Having been handed the true crime book “Mindhunter” by friend Charlize Theron, executive producer David Fincher began the collaboration and long developed project we now know as Netflix‘s “Mindhunter“. Today on The Treatment, Fincher announces the release of season two of the series where discussion of serial killers became common place among American mainstream and how the soundtrack plays with the timeline of this eerie American history.
The Hero’s Journey is a monthly podcast which examines classic and contemporary books and films through the lens of The Hero’s Journey. Pioneered by renowned mythologist and teacher Joseph Campbell, and refined for the context of modern storytelling by Disney veteran Christopher Vogler, The Hero’s Journey is a series of motifs and archetypes that pervade myths, folklore, and stories across all cultures and eras. Your hosts, author Jeff Garvin and book blogger Dan Zarzana, will discuss a new book or film each month. And probably, there will be some drinking.
Lose your heads with Dan and Jeff as they open the box on David Fincher’s serial killer masterpiece, Se7en.
When I visit Darius Khondji, ASC, AFC, in his home in Paris recently for coffee, tea and talk about his art and craft, we speak in his dark living room, with a small pool of light from a lamp on a nearby table, and soft daylight coming through French windows that give on to a snowy courtyard.
Darius’ wife, photographer Marianne Chemetov, kindly agrees to shoot a still of her husband for me near a window. They discuss the lighting. Darius asks to be in silhouette, and, afterwards he darkens Marianne’s photo on his iPhone even further. I ask him about this, and he says: “I like the radical quality of this chiaroscuro.”
The following is an excerpt from the new book Conversations with Darius Khondji, written by The Hollywood Reporter film critic Jordan Mintzer and published in a French-English bilingual edition by Synecdoche in Paris. The excerpt is taken from the chapter “Out of the Shadows,” which begins with Khondji describing his work on David Fincher’s Se7en (1995) — the first feature he shot in Hollywood.
Throughout 2019, the Society will honor the best-photographed films of the 20th century, as voted on by ASC members.
Founded on January 8, 1919, the American Society of Cinematographers celebrates its 100th anniversary today.
As part of the centennial festivities, the Society released their members’ list of the 100 milestone films in the art and craft of cinematography of the 20th century. Organized by Steven Fierberg, ASC (The Affair, Good Girls Revolt, Entourage) and voted on by ASC members, the list is the first of its kind to showcase the best of cinematography as selected by professional directors of photography. […]
The 100 films list will serve as a library of influential, key titles that all cinematographers should see as well as an educational tool for students, teachers and film lovers to better understand and appreciate the importance of cinematography. “It is our hope that the list will help cinematography to be better understood by the public — the audience — [and to showcase] each of us as an artist who is an essential contributor to the magic of cinema,” offers Fierberg.
The list represents a range of styles, eras and visual artistry, but, most importantly, it commemorates films that are inspirational or influential to ASC members and have exhibited enduring influence to generations of filmmakers.
The list culminates in a Top 10 by number of votes, while the other 90 titles are unranked.“We are trying to call attention to the most significant achievements of the cinematographer’s art,” Fierberg assures. “We do not presume to call one masterful achievement ‘better’ than another.”
Members chose to frame this list around the 20th century to ensure that enough time has passed for the titles and work to reasonably exhibit enduring influence.
The process of cultivating the 100 films began with ASC members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the ASC, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles. […]
Detailed essays and historical information on each title will be published over the coming months, celebrating the diverse, global art form of cinematography throughout the ASC’s Centennial year. […]
This dissertation aims to show the recurring themes of pressure and obsession in the work of film director David Fincher. Looking specifically at Seven (David Fincher, New Line Cinema, 1995), Zodiac (David Fincher, Paramount Pictures, 2007) and The Social Network (David Fincher, Columbia Pictures, 2010), I will show the gradual change in style and subject matter while still highlighting the resonance of the two themes under analysis. Furthermore, it will be shown how obsession and pressure link to Fincher’s working method. I will be examining critical, journalistic and academic writings to assess the themes and Fincher’s directorial position. Whereas Seven has had a great deal written about it, Zodiac and The Social Network are more recent films and thus there is less literature on them. For this reason, study on both films should garner more original analysis.
The themes of pressure and obsession differ slightly in all three films, however, there is an overriding sense in each film that the workplace and environment has a pressurizing effect on the characters. What is more, pressure can at times define the notion of obsession. Obsession is mostly shown as a mutation of characters’ personal drive, or an extension of their duties for work. The two themes can at times separate themselves in terms of aesthetic and narrative presentation yet they are mainly one and the same; at times they can even be analyzed in the context of Fincher’s filmmaking practice.
Chapter one gives an overview of contemporary Hollywood, the role of the director, Fincher in relation to both of these, the two themes under analysis and deliberations on auteurist theory – this constitutes the literature review. The second chapter examines the impetus of investigative obsession, along with the presentation of morbidity and tension in Seven. Chapter three looks at the similarity in obsessive personalities along with suspense and drama in Zodiac. Chapter four focuses on The Social Network and obsession effecting status quo. The conclusion will draw on the comparisons and contrasts from chapters two to four. It will also give an overall account of how we may regard Fincher in contemporary Hollywood and in respect to auteur theory.