Debra Minoff & Susannah McCullough
June 24, 2018
The Dust Brothers: John King (left) and Mike Simpson. By Mr. Bonzai / SOS (2005)
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.
Sampling, Remixing & The Boat Studio
SOS (Sound on Sound)
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.
More than any other mainstream filmmaker, David Fincher is the one who has had his finger on the pulse of our generational concerns. If you Google Fincher’s name and the word “zeitgeist,” it will immediately turn up countless think pieces talking about how his films — especially Fight Club and The Social Network — have captured the zeitgeist, reflecting the spirit of their time the way The Graduate did for the 1960s.
But The Game, Fincher’s 1997 thriller starring Michael Douglas, was a necessary primer for Fight Club. With this film, Fincher took the actor who played Gordon Gekko ten years earlier, and he gave that ‘80s zeitgeist figure a light makeover and put him in a post-grunge ‘90s movie.
The Game turns 20 today (it hit theaters on September 12, 1997), so let’s take a look back at what makes it so special: not only for the way it marked a turning point in Fincher’s early career, but also for the way it takes a high-concept story and manages to bake in a fair amount of subtext.