Sean Parker (Illustrator) and Steve Goldberg (NY Nets Content Manager) discuss the horror genre; interviewing the amazing people who contribute to it and discussing our love for horror films, television and more!
In this episode, they talk about The Last Of Us, Infinity Pool, The Boogeyman, and the super secret stuff they have coming up.
Then, they’re joined by director David Prior. They discuss horrifying formative childhood memories, his Fincher featurettes, the video clerk to director pipeline, and more!
We open this year’s column with a kind of meta reflection on cinematography itself, as contained in the recent Netflix series Voir.
Continentally savvy readers already know “voir” means “to see,” but this is a series about “seeing” movies, cinema, in the broadest sense, which is to say, what films mean, and what effect they have on both individuals, and the world at large. It’s done in a series of visual meditations, usually on the specific film in question which sent the various narrators into their respective futures as essayists, bloggers, reviewers, and makers of the medium.
From producers David Fincher and David Prior, Voir dropped with vastly less fanfare accorded to something like a new Cobra Kai or Witcher season, perhaps because it’s non-fiction, or more likely, because each episode averages about fifteen minutes. They are shorts in other words. About movies.
We caught up with cinematographer Martim Vian, who shot four of the series’ six episodes. The one we wanted to really talk to him about though, was the first one (if simultaneously dropped episodes can be said to have an order), called Summer of the Shark.
David Fincher and David Prior are producers on Netflix‘s latest upcoming series Voir— a series of visual essays celebrating Cinema and the personal connection we each have to the stories we see on the big screen.
Each episode celebrates various aspects of cinema through interviews and personal anecdotes from historians and filmmakers. The series’ cinematographer, Martim Vian, spoke exclusively to ProductionHUB about his specific vision for the series, the importance of personal and historical anecdotes, and the impact of Vior on the viewer.
Drew McWeeny explained that he almost missed out on David Fincher’s emails and calls after he thought someone was pranking him and was using a very weird, full of movie references email address (and yes, I really need to know what were these references now…):
“He emailed me in the middle of the night. I didn’t know him, we hadn’t spoken before (…) and the email just said “Hi, this is David Fincher. Call me.”
He ignored the email. David Fincher emailed him again the next day, but Drew didn’t want to believe it.:
“And it’s the third day when he actually called me and said ‘Hi, this is David Fincher, what’s your problem?!’ And I went ‘Oh my god! Hi, how are you?”
VOIR: 03. But I Don’t Like Him. Written and narrated by Drew McWeeny
Drew McWeeney declared that creating Voir started with David Fincher having “the vaguest notion that he wanted to celebrate movies”.
But when Drew McWeeney decided to make his episode of Voir centered on unlikeable characters, it was because he felt that a conversation needed to be had:
“I think ‘likeability’ has become this weird, weird buzzword, we hang a lot of other issues about movies on it. When people don’t like a movie, they immediately go to ‘I didn’t like the character’. But that’s not necessarily a bad thing. And all I wanted to do is reframe that conversation”. (…) Art is not about endorsement.”
Sasha Stone’s episode of Voir, Summer of the Shark, directed by David Prior, is now streaming on Netflix, along with five other film essays: The Ethics of Revenge, The Duality of Appeal, Film vs. Television, by Tony Zhou and Taylor Ramos, But I Don’t Like Him by Drew McWeeney, and Profane and Profound by Walter Chaw.
David Fincher and David Prior’s anthology essay series “Voir” is only six episodes, but fully half of those came from Taylor Ramos and Tony Zhou. Their skill with the form comes as no surprise to fans of their YouTube channel “Every Frame a Painting,” which almost served as a proof of concept for a show like “Voir” — and that millions of people would be interested in videos exploring just how the grammar of filmmaking impacts its meaning. When done well, video essays combine the thrill of knowing a secret and the joy of learning more about a long-held passion. Zhou and Ramos spoke to IndieWire about how the process of creating that joyful learning shifted and expanded when working on “Voir.”
“YouTube was very constricting because of things like copyright and DMC,” Ramos said. “The license that Netflix and [David Fincher] gave us, it was very, ‘Oh, we can do anything and everything!’ And [that] was, I don’t want to say daunting, but —”
I had a dream that I got to work with the director David Fincher. Turns out, it wasn’t a dream.
How did this good fortune ever shine upon me, you might wonder? Most of you know me as an Oscar watcher, or one of the bad seeds that birthed this industry back in 1999. Really, writing about the Oscars was a way to write about movies. I’d grown up living in movies and practically living in movie theaters. But it wasn’t just in theaters or at drive-ins. I would watch movies on our rabbit-eared TVs whenever they came on. Back in the day you had to watch them when they aired because we did not have VCRs. We did not have cable. In the early days, we didn’t even have remote controls. But we had movies and we had movies that played on television. Usually these were black-and-whites, but they were as great as movies always have been and always will be.
I had dropped out of film school in 1993, landed online in 1994, and spent the next five years thinking and writing about movies in a Usenet group intensely devoted to cinema. That was where I first got into David Fincher’s films. I started this site as a way to fuse my own love of movies with whatever the Oscars were. I came from a place of loving MOVIES, not loving the Oscars.
Of course, I had not yet met David Fincher when I first started writing about his work. And he would have had no way of knowing that I’d made much of my own reputation online by writing about him, specifically The Social Network. We finally met after he read my review of The Girl with the Dragon Tattoo. When I told him I’d seen The Social Network 30 times and declared it a perfect film, he told me I was insane.
Since 2011, a lot has changed about movies and the way they are covered. There’s been an ongoing lament that film criticism, such as it is, had supplanted the pure love of film. The Oscar business, my business, seemed to directly impact that trajectory. Does the Oscar industry do more harm than good? If everyone is aiming for those nominations, and in order to get those nominations the movies must deliver what the Oscar voters want — does that create a kind of chokehold that empties out LOVE of movies?
There’s a specificity of intention to David Prior’s “The Empty Man” that eludes most studio horror projects. Inspired by the Boom Studios! comic (created by writer Cullen Bunn and artist Vanessa del Rey), Prior’s debut could have been a success story were the movie released under different circumstances. Inherited by Disney following the Fox merger, and dumped into theaters mid-pandemic, “The Empty Man” certainly wasn’t given the A24Ari Aster treatment, which is a shame, as Prior’s film would make an outstanding, grief-tinged double feature with “Midsommar” or “Hereditary,” though its shape is far more chimerically hypnotic.
Laying somewhere in the cosmic ether between David Fincher’s serial killer films, “Se7en” and “Zodiac,” Prior’s sepulchral vision slithers like a paranormal odyssey in the guise of a J-horror procedural a la Kiyoshi Kurasawa’s “Cure,” veteran character actor James Badge Dale aiding in making detective work look effortless through a mesmerizing lead performance. “We go looking for things we have lost… More than that, there is no such thing as loss,” a mysterious cult leader, played by Stephen Root, preaches
Audiences missed out on “The Empty Man,” but it’s deservedly found a devoted following. “If the price of making the movie I wanted to make meant getting abandoned by the studio and left to be picked up by passionate people who saw it on their own, that’s not a bad outcome.” Prior told us, “At least it’s the movie I wanted to make. It wasn’t some highly compromised, shortened, messed up version of that probably would have gotten more support from the studio but it would have vanished from everybody’s mind as soon as they saw it.”
Prior was later approached by David Fincher (for whom he used to direct documentaries) about a new film appreciation series, titled “Voir.” Scheduled to debut at AFI Fest this month, Netflix’s video essay project spotlights “passionate voices that love movies… highlighting the elements that get people excited about cinema.”
In a time when streaming services threaten to swallow up the theatrical experience, “Voir” is an essential look back at what makes film uniquely hypnotic. “Movies cornered the cultural conversation throughout the 20th century.” Prior told us. “It was the art form of the 20th century… [movies] don’t hold the same place in cultural thinking they used to and there’s a lot that’s important being lost.”
No great film deserves to be forgotten, and Prior is keenly aware platforms like Netflix now hold the keys to Hollywood’s kingdom, as “custodians to the cinematic experience.” “The Empty Man,” may not have mopped up box office dollars but revealed its director to be as impassioned and skilled a filmmaking scholar as David Fincher. We were fortunate to sit down for an extensive chat with him ahead of “Voir’s” upcoming premiere. Eerily, both his debut film and new Netflix series stemming from an obsession with “Jaws,” the legendary Steven Spielberg, a fervent supporter of his film appreciation project.
Executive Producers: David Fincher, David Prior, Ceán Chaffin, Joshua Donen, Neil Kellerhouse, Ross M. Dinerstein, Ross Girard
Music by: Jason Hill
101. Summer of the Shark
Director: David Prior Screenwriter: Sasha Stone Producers: David Prior and Sasha Stone Director of Photography: Martim Vian Editor: Keith Clark Production Designer: P.L. Jackson Cast: Eva Wild, Olive Bernadette Hoffman, Shannon Hayes, Molly Ann Grotha, Tea Jo Raza
102. Ethics of Revenge
Directors: Taylor Ramos and Tony Zhou Screenwriters: Taylor Ramos and Tony Zhou Producers: Taylor Ramos and Tony Zhou, and Nach Dudsdeemaytha Director of Photography: Alfonso Chin and Martim Vian
103. But I Don’t Like Him
Director: David Prior Screenwriter: Drew McWeeny Producers: David Prior and Drew McWeeny Director of Photography: Martim Vian