Fincherphilia & Beyond

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Just a small sample of all the precious filmic resources bestowed by Cinephilia & Beyond:

1993. Alien3 01

Alien3: “Take all of the responsibility, because you’re going to get all of the blame”

1995. Se7en

Se7en: A Rain-Drenched, Somber, Gut-Wrenching Thriller that Restored David Fincher’s Faith in Filmmaking

1995. The Game

Downwards Is the Only Way Forwards: Welcome to David Fincher’s The Game

1999. Fight Club

Fight Club: David Fincher’s Stylish Exploration of Modern-Day Man’s Estrangement and Disillusionment

2007. Zodiac

Fincher’s Zodiac As Easily One Of The Best Thrillers Of The Millennium So Far

1982. David Fincher at ILM

David Fincher’s Favorite Movies

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The Difficult History of David Fincher’s Fight Club

Merrick Morton

David Fincher’s Fight Club is now considered a classic, but it had trouble getting off the ground.

Ryan Lambie
October 15, 2018
Den of Geek! (US)

What the hell is Fight Club anyway? A horror film about a Jekyll-and-Hyde office worker who becomes a terrorist? A drama about late 20th century masculinity in crisis? A warped romance about a man trying to change himself into someone as interesting as the woman he loves? A thriller about a decadent generation goading itself into extremism?

Executives at 20th Century Fox certainly struggled with Fight Club. Unsure how to market a film in which young men beat one another to a pulp and stole bags of fat from the bins of liposuction clinics, the studio placed ads for it during World Wrestling Federation matches. Meanwhile, Fight Club‘s posters, dreamed up by an expensive design firm, featured a pink bar of soap with the title incised into its waxy surface. It certainly looked unlike anything else stuck up outside a movie theater in 1999, even if most people walking past wouldn’t have had a clue as to what it meant – the soap being a wry reference to a key scene in the film.

The bewildering split between TV ads during wrestling matches, which emphasized the film’s bruising bare-knuckle scenes, and the artistic posters with their pink bars of soap, were an indication, perhaps, of Fight Club‘s slippery quality. How do you get people to go and see a film like this, Brad Pitt or no Brad Pitt?

In retrospect, it’s little surprise that some of Fox’s higher-ups didn’t like Fight Club – least of all one Rupert Murdoch, the media mogul whose News Corporation had acquired Fox in 1985. Here, after all, was a film which openly attacked corporations, advertisers and the entire capitalist system.

One of Fight Club‘s producers, Art Linson, recalled the first screening of the film for Fox’s executives; they were, he said, “flopping around like acid-crazed carp wondering how such a thing could even have happened.”

There was one executive who did believe in Fight Club: Fox’s studio head Bill Mechanic. In the mid-90s, Chuck Palahniuk‘s Fight Club novel was doing the rounds at Fox before it had even been published, and was originally envisioned as a low-budget movie to be made through the studio’s Fox 2000 division, which specialized in independent film. Along with production executives Laura Ziskin and Kevin McCormick, Mechanic was an enthusiastic champion of Fight Club‘s spiky humor and unpredictable plot.

Read the full article

The Dust Brothers’ E.Z. Mike on Fight Club and Performing His Score Live

2005-05. The Dust Brothers
The Dust Brothers: John King (left) and Mike Simpson. By Mr. Bonzai / SOS (2005)

Michael Cooper
May 17, 2018
L.A. Weekly

The first rule of Fight Club is: You do not talk about Fight Club. The second rule of Fight Club is: YOU DO NOT TALK ABOUT FIGHT CLUB! – Tyler Durden

We are going to talk about Fight Club _ the score, that is. Since the film was first released in theaters almost 20 years ago, it has managed to stay afloat in the pop culture atmosphere thanks to a strong cult following. The subject matter and performances were and still are a big part of the movie’s appeal, but the film’s standout score, created by legendary writer-producer duo The Dust Brothers, has a lot to do with it, too. This Saturday night, for the first time ever, both Brothers (who aren’t actually related) will present the score live at the Wiltern.

Read the full profile

The Dust Brothers

Sampling, Remixing & The Boat Studio

Paul Tingen
May 2005
SOS (Sound on Sound)

How David Fincher Uses Pop Music

The Discarded Image (Julian Palmer)
Published on 14 Nov 2017
YouTube

In this video essay I breakdown how David Fincher uses popular music in films like Fight Club, The Social Network and the new Netflix series Mindhunter.

Exclusive: DP Claudio Miranda on ‘Only the Brave’, Shooting Fire, and David Fincher Stories

By Adam Chitwood
October 12, 2017
Collider

Claudio Miranda has had an interesting career thus far. After working as a gaffer on films like Se7en and Fight Club, filmmaker David Fincher (with whom he’d worked on a few commercials and music videos as a cinematographer) asked him to serve as the cinematographer for the wildly ambitious 2008 film The Curious Case of Benjamin Button. That VFX-intensive effort scored Miranda an Oscar nomination and led to him then shooting visually breathtaking movies like Tron: Legacy and Oblivion, and of course Life of Pi, for which he won the Best Cinematography Oscar.

Miranda’s latest film reteams him with director Joseph Kosinski for the third time and also marks something of a departure—the true story drama Only the Brave. The film revolves around one unit of local firefighters who battled the Yarnell Hill wildfire in 2013 to tragic results. Josh Brolin leads a cast that includes Miles Teller, Jeff Bridges, James Badge Dale, Taylor Kitsch, and Jennifer Connelly.

With Only the Brave hitting theaters on October 20th, I recently got the chance to have an extended conversation with Miranda about his work on the film. He talked about his working relationship with Kosinski, the challenges of capturing real fire onscreen, shooting on location, and his approach to shooting realistic visual effects.

But I’m also a big fan of Miranda’s work in general, so the conversation veered off into his early days working as a gaffer for Fincher, and we discussed his “trial by fire” experience shooting Benjamin Button as well as what it’s like to work with Fincher and how his gaffer work with other cinematographers like Harris Savides and Dariusz Wolski has shaped his approach. Finally, with Kosinski next set to direct the Top Gun sequel Top Gun: Maverick, I asked Miranda what the prep has been like on that movie so far.

It’s a wide-ranging and refreshingly candid conversation that hopefully admirers of Miranda’s work, or just those curious about cinematography in general, will find illuminating. I certainly had a great time chatting with the talented DP.

Read the full interview