The alchemist behind Fight Club and Zodiac discusses his newest true crime saga, the Netflix Original series MINDHUNTER.
Netflix has come a long way since the launch of its flagship in-house production, House of Cards back in 2013. The first two episodes of that landmark series saw one of American cinema’s most fastidious craftsmen make his first foray into television. Now David Fincher is back and doubling down, helming four episodes of 2017’s most anticipated binge-fest, an adaptation of the memoir by FBI agent John Douglas, the criminal profiler who served as inspiration for Jack Crawford in Thomas Harris’ bestseller, ‘The Silence of the Lambs’. Fincher gave us a call for an epic conversation about all things MINDHUNTER.
When one of the great directors of a generation announces their next project, the film world listens. It is rare, however, for said announcement to be puzzling. Martin Scorsese is creating his treatise on faith in Silence? Of course he is. Kathryn Bigelow is making the true story of the Detroit riots? Sure, why not? Paul Thomas Anderson’s next untitled film starring Daniel Day Lewis is about a dressmaker for the Royal Family? Sounds award worthy. I could go on, but I’m sure you get the point. And then there’s David Fincher.
As most know, Fincher certainly got off to a rough start as a director. After cutting his teeth on music videos, he was tapped to direct Alien 3. The tales of his struggles on that particular film are legendary at this point, and he has basically disowned the movie and refuses to speak about it. After a three-year hiatus, he returned with Se7en. This success helped launch his career to the next level. He is now seen as one of the best directors available, easily on par with the others previously mentioned. But unlike most top directors, Fincher does not seem to always reach for the brass ring. Instead, he seems to vacillate between premier projects, like The Social Network or The Girl With The Dragon Tattoo, to more eccentric choices, such as The Curious Case of Benjamin Button or Gone Girl.
Gone Girl may be Fincher’s oddest choice to date. The film, based on the best selling novel by Gillian Flynn, is nowhere near an awards contender or at least not at first glance. Any number of pseudo-negative descriptions have been used to chronicle the details of the book; trashy, over-the-top, a beach read, the list goes on and on. Given the stunning sales of Gone Girl, a film adaptation was inevitable. But to be directed by the creator of two films that arguably were the best of their respective years, in Zodiac and The Social Network? Very unlikely.
Despite vehement denials late last year that Skydance’s long relationship with Paramount Pictures would be extended, the company announced that it has in fact reupped its producing and co-financing relationship with the studio for another four years. This gives Paramount much needed cash to try and launch tent pole films and franchises, something it sorely needs. Pictures on the docket include Mission: Impossible, the Joseph Kosinski–Tom Cruise collaboration Top Gun, and the David Fincher–Brad Pitt sequel to World War Z. Skydance was already part of these pictures. Of note here is the formalization of news that Deadline broke last January, that the studio will re-launch of the Terminator franchise with Skydance.
“There was a few months when David Fincher was going to direct my script for a movie called The Lookout. It was, as it was with Steven Soderbergh on Out of Sight, a very productive few months. Again, on that movie, I also had a wealth of talented producers, who helped me for years on the script. But those few months with Fincher made me see the script as a movie, not just a story. He didn’t end up directing the film, but when I directed it myself, I shot the script that I wrote for Fincher”
Before we can fully realize how Fincher can significantly change the zombie sub-genre’s current direction, it’s important to acknowledge how these brain-eating beasts are currently being used in American entertainment. […]
David Fincher may be circling his biggest project yet. Though the filmmaker has worked on plenty of big-budget pictures, he has yet to step into the franchise ring—preferring to make glossy adaptations of thrilling best-sellers, like Gone Girl and The Girl with the Dragon Tattoo. […]