Category: 1999. Fight Club

Austin Film Festival 2025: Andrew Kevin Walker on SE7EN

Andrew Kevin Walker Interview: Austin Film Festival

Brian Taylor
October 30, 2025
The Cine-Men

Brian: Hello, Andrew. This is the first day of the Austin Film Festival, and I’m glad to sit down with you. I wanted to talk to you about your writing in your career. The first question I want to ask you is about your origin story, what made you want to be a writer, and who were some of your favorite writers growing up?

Andrew Kevin Walker: I really focused on screenwriting in college. I knew when I was a young kid that I wanted to work in the film industry. I remember, I was just talking to somebody about it because it was Jaws fiftieth anniversary, because it was so influential for me, and it really made me realize what a director does, et cetera. I was really into film early on and nerding out, reading American Film magazines and stuff in high school. I went into college studying film at Penn State, I was probably thinking I wanted to be a director but I really focused on screenwriting. There was an amazing screen writing teacher that was there at the time, I think he may still be teaching at Temple, his name is Jeff Rush. It was at Penn State that I focused on writing. Some my favorite writer’s? William Goldman is probably my favorite screenwriter of all time. My favorite novelist is [William] Somerset Maugham, which is not too surprising, I guess, there’s a couple of Somerset Maugham references in Se7en. As far as screenwriters go, Waldo Salt and William Goldman, some of the guys who were writing real classics, you know. My favorite two movies are Midnight Cowboy and Lawrence of Arabia.

Brian: That covers a lot.

Andrew: That covers the city and the desert I guess (laughs).

Read the full interview

Se7en Q&A, with Andrew Kevin Walker

Andy Volk
May 6, 2026
Austin Film Festival’s On Story

This week on On Story, we’ll travel back to the 90s with a retrospective on the crime thriller Se7en, with its screenwriter, Andrew Kevin Walker. Directed by David Fincher, Se7en stars Brad Pitt as David Mills, an idealistic young detective with a short fuse, who’s still adjusting to the violence and apathy of life in the big city. Mills is paired with William Somerset, a jaded Detective Lieutenant who’s only one week from retirement, played by Morgan Freeman. Mills and Somerset are tasked with investigating a pair of homicides that are exceptionally depraved and theatrical. The detectives realize that the two murders are only the beginning of a sadistic killing spree where each crime will be based on one of the seven deadly sins: gluttony, greed, sloth, envy, wrath, pride, and lust. Mills and Somerset begin a desperate game of cat and mouse as they try to get inside the mind of this depraved killer and catch him before he can carry out his plan.

The film was nominated for a BAFTA award for Best Original Screenplay. Se7en was screenwriter Andrew Kevin Walker’s first script to be sold. During Se7en’s three-year development period, Walker wrote the scripts for two horror movies: the sci-fi slasher Brainscan, about a troubled teen who’s seduced into committing crimes by a hypnotic interactive horror game, and the psychological horror Hideaway, about a man who survives a near-death experience and finds himself psychically connected to a serial killer. Walker has continued writing and producing in the crime thriller and sci-fi genres throughout his career. Walker wrote the script for 8mm, which follows a private detective investigating a snuff film which may depict a real murder. Walker collaborated with David Fincher again on the 2023 film The Killer, and on an episode of the animated series Love, Death & Robots. His writing credits also include Tim Burton’s Sleepy Hollow, the animated comedy Nerdland, the crime thriller Windfall, and many more. AFF moderator Andy Volk sat down with Andrew Kevin Walker for a post-screening conversation on his experience writing Se7en based on a one-sentence logline, getting the script in front of director David Fincher, and working with the film’s production crew to craft a version of New York City lost in time.

Listen to the podcast:
Apple Podcasts
Spotify
YouTube

Download the screenplays by Andrew Kevin Walker:
andrewkevinwalker.com

How ‘Fight Club’ Went from Box-Office Bust to ’90s Cult Classic

From sparring with Rupert Murdoch to gaining David Fincher’s respect, the behind-the-scenes battle to bring Fight Club to screen was as twisty as the movie’s plot.

Jason Guerrasio
April 20, 2026
Business Insider

When Bill Mechanic was the chairman and CEO of Fox Filmed Entertainment, he had one simple operating principle: Get in trouble.

Though his tenure as studio head from 1996 to 2000 was filled with hits, including blockbusters like Independence Day, Titanic, and Star Wars: Episode I – The Phantom Menace, Mechanic was also known for being one of the few who listened to his gut and greenlit material considered uncommercial.

On his watch, the studio released the gory best picture winner Braveheart, the Farrelly brothers‘ gross-out hit comedy There’s Something About Mary, and the now-beloved Office Space.

Taking risks on offbeat movies gained Mechanic respect around Hollywood, but it also ruffled feathers among his bosses.

At the time, Fox was owned by Rupert Murdoch’s News Corp., and Mechanic said the Australian-born billionaire was rarely a fan of what his studio was releasing.

“I always thought what Rupert wanted was Page Six,” Mechanic told Business Insider, comparing the mogul’s movie tastes to what showed up in the gossip column of the Murdoch-owned New York Post. “He didn’t think movies were there to challenge.”

Mechanic would famously test his boss’s patience when he gave the green light to adapt a book by a then-little-known author named Chuck Palahniuk. It was called Fight Club.

Read the full article

New “Fight Club” 4K Restoration Got a Premiere Screening and a Look Back at the Battle Over Its Marketing Campaign

The former Head of Media for 20th Century Fox discussed how the studio and David Fincher butted heads.

Eric Goldman
April 9, 2026
Laughing Place

Both rule number one and rule number two is you’re not supposed to talk about Fight Club, but those rules were broken in a fascinating way Wednesday night at the Academy Museum in Los Angeles, alongside the world premiere screening of the new 4K restoration of the beloved film, prior to its upcoming one-night nationwide theatrical screenings and debuting on disc and digital. The screening included an insider’s look back at the highly contentious debate over how to market the decidedly subversive and provocative film, which found the filmmakers and cast frequently at odds with the studio releasing the movie, 20th Century Fox (now 20th Century Studios).

As a longtime fan of Fight Club, it was a thrill to see it on a big screen again, with the new 4K transfer looking terrific and highly detailed but not, thankfully, causing a movie that purposely exists within a world filled with so much grit and grime to look too clean and pristine. The sound presentation was also better than ever, capturing every brutal punch — and eventually explosions — along the way as the Narrator (Edward Norton) and Tyler Durden (Brad Pitt) grow their following. The film’s examination of consumerism and angry and aimless disaffected men remains as compelling, satirical, and darkly witty as ever, and even though it’s been used in so many TV shows and films since, “Where is My Mind?” remains a perfect needle drop at the film’s conclusion.

The screening was presented by the Marketing and Public Relations Branch of the Academy, and thus the film’s marketing campaign was the focus of the pre-screening guest speaker presentation. Fight Club has an interesting place in cinema — and marketing — history, as in its initial 1999 release, it was highly divisive with critics and a box office bomb. However, it went on to became a sensation via the home video market, gaining an ever-growing cult following and a critical re-evaluation as the years went by.

As Academy Governor David Dinerstein noted in his intro at the screening, “When Fight Club was released in 1999 by 20th Century Fox, it posed a unique challenge… The film defied easy categorization. Was it a crime thriller, a dark comedy, a psychological drama? In truth, it was all of those and something else entirely. Marketing a film like Fight Club meant grappling with its tonal complexity, its subversive themes and, of course, its unforgettable twists – elements that made it compelling but also difficult to distill into a traditional marketing campaign.”

However, Dinerstein added, “In retrospect, the very elements that made Fight Club difficult to market — its audacity, its controversy, its refusal to conform — are precisely what cemented its lasting cultural impact. Fight Club is not just a movie, it has become a cultural event.”

The main speaker of the evening, Steve Siskind, was the head of Media at 20th Century Fox at the time Fight Club came out, which gave him plenty of insight into the struggle over how to market it. As he put it, “It’s not an exaggeration to say that Fight Club was one of the most contentious and fascinating marketing campaign processes I’ve ever witnessed.”

Read the full article

“Fight Club” Returns to Theaters in 4K and Debuts in Ultra HD Blu-ray and Streaming

The first rule of Fight Club is…

New Regency / 20th Century Studios
April 2, 2026

Fight Club returns to theaters April 22 in a stunning 4K remaster. Get your tickets now for the one-night-only theatrical rerelease (US only).

Bring home Fight Club on 4K Ultra HD Steelbook Blu-ray and Streaming on May 12. Now available for preorder.

“Fight Club” Celebrates its 25th Anniversary with a 4K Remaster, a Theatrical Re-Release, and an Art Book

New Regency / 20th Century Studios
February 19, 2026

BURBANK, CA (February 19, 2026) – The first rule is back. New Regency‘s groundbreaking cultural landmark Fight Club returns in a definitive 4K presentation this spring, with a one-night-only nationwide theatrical event on April 22 ahead of its release to own on 4K Ultra HD Steelbook® and 4K Digital May 12.

Directed by acclaimed filmmaker David Fincher and based on the novel by Chuck Palahniuk, Fight Club remains one of the most provocative and influential films of its generation. Starring Brad Pitt, Edward Norton, and Helena Bonham Carter, the film redefined late-1990s cinema with its visceral style, razor-sharp social commentary, and subversive exploration of identity, consumerism, and modern masculinity.

Meticulously restored in 4K Ultra HD, this presentation brings renewed intensity and clarity to Fincher’s uncompromising vision, enhancing the film’s striking cinematography and immersive sound design for both longtime fans and first-time viewers. From its electrifying debut to its enduring legacy as a defining cult classic, Fight Club continues to spark conversation and inspire generations of filmmakers and audiences alike.

Fight Club returns to theaters nationwide for a special one-night-only event on April 22, inviting fans to once again enter the underground world that changed cinema.

Fans and collectors can then bring the film home beginning May 12 on 4K Ultra HD Steelbook®, featuring premium packaging worthy of its iconic status, as well as on 4K Digital. This definitive home entertainment release preserves the film’s bold storytelling and groundbreaking craftsmanship in spectacular high definition for years to come.

New Regency and Insight Editions will release a companion Fight Club 25th Anniversary art book, featuring never-before-seen visuals, exclusive interviews, and behind-the-scenes content. This collector’s piece will offer fans the deepest look yet into the making of the film and its enduring legacy. More information on the book will be available soon at InsightEditions.com and @fightclubinsight on Instagram.

Specifications

Release Dates
Digital: May 12, 2026
Physical: May 12, 2026

Product SKUs
Digital: 4K UHD
Physical: SteelBook 4K UHD + Blu-ray + Digital Code

Feature Run Time
Approx. 139 minutes

Rating
U.S.: Rated R for disturbing and graphic depiction of violent anti-social behavior, sexuality, and language.

Aspect Ratio
Digital: 2:39:1
Physical: 2:39:1

Disc Size
4K UHD Blu-ray: 100GB
Blu-ray: 50GB

Audio
4K: English 5.1 DTS-HDMA and Dolby 2.0 Digital Descriptive Audio, Spanish 5.1 Dolby Digital, and French 5.1 DTS Digital Surround Language Tracks
Blu-ray: English 5.1 DTS-HDMA and Dolby 2.0 Digital Descriptive Audio, Spanish 5.1 Dolby Digital, and French 5.1 DTS Digital Surround Language Tracks

Subtitles
4K: English SDH, Spanish, and French
Blu-ray: English SDH, Spanish, and French

Bonus Features

May vary by product and retailer.

4K ULTRA HD BONUS FEATURES

  • Commentary by Director David Fincher
  • Commentary by David Fincher, Brad Pitt, Edward Norton & Helena Bonham Carter
  • Writers’ Commentary by Chuck Palahniuk and Jim Uhls
  • Technical Commentary by Alex McDowell, Jeff Cronenweth, Michael Kaplan & Kevin Haug

BLU-RAY BONUS FEATURES

  • Commentary by Director David Fincher
  • Commentary by David Fincher, Brad Pitt, Edward Norton & Helena Bonham Carter
  • Writers’ Commentary by Chuck Palahniuk and Jim Uhls
  • Technical Commentary by Alex McDowell, Jeff Cronenweth, Michael Kaplan & Kevin Haug
  • A Hit in the Ear: Ren Klyce and the Sound Design of Fight Club
  • Flogging Fight Club Featurette
  • Insomniac Mode: I Am Jack’s Search Index
  • Work Behind-the-Scenes Vignettes with Multiple Angles and Commentary
  • Deleted and Alternate Scenes
  • Publicity Material Trailers, TV, and Internet Spots
  • PSAs
  • Music Video
  • Promotional Galleries
  • Art Galleries
  • And More!

Beyond Limits

The Use of “Previs” in Panic Room

Nicholas Russell
January 22, 2026
Reverse Shot (Museum of the Moving Image)

There is always a class of filmmakers perennially itching for the next technological leap forward: James Cameron and Steven Soderbergh come to mind as two directors with opposing working styles but similar ambitions for the efficiencies and reality-bending possibilities of digital technology. The transition from the photochemical film process to digital production—from cameras to visual effects to editing within the early part of the 21st century—represents one of the most profound flashpoints in cinema history. David Fincher, just as technically savvy and game to test out the latest toys, has been less has received less fanfare, but if one has paid attention to Fincher’s career for any length of time, a sentimental affinity for the medium lags far behind the more practical desire to move on to the next project. It’s one of a panoply of oft-stated advantages with digital filmmaking, the ability to move quickly and dexterously, without the literal weight of film to slow you down. But Fincher’s work, inclusive of his time in television advertising and music videos in the ’80s and ’90s, illustrates a director’s desire at first to uphold and then transcend the strictures of the camera itself.

There are two competing perspectives of David Fincher: that of a hard-driving auteur who demands perfection and challenges his audiences with provocative material while still working comfortably within the commercial constraints of the Hollywood studio system; and that of the technical savant, an artist who, from a young age, steeped in the filmmaking culture of the 1970s (George Lucas was his neighbor in northern California for a time), absorbed every part of the cinematic production process, from developing film for director John Korty to working in the matte department at Industrial Light & Magic (Fincher worked under both Korty and Lucas on the 1983 animated feature Twice Upon a Time). Both views run parallel to one another throughout Fincher’s career, a gun-for-hire with an insatiable curiosity for process, a defining feature of his style and the narratives of his films.

Read the full article

Movies We Like: Cinematographer Jeff Cronenweth on Blade Runner

A Legacy of Light and Shadow

Andy Nelson and Pete Wright
October 27, 2025
Movies We Like (TruStory FM)

Cinematographer Jeff Cronenweth joins Movies We Like hosts Andy Nelson and Pete Wright to explore Ridley Scott’s groundbreaking 1982 film Blade Runner. As the son of the film’s original cinematographer, Jordan Cronenweth, Jeff brings a unique perspective on both the technical achievements and lasting influence of this sci-fi noir masterpiece. With his recent work on Tron: Ares hitting theaters, Cronenweth reflects on how Blade Runner continues to inspire filmmakers and cinematographers four decades later.

From early experiences on film sets with his father to becoming David Fincher’s go-to cinematographer on films like Fight Club, The Social Network, and The Girl with the Dragon Tattoo, Cronenweth has built a career focused on visual storytelling that serves character and narrative. He describes his approach as seeking human stories within any genre, whether period drama or science fiction. His transition from film to digital cinematography reflects broader industry changes, while maintaining his commitment to thoughtful, story-driven imagery.

The conversation explores how Blade Runner created its influential neo-noir aesthetic with remarkably limited technical resources, including just three xenon lights for its iconic beam effects and borrowed neon lights from Francis Ford Coppola’s One from the Heart set. Cronenweth shares insights into the film’s production challenges and creative solutions, from practical lighting techniques to Ridley Scott’s visionary production design. The discussion examines how the film balances its high-concept science fiction premise with intimate character moments, creating a template for genre storytelling that continues to resonate. Cronenweth also offers a perspective on the various cuts of the film and its 2017 sequel.

Through this engaging conversation, Cronenweth illuminates not just the technical mastery behind Blade Runner, but its enduring impact on cinema. His unique connection to the film through his father, combined with his own distinguished career, offers viewers fresh insights into this landmark work of science fiction and its continuing influence on visual storytelling.

Listen to the podcast:

Apple Podcasts
Spotify
YouTube (Audio Only)

“Fight Club” Cinematographer Jeff Cronenweth ASC on his Career, Working with David Fincher, Shooting “Tron: Ares,” & More

Jordan and Jeff Cronenweth on the set of Francis Ford Coppola‘s Gardens of Stone

Mike Valinsky
October 25, 2025
The Making Of

In this episode, we welcome two-time Oscar-nominated cinematographer Jeff Cronenweth, ASC. Jeff has shot films including Fight Club, One Hour Photo, The Social Network, The Girl with the Dragon Tattoo, Hitchcock, Gone Girl, Being the Ricardos, and Tron: Ares. In our chat, Jeff shares his origin story, experiences working with David Fincher — and all about his latest movie, Tron: Ares. He also offers extensive insights and recommendations for today’s cinematographers and filmmakers.

Listen to the podcast:

The Making Of (Substack)
Apple Podcasts
Spotify

Follow The Making Of: Instagram, Ex-Twitter

Follow Mike Valinsky: Instagram, Ex-Twitter

When the Movie Looks Insane: Jeff Cronenweth, ASC

Patrick Tomasso
October 19, 2025
patrick 2masso (YouTube)

Go behind the visuals of TRON: ARES with cinematographer Jeff Cronenweth, ASC – the mind behind the camera for films like The Social Network, The Girl with the Dragon Tattoo, and Gone Girl. We talk about the look of the new TRON film, his collaboration with director Joachim Rønning, shooting digitally on RED cameras, and how his decades-long partnership with David Fincher shaped his approach to modern cinematography.

If you’re into camera tech, lighting, or just want to know why TRON: ARES looks so good, this one’s for you.

Special thanks to RED Digital Cinema for setting this up.

Follow Patrick Tomasso on:

YouTube 1, YouTube 2, Instagram, Threads, X, TikTok, Letterboxd, LinkedIn

A Year To The Day

Remembering Aubrey Day (who would have rolled his eyes at this headline)

Nev Pierce
October 2 2025
The Fall Will Probably Kill You (Substack)

This is a story about my friend Aubrey, who died. It is also, inevitably, about me. This is possibly – definitely – self-involved, but the loss of someone is not abstract, or simply about someone’s inherent human worth, it is also about how stricken we are not to have them around, about what they meant to us, the part they played in our story.

Aubrey Day died a year ago, October 2, 2024. We had known each other 20 years, having met when I joined Total Film magazine, at Future Publishing. He was overseeing a few publications, but his passion was clearly movies and TV. He was a few years older than me, which in your 20s feels like a generation, and seemed debonair and certain, insanely confident and very, very clever. A few colleagues disliked him, not least because as well as being the smartest guy in the room, he was never especially shy about letting you know he was the smartest guy in the room. I just felt I had a lot to learn. And he was more than happy to teach. Not that he had a curriculum, or talked down to you (well, he didn’t always talk down to you), but he would present a problem and push you to solve it. It was a little sink or swim – he’d worked a bit in tabloids and had a tougher approach than the pally magazine world I was used to – but if he believed you could swim, that belief would buoy you.

Read the full article

The Fall Will Probably Kill You is a reader-supported publication. To receive new posts and support Nev Pierce‘s work, consider becoming a free or paid subscriber.

Watch the shorts by Nev Pierce, including Bricks, an Edgar Allan Poe adaptation starring Jason Flemyng and Blake Ritson, which David Fincher said about: “A morbid yet classy take on a morbid classic.”