David Fincher’s entry in the ‘Alien’ franchise was particularly dark and divergent from the tone of its two predecessors. The director has disavowed it. But, in retrospect, the film may not have deserved all the flak it received.
Here’s my lukewarm take about the Alien franchise: Every single film is good in its own unique way. (Like most Alien fans, I’m going to pretend that the two spinoffs in which Xenomorphs fight Predators do not actually exist—those are quite bad.) Instead of following a regimented franchise blueprint like the Marvel Cinematic Universe, the series has given blank slates to its talented filmmakers. But what the franchise has lost in continuity, it’s gained in the creation of some of the most ambitious projects conceived at a blockbuster scale.
For the first Alien, and his second feature film, Ridley Scott crafted a tense, claustrophobic, existential horror movie—one frequently likened to a haunted house in space. Alien remains, to this day, scary as all hell; the chestburster scene is an all-timer. The follow-up, Aliens, directed by up-and-comer James Cameron after his success with The Terminator, is a loud, chaotic action film inspired by the Vietnam War. What Aliens lacks in scares, it makes up for in firepower and iconic one-liners. The fourth movie in the franchise, Alien: Resurrection, is a campy romp from the director of Amelie (Jean-Pierre Jeunet) in which an eccentric space general holds a chunk of his own brain after a Xenomorph takes a chunk out of his skull, Winona Ryder is a robot, and Sigourney Weaver’s Ellen Ripley dunks a basketball. When the franchise returned to Scott for the prequels Prometheus and Alien: Covenant, Scott used the Alien mythos to ponder the origins of mankind and what happens when an android that looks like Michael Fassbender tries to play God—and wherein Michael Fassbender becomes scarier than the actual Xenomorphs.
25th Annual American Society Of Cinematographers (ASC) Awards (2011)
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Oscar-nominated camera wizard Jeff Cronenweth sat down with us to talk about his origins in the film industry.
As a young man, Cronenweth spent time on the set of Blade Runner as his father, Jordan Cronenweth shot it. He walks us through the next chapter of his career, starting out as an AC for legendary DP Sven Nykvist and how his longtime working relationship with David Fincher began when shooting pickups for a Madonna music video.
We discuss his experiences crafting the look of Fight Club, The Social Network, and Gone Girl, among other great films. Now in 2020, he is up for an Emmy for his work on the Amazon series Tales From The Loop.
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