Fight Club Turns 20: Interview with the Film’s Screenwriter Jim Uhls

The fight cannot be a lie.

October 7, 2019
Storius Magazine

This month, Fight Club turns twenty. David Fincher’s adaptation of Chuck Palahniuk’s novel, written for the screen by Jim Uhls and starring Brad Pitt, Edward Norton, and Helena Bonham Carter, became a movie classic that has generated every form of cultural reference, from memes to research papers. Ranking #10 on IMDb’s Top 250 best-movie list and lending “The first rule of Fight Club” catchphrase to teen chats and corporate meetings alike, the film has come to occupy a unique niche in modern culture.

On the anniversary of the movie’s release, Fight Club’s screenwriter Jim Uhls spoke with Storius, reflecting on the film’s journey and lasting influence, adaptation challenges, fan theories, and his screenwriting techniques.

STORIUS: Today, twenty years after its release, Fight Club seems surprisingly contemporary, especially considering how many changes our society has gone through since 1999. It has entered the cultural lexicon, is often referenced even by people who haven’t seen it, and doesn’t seem to age much. What do you attribute the movie’s endurance to?

It hits a nerve with each generation that discovers it, seemingly because the basic life circumstances of the viewer, whether in 1999 or 2019, are the same. Part of that nerve is the idea of how self-worth is defined — both by society and in one’s mind — which are usually the same.

But, in this film, they become different. Men in their twenties, still puzzled about what they should do with their lives, are discovering a different way to define self-worth. A group of them meet to experience something that is outside the parameters of civilization. Each fight is one-on-one violence between two men who have no animosity towards each other, might not even know each other. They’re doing it because it’s a ritual, a primal ritual, in which they take part both by doing it and by watching others do it. It’s physical combat, wordless, and true — i.e., the fights are actually happening, so they are true. Other things all around these men can be lies, with or without words, but the fight cannot be a lie.

Another part of that nerve is Tyler Durden’s contempt for materialism, consumerism, the impossible ideals invented by advertising, and in effect — everything that is fake, or a lie, or a pathway to soullessness — all constantly bombarding us, in our “civilized” world. I’ve been repeatedly surprised by females, from teenage to senior citizens, telling me they love the film. It’s clearly aimed at a form of emancipation for young men, but part of the nerve it hits must resonate for women.

STORIUS: It’s hard to believe now that the movie was considered a failure when it was released, and that it took a few years and a DVD release to turn it into a financial success and a cultural phenomenon. Why do you think the film had such a bumpy road to recognition?

The bumpy road, the period of initial domestic release, was largely due to the vexing challenge of how to make a trailer for the film that promotes what the film is. It wasn’t an easy task. And it wasn’t achieved.

I ran into a friend about two weeks after the initial release, and he said he hadn’t gotten to the film yet, but he would; he just wasn’t a big fan of boxing movies.

“Boxing movies.” That’s a solid example of someone not having any idea of what the film was about during the time when it was vital to get that across to the public.

Read the full interview

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PIX Onset Makes Connected Set A Reality

July 9, 2019
PIX+CODEX

PIX has worked closely with David Fincher and his No. 13 production company since Panic Room in 2001, developing tools and services that have fundamentally changed how feature films and television shows are made. One of the first directors to embrace digital cameras with his use of the Thomson Viper on Zodiac, Fincher and his team are constantly redefining technology as they seek to blur the line between production and post production and strive to automate the mundane and more clearly communicate their creative vision.

On Netflix’s Mindhunter, Fincher again used the latest digital capture technology – custom RED Xenomorph cameras designed to his specifications, integrating all the usual camera components (wireless video transmitters, focus controls etc.) into the camera for a much more ergonomic design. But Fincher’s desire for innovation extended far beyond the camera, so he again turned to PIX.

CHALLENGE

Working on his current project, the second season of Mindhunter, David Fincher was looking for a way to better convey the thoughts and ideas he came up with during production via annotations attached to the image captured by the camera. In the past, a thought about the grading required for a particular shot might have been conveyed via a phone call to the dailies colorist much later in the day after shooting wrapped. David Fincher required a real-time telestration solution, rather than a delayed response later in the evening or next day. And it absolutely could not delay shooting or increase the footprint or complexity of production.

SOLUTION

PIX has built a system that makes the often-used term “Connected Set” real. PIX OnSet creates a clip of the take and immediately presents this clip to the director via a tablet, so that he or she can make annotations and notes on the image right after it has been captured. These notes are then securely uploaded via PIX to all the approved members of the production who can review them along with image files. Other approved production crew – for example, DP Erik Messerschmidt – can also add their own notes. These notes are securely conveyed through to editorial and post production along with the image files and other metadata.

PRODUCTS DEPLOYED ON MINDHUNTER

PIX for Desktop, Web, iOS
PIX OnSet
– The series also utilized the PIX Developer Program for custom integrations.

RESULT

Real-Time Creative Capture – The thoughts and ideas of the creative team are recorded in real-time immediately after the take. This ensures that their vision and ideas are communicated clearly and without change through the many lines of communication to the rest of the production team, reducing the potential for misunderstanding. For example, the editorial team can easily see any notes the director or DP have made without relying on paper, phone calls or emails sent later in the day. This might be a note that a take needs to be printed down half a stop or a note that something in the frame needs to be removed in post. Having the note linked to the image vastly reduces the opportunity for error and saves valuable time.

Patented Content Security – Along with the rest of the industry-leading PIX platform, PIX OnSet is extremely secure, built on PIX’s patented DRM with dynamic and forensic watermarking and meets the exacting standards of the MPAA.

Minimal Footprint On Set – Rather than adding to the on-set production infrastructure, PIX OnSet actually reduces it by providing immediate playback of takes to authorized devices as they are captured by the camera

No Production Delays – As authorized members of the creative team can annotate the file immediately and easily on their own tablet, there is absolutely no slowdown in the pace of production.

See how PIX can help your next big project. Call or email us to set up a demo and learn more!

Film stills of Holt McCallany and Jonathan Groff on the set of Mindhunter, Season 1, by Patrick Harbron (Netflix).

Original Post

LOVE DEATH + ROBOTS. Volume 2

Tim Miller & David Fincher Are Joined By Oscar-Nominated Filmmaker Jennifer Yuh Nelson For Season 2 Of Animated Anthology ‘Love, Death & Robots’

Charles Barfield
June 10, 2019
The Playlist

2019. LOVE DEATH + ROBOTS. Volume 1

Interview with Fight Club Screenwriter Jim Uhls

Dave Bullis
May 11, 2019
The Dave Bullis Podcast (PodBean)

Jim Uhls is a screenwriter and producer. Jim’s sceenwriting credits include, Fight Club, the feature-film Jumper, the NBC television film Semper Fi, and the SyFy miniseries Spin

Jim’s current online class on screenwriting is available at Creative Live. And you can follow him on Twitter.

Show Notes

0:02:39 – How did Jim get his first (credited) writing gig as Fight Club?
0:04:19 – Chuck Palahniuk
0:10:36 – The Meeting
0:14:03 – The Narrator
0:18:50 – Screenwriting Rules
0:31:14 – Jim’s Screenwriting Advice
0:38:58 – The Scent of Blood
0:50:13 – Jim, if he’ll ever direct
0:52:57 – David Fincher Directing Style
1:05:17 – My Fight Club house story

Listen to the full interview

LOVE DEATH + ROBOTS. Inside the Animation

April 9, 2019
Netflix (YouTube)

Love Death + Robots creator Tim Miller discusses the process of making an animated anthology for adults and pushing creative limits.

Watch all the “LOVE DEATH + ROBOTS. Inside the Animation” clips in the Episode Guide

How Netflix’s Love, Death & Robots Created That Eye-Popping Animation

The anthology series is a love letter to animation and artistic flair.

Tom Power
April 2, 2019
IGN

Love, Death & Robots transcends genres. It doesn’t want to be categorized, or appeal to niche markets. Instead, the broad appeal of Netflix’s animated anthology series ensures that there’s something for everyone. (Read our Love, Death & Robots review.)

For Tim Miller, creator and executive producer on Love, Death & Robots, this approach was a key aspect of the series’ development. It’s a vow that the show retains, and sits perfectly with the punchy, unconnected stories that Love, Death & Robots has brought to a wider audience.

“It really was designed to be something for everyone,” Miller told IGN, “which means a pretty broad spectrum of sci-fi, fantasy, horror, and fantastic fiction. I think I chose a few more sci-fi ones because that’s where I lean a little more heavily, but we tried very hard to balance it.”

That balance is what makes Love, Death & Robots a unique Netflix property. Taking inspiration from other anthologies, such as the iconic comic book series Heavy Metal, the show is a celebration of various short stories by acclaimed authors like Alastair Reynolds, Joe Lansdale, and John Scalzi.

Led by Miller’s own animation studio Blur, the production involved 13 studios and animators from nine countries. Tasked with bringing Miller’s handpicked stories – 16 pre-existing ones, and two original tales that were written for the series – to life, each studio’s drive and love for their craft is evident in the sheer diversity of animation styles and art forms on display.

Read the full article

Love, Death & Robots: Tim Miller (Executive Producer) & Jerome Denjean (VFX Supervisor)

In 2016, Tim Miller explained his work and that of Blur Studio on DEADPOOL. He is back today to talk about LOVE, DEATH & ROBOTS.

Jerome Denjean began his career as an animator in 2000 at Cryo Interactive. He joined Blur Studio in 2003.

Vincent Frei
April 1, 2019
Art of VFX

How did you get involved in Love, Death + Robots?

Tim: This show has been my dream project for as long as I can remember, but the real story starts when I met David [Fincher] in 2005. I showed him a long list of projects I wanted to do, one of which was an adult animated anthology. He loved it. We originally developed it as a feature film, and we planned to animate the entire thing at Blur… but it never gained traction. But, when DEADPOOL came out, it became clear that there’s an audience for this kind of material. We seized the moment and decided to bring the adult anthology back as a series. Netflix was in. And now it’s so fucking cool to see how much people love this show and this kind of material, because it’s the stuff I grew up on.

Jed: Blur has been making game trailers and cinematics for a long time, always innovating new styles as far as our clients would let us. LOVE, DEATH AND ROBOTS presented us with an incredible opportunity to make stories without restraint, and to fold in amazing partners from around the world we had always admired.

Tim: Jed heavily campaigned to be on this project for years. Which was great because we knew he’d be enthusiastic and lead the charge at Blur.

Jed: The other studios were also enthusiastic to be a part of this anthology because, like Blur, they want to keep evolving and growing. They were all great, CG studios like DigicAxisUnit, and Platige. And because they bring different skills and perspectives, the show has something for everyone.

What was it like working with David Fincher, Jennifer Miller, and Josh Donen?

Tim: We have a history with all of them, so it was very easy and comfortable. David first came to Blur because he wanted to develop a game. Our studio is run by artists and he was immediately drawn to that aspect. Josh is David’s longtime collaborator and producer. We’ve known each other for over a decade and have always gotten along and enjoyed working together. Jennifer is the COO of Blur and runs the company, not to mention she’s my wife. Together, all of us had worked on ZODIACGIRL WITH THE DRAGON TATTOO, and many other projects. History builds trust, so when David and Josh left for MINDHUNTER, they knew that LOVE, DEATH AND ROBOTS was in good hands.

Read the full interview