Because We Love Making Movies is an ongoing conversation with filmmakers who work behind the scenes to make the movies we love. These are the invisible warriors we don’t think of: Production & Costume Designers, Cinematographers, Editors, Producers, and the whole family of artists who make movies with their hands and hearts.
Today I talk with Gigi Williams, an Oscar Nominated Makeup Artist, and longtime collaborator with the brilliant David Fincher. Her credits are very long, but to name a few: Rock N’ Roll High School, The Howling, The Professional, as well as Single Man, Argo, The Master & Inherent Vice, not to mention her work with Fincher: Gone Girl, Mindhunter, and now Mank.
We talk about going through doors in life when they open, how her craft is misunderstood, how she cherishes working with Actors, and how she doesn’t do personal makeup, she does the movie. We also talk about Gigi’s incredible beginnings in the New York fashion world before she became a Makeup-Artist, which included working with Andy Warhol & Diane Von Furstenberg… She’s had quite a journey, and she’s still on it. It’s an amazing talk so check it out and share!
Love, Death + Robots creator and Executive Producer Tim Miller, Executive Producer David Fincher, Supervising Director Jennifer Yuh Nelson and Director of “Ice” Robert Valley discuss Vol. 2 of the adult animated anthology.
Tim Miller, David Fincher, Jennifer Yuh Nelson and Jerome Denjean Talk ‘Love, Death & Robots’ Season 2 from Annecy
On Tuesday afternoon, the Annecy International Animation Film Festival streamed a candid, hour-long conversation between four of the key minds behind Netflix’s second season of “Love, Death & Robots.” Creator and executive producer Tim Miller (“Deadpool,” “Terminator: Dark Fate”), executive producer David Fincher (“The Social Network,” “Fight Club”), supervising director Jennifer Yuh Nelson (“Kung Fu Panda” 2 and 3) and visual effects supervisor Jerome Denjean from France’s Blur Studio engaged in an unmoderated conversation about the adult animation series, from its origins to its upcoming third season.
DAVID FINCHER: MIND GAMES By Adam Nayman Foreword by Bong Joon-ho Produced by Little White Lies
David Fincher: Mind Games is the definitive critical and visual survey of the Academy Award– and Golden Globe–nominated works of director David Fincher. From feature films Alien 3, Se7en, The Game, Fight Club, Panic Room, Zodiac, The Curious Case of Benjamin Button, The Social Network, The Girl With the Dragon Tattoo, Gone Girl, and Mank through his MTV clips for Madonna and the Rolling Stones and the Netflix series House of Cards and Mindhunter, each chapter weaves production history with original critical analysis, as well as with behind the scenes photography, still-frames, and original illustrations from Little White Lies’ international team of artists and graphic designers. Mind Games also features interviews with Fincher’s frequent collaborators, including Jeff Cronenweth, Angus Wall, Laray Mayfield, Holt McCallany, Howard Shore and Erik Messerschmidt.
Grouping Fincher’s work around themes of procedure, imprisonment, paranoia, prestige and relationship dynamics, Mind Games is styled as an investigation into a filmmaker obsessed with investigation, and the design will shift to echo case files within a larger psychological profile.
About The Author
Adam Naymanis the author of Paul Thomas Anderson: Masterworks (Abrams, 2020) and The Coen Brothers: This Book Really Ties the Films Together (Abrams, 2018) and is a contributing editor to Cinema Scope.
Little White Lies is one of the world’s pre-eminent film magazines, pairing a unique editorial angle with beautiful illustrations and world-class design.
Imprint: Abrams Books Publication Date: November 2, 2021 Rights: World/All
HARDCOVER Trim Size: 9 x 10 7⁄8 ISBN: 978-1-4197-5341-1 EAN: 9781419753411 Page Count: 304 Illustrations: Full-color photographs and illustrations throughout Price: $45.00 PRE-ORDER
Parce que son œuvre n’a pas encore livré tous ses secrets, Rockyrama vous entraîne pour un voyage à travers le cinéma de David Fincher.
De Seven à Zodiac, en passant par The Social Network ou Millenium, David Fincher s’est imposé, depuis son émergence à l’aube des années quatre-vingt-dix, comme l’un des cinéastes les plus accomplis de sa génération. Réalisateur majeur et véritable artisan de l’image, il a bâti en seulement une dizaine de films une œuvre complexe, sombre et nourrie d’obsessions, portée par une mise en scène d’une précision sans pareil.
Alors que son dernier film, Mank, sortait sur les écrans en 2020, Rockyrama se penche ici sur la carrière du réalisateur américain. Du polar retors et glaçant de Millenium à l’électrochoc de Seven, de l’enquête foisonnante de Zodiac au dédale de The Game et jusqu’à l’œuvre paranoïaque et contestataire qu’est Fight Club, retour sur le cinéma virtuose, cérébral et hypnotique de David Fincher.
Over and again throughout The Empty Man, we see characters sitting in the lotus position, cross-legged and attentive, a pose connoting receptivity. It is in the migration of this mindset from snowy Bhutan to small-town Missouri, muled from East to West by the unlucky occidental tourist who doubles as its title character, that David Prior’s film locates both its celestial sense of scale and a fine-grained gestural specificity. After literally stumbling into a cliffside cavern—the first unexpected plunge in a movie whose characters constantly find themselves either on shaky ground or descending into a darkness of their own volition—Paul (Aaron Poole) becomes transfixed by a skeletal figure whose meditative posture he adopts, seemingly permanently and much to the bewilderment of his fellow backpackers. Dragged back to the surface, he has become a husk, limbs locked and rapidly atrophying, staring out at the world with eyes wide shut. It would seem that he’s been hollowed out. Or is he suddenly full up?
The old Zen proverb about the philosopher who tells his overzealous visitor to return to him with an empty cup—the better to receive the flow of wisdom—comes eerily to mind in the image of a hiker mutated into a hapless Buddha. The story lying beyond The Empty Man’s gorgeous anamorphic frames is also akin to a kind of koan: if a great cosmic horror movie gets (barely) released in the middle of a global pandemic, and nobody sees it, does it really exist?
David Prior got his break directing DVD special features for such David Fincher films as “Zodiac” and “The Social Network.” He obviously drew on that work experience in writing and directing his debut horror feature film, “The Empty Man.”
“Any time you spent hanging around the set with David Fincher or Peter Weir or any number of the other people that I’ve been able to hang around the set with, it’s always going to be valuable,” Prior said.
“The Empty Man” focuses on an ex-detective named James Lasombra. James is grieving the deaths of his wife and son. He helps his friend Nora whose daughter has gone missing.
James’s investigation leads him to a sinister organization called The Pontifex Institute, which turns out to be a cult. The film stars James Badge Dale, and chameleon-like actor Stephen Root who delivers a great performance as the cult’s leader.
The movie also became embroiled in a mega media merger that delayed and botched its release. “The Empty Man” features an impending sense of dread and doom and themes of guilt, grief, the meaning of existence and mind control. Prior explains to WPR‘s “BETA” why he wanted to include such big ideas in his film.
The Santa Barbara International Film Festival Outstanding Directors of the Year Award is given to directors not afraid to push the envelope in the cinematic world, with an expertise that is both gracious and bold.
At the 36th Annual Santa Barbara International Film Festival, Amanda Seyfried was presented with the Montecito Award by her “First Reformed” co-star Ethan Hawke and “Mank” director David Fincher, who both shared their respect and admiration for the star.
Amanda Seyfried Discusses Mank, Gary Oldman & David Fincher
We’re extremely excited to share with you the latest addition of our Shot Talk interview series. Legendary filmmaker David Fincher and his incredible cinematographer Erik Messerschmidt sit down with cinematographer Lawrence Sher to discuss their 10x Oscar-nominated film Mank.
This episode has the kind of technical deep-dive discussions that you’re not gonna get anywhere else, including the philosophy of black and white vs. color cinematography, detailed FX breakdowns on several important scenes from the film, and why Fincher avoids Steadicam at all costs.
Along with the interview, we’re also releasing a bunch of great shots from the film, so you can start adding them to your decks and getting inspired right away!
Sign up for an account at ShotDeck, the world’s first fully-searchable film image database. It’s an invaluable research and educational resource that makes life easier for anyone in Film, Media, Advertising, and Education.
If you are creative, Shotdeck is the place to get inspired and discover new films and talented artists through our meticulously tagged database of still images, all while saving you time.
Search by film title, keyword, location, color, or a dozen other criteria to quickly find the exact “shots” you need to communicate your vision for your next project.
On April 10, the DGA celebrated the craft of directing during the 30th Annual Meet the Nominees: Theatrical Feature Film symposium. In a historic virtual event that was viewed by DGA members worldwide, the 2020 Outstanding Directorial Achievement in Theatrical Feature Film Award nominees — Lee Isaac Chung (Minari), Emerald Fennell (Promising Young Woman), David Fincher (Mank), Aaron Sorkin (The Trial of the Chicago 7) and Chloé Zhao (Nomadland) — joined Special Projects Committee Chair Jeremy Kagan online for an in-depth discussion about their work.
“In this unimaginable year, which has truly been like no other, it’s an extraordinary pleasure and honor to be joined, even if it’s just virtually, by all five of the outstanding nominees,” said DGA President Thomas Schlamme in his welcome to the online audience. “Each of these fine directors join an illustrious line of filmmakers throughout Guild history who have represented the best in directorial achievements. I personally want to congratulate each and every one of you.”
Following a viewing of clips from each of the nominated features, Kagan prompted the nominees to share stories of their individual journeys that brought their powerful films to life.
“For me, it’s always about what do we think we’re doing as much as what we are doing,” said Fennell when asked her methodology for directing actors. “If we think we’re a hero and that goes against what’s happening in the script, play the hero. And it’s giving permission as well for the actor.”
Sorkin revealed his secrets behind the art of directing crosstalk. “Make sure that they put the burden on the other actor. Make them stop you from talking. Don’t stop because of the script told you to stop. And similarly, the actor who is doing the interrupting interrupt them as soon as you hear the word that’s making you say ‘no!’ or whatever is making you argue.”
Chung shared his process when it comes to rehearsals. “I try to make sure I talk throughout it; I don’t let them fully get into the scenes so that part of it they are still working it out mentally. I don’t get quiet and let them do it. …so I can try to preserve when the cameras are rolling that first time.”
“My personal taste is that I want to see what the audience is seeing,” said Fincher about his work preferences. “I work through the camera. I walk-through a number of rehearsals without having monitors up, but from the time we set a master or alternate master, the rest of the day is working through the camera because that’s the only thing that matters.”
“It’s always what’s on the camera,” agreed Zhao. “That’s it. That’s the difference between film and theater. People think because I work with a lot of nonprofessional actors, I’m usually like right there with them. But I love it very much…. because a lot of the time we have the sun right there and we can only do one take.”