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.
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
April 9, 2019
Love Death + Robots creator Tim Miller discusses the process of making an animated anthology for adults and pushing creative limits.
The anthology series is a love letter to animation and artistic flair.
April 2, 2019
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.
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 Digic, Axis, Unit, 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 ZODIAC, GIRL 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.
Ian Vertovec is Supervising Colorist at Light Iron, which he co-founded, a Panavision company specialized in dailies, digital intermediate, archival, and data services for projects originated on file-based motion cameras.
With Love, Death + Robots now streaming on Netflix, a few days ago at SXSW I got to sit down with Tim Miller to talk about the NSFW anthology of animated stories he made with David Fincher. If you haven’t seen the trailers, the very cool series features 18 shorts that run between 5-15 minutes in length, are aimed at adults, were done by different teams of filmmakers from around the world, and showcase a variety of styles from traditional 2D to photo-real CGI. In addition, all of the stories are wildly different. You’ve got cyborg bounty hunters, alien spiders, sentient dairy products, werewolf soldiers, robots gone wild, and blood-thirsty demons from hell — to just name a few.
I caught six of the shorts before doing the interview and absolutely loved what I saw. If you’re into cool stories and incredible animation, you absolutely want to check the series out. Love, Death + Robots is now streaming on Netflix.
During the interview, Tim Miller talked about how the series was made, how they’ve been working on it since before Deadpool was released in theaters, how he became friends with David Fincher and why they did this project, and what it was like collaborating with Netflix. Plus, if he has a suggested order for people to watch the series, if he’s ready to tell more stories in some of these worlds, the possibility of a second season, how the budgets were dictated by length and animation style, and so much more.