Tag: Brad Pitt

David Fincher’s THE FURTHER MIS-ADVENTURES OF CLIFF BOOTH Is Coming This Fall

Brad Pitt returns as Cliff Booth, only this time it’s 1977 and it’s a very different Hollywood.

By Kristin Iversen
September 21, 2026
Netflix TUDUM

Mark your calendars, because director David Fincher’s THE FURTHER MIS-ADVENTURES OF CLIFF BOOTH will be coming to IMAX theaters globally for an exclusive two-week run starting November 25, before debuting on Netflix on December 23. But for now, you can watch the trailer, below.

Murder, blackmail, theft, extortion — just another summer in Hollywood. It’s 1977, eight years since Cliff Booth (Brad Pitt) encountered the Manson family in Quentin Tarantino’s parallel history of 1969, Once Upon a Time… in Hollywood. In THE FURTHER MIS-ADVENTURES OF CLIFF BOOTH, directed by Fincher from a new script by Tarantino, the fairytale is over. Los Angeles no longer needs a hippie-slaying stuntman the way it did. But Hollywood will always have problems, problems that can only be solved by someone with Cliff’s unique (occasionally extralegal) abilities. When he’s not earning his keep bartending or as a projectionist, Cliff Booth is a fixer — solving situations for Hollywood’s great and the, sometimes, not so good.

He’s curious when he gets a call from talent agent Karen Crosby (Elizabeth Debicki), on behalf of her client, TV megastar Charlie Peters (Scott Caan) — a man known for doing his own stunts. And he’s further entertained and intrigued when he meets other characters in Charlie’s world, from his knowing wife Toni (Carla Gugino) to pro football champion turned screen star Roderick “Hot Rod” Harrison (Yahya Abdul-Mateen II). Then there are the Verdusco brothers (Matt Groove and JB Tadena), mysterious gangsters causing mayhem across the city. What was once a fairytale is now a crime story — a cocktail of violence, ambition, and desire that could only happen in LA.

Discover whether the further adventures — or mis-adventures — of Cliff Booth end happily ever after on November 25 in IMAX, and on December 23 on Netflix.

THE FURTHER MIS-ADVENTURES OF CLIFF BOOTH also stars Peter Weller, Corey Fogelmanis, and Karren Karagulian, and will be produced by Pitt and Ceán Chaffin. In addition to Pitt and Chaffin, the film’s creative team includes Fincher’s longtime collaborators, like Erik Messerschmidt, ASC, as director of photography, and Donald Graham Burt as production designer. It’s edited by Kirk Baxter, ACE, with casting by Laray Mayfield. Trish Summerville is costume designer, Ren Klyce is sound designer, and Dave Macomber is stunt coordinator.

Come back to Tudum for more information on THE FURTHER MIS-ADVENTURES OF CLIFF BOOTH before it comes to screens later this year.

THE FURTHER MIS-ADVENTURES OF CLIFF BOOTH: Official Trailer

September 21, 2026
Netflix

Brad Pitt returns as Cliff Booth, only this time it’s 1977 and it’s a very different Hollywood.

Directed by David Fincher from a screenplay by Quentin Tarantino, THE FURTHER MIS-ADVENTURES OF CLIFF BOOTH comes to IMAX November 25.

Watch on Netflix.

The Church of Tarantino Podcast: The Tarantino Interview

Reverend Scott K
August 15, 2025
The Church of Tarantino

The Church of Tarantino is a podcast channel with weekly shows dedicated to discussing every and anything related to the films of Quentin Tarantino. One of our 4 unique monthly series drop an episode every Friday. Ranking Tarantino (1st Friday of the month), The Bible Study (2nd Friday of the month), Inglourious Blue Balls (3rd Friday of the month) & Tarantinoesque Film Review (4th Friday of the month). Whether we’re ranking various aspects of his films, dissecting his scenes, discussing all the projects he’s announced, or reviewing films that are like his, there’s something for every QT fan.

For this episode, join the Reverend inside Pam’s Coffy, for his first ever sit down with Mr. Quentin Tarantino, as they discuss the cancellation of The Movie Critic, the origin of The Adventures of Cliff Booth, why he handed it to Brad Pitt and David Fincher, his “favorite director”, what his next project is going to be, why Kill Bill: The Whole Bloody Affair is still unavailable to the public, the brilliance of the late great Michael Madsen and so much more, including the question he’s been dying to ask for over 2 and a half years: “What ever happened to the Untitled TV Series?” This is a must-listen for true Tarantino fans.

Listen to the podcast and read excerpts from the transcript

How Brad Pitt Designed His Dream Watch for F1: The Movie

The actor worked closely with IWC and Cloister Watch Co. to get his character’s timepiece exactly how he wanted it.

Cam Wolf
June 27, 2025
GQ

To create the new movie F1—which director Joseph Kosinski describes as “the most authentic, realistic, and grounded racing movie ever made”—no shortcuts were taken. Stars Brad Pitt and Damon Idris both drove their own cars, and the film’s crew integrated themselves into the actual Formula 1 season. That painstaking attention to detail also extended to the watch Pitt wears as the racer Sonny Hayes. The actor was extremely exacting about the timepiece he wanted to wear, its backstory, and many of the technical details, including the movement and thickness.

Our story begins, oddly enough, with David Fincher. The Oscar-nominated director and Pitt are longtime collaborators and pals who share a love of making awesome movies—Fight Club and Se7en, anyone?—and, apparently, equally awesome watches.

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‘The Killer’ filmmakers David Fincher, Andrew Kevin Walker on paring down the dialogue and being inspired by Don Siegel

David Fincher, Erik Messerschmidt, Michael Fassbender (Monaris / Netflix)

The Killer sees David Fincher deliver a lean, efficient and darkly funny hitman tale. Screen talks to the filmmaker and screenwriter Andrew Kevin Walker about bringing a French graphic novel to the screen.

Mark Salisbury (Ex-Twitter)
December 20,2023
ScreenDaily

“Obviously, I’m drawn to nihilism,” says a grinning David Fincher, director of Se7en, Fight Club and Gone Girl, when asked why he wanted to adapt French graphic novel series The Killer into a film. “But I wanted to make a fucking Don Siegel movie. I wanted to make a Michael Winner movie. I’m so tired of slogging through characters you create to deliver some idea of backstory. What’s the greatest backstory in the history of motion pictures? ‘What were you doing in China­town, Jake?’ ‘As little as possible.’ It explains everything in one line.

“I love it when you can distil motivation down to these incredibly brief and simple evocations,” he continues. “I’m tired of two-hour 45-minute movies, and two-hour 30-minute movies. I’m tired of making them. I’m joking, but does it warrant it? Then I started thinking about Get Carter, Charley Varrick. Movies where it just is what it is.”

This was back in 2007, when the graphic novel series — written by Alexis ‘Matz’ Nolent and illustrated by Luc Jacamon, and first published in 1998 — was being developed into a film by Brad Pitt’s Plan B Entertainment and Paramount. Fincher was intrigued, but was directing Pitt in The Curious Case Of Benjamin Button, so was not ready to commit. “It wasn’t like you were going, ‘This has to be seen.’ It was more of a way to explore some things I was interested in — the broadest brushstrokes of backstory and this idea of intercepted thought. Why is it we assume when we hear a character’s thoughts that it’s the truth? I don’t know people who aren’t lying to themselves.”

Fincher approached Se7en screenwriter Andrew Kevin Walker, who had done uncredited rewrites on Fight Club and The Game as well as work on several unmade Fincher projects — among them The Girl Who Played With Fire, 20,000 Leagues Under The Sea, an adaptation of Arthur C Clarke’s Rendezvous With Rama and a remake of The Reincarnation Of Peter Proud — to see if he was interested in adapting The Killer. But Walker was not, according to Fincher. “He didn’t want to touch it then.”

Read the full profile

How David Fincher Turned ‘The Killer’ Into a Mean, Lean Punch to the Gut

Fassbender, Fincher, and Swinton on the set of ‘The Killer.’
MILES CRIST/NETFLIX

The filmmaker on working with Michael Fassbender, that Smiths soundtrack, and how his adaptation of a French comic about an assassin became a Seventies B movie.

David Fear
November 8, 2023
Rolling Stone

THE MAN IS a consummate professional. In the outside world, he could be anyone — just another ridiculous looking dude somewhere between the ages of 32 and 48, the everyguy in line behind you at an Ace Hardware store or in front of you at McDonald’s. But sitting here, in an unfinished WeWork office space, is this slender, limber apex predator in his natural habitat, and an extremely patient one. He’s perched here for days, just staring out the window at a ritzy apartment in Paris. Watching. Waiting. Whiling away the hours, doing nothing. It’s a key part of the job. “If you can’t stand the boredom,” he says, via voiceover narration, “the work is not for you.”

Should you suggest to David Fincher — world-class filmmaker, notorious perfectionist, and a gentleman who genuinely appreciates a good joke — that the line spoken by the title character of his new film The Killer is also a warning to audiences hiding in plain sight, he will laugh. The director will go into detailed explanations about why the unnamed hero (or rather, its “hero”: “Massive air quotes at work here”), played by Michael Fassbender, is not just a hit man but a very, very unreliable narrator. He’ll mention that the script, written by Se7en scribe Andrew Kevin Walker, borrows the idea of long interior monologues in lieu of nonstop action directly from the source material. And he’ll admit that they knew that any movie “probably being sold with an image of a guy with piano wire in his hand or putting someone into cold storage,” yet “starts out with 25 minutes of someone sleeping on sheetrock in an empty office, musing as to what it’s all about,” might potentially have viewers wondering what they’ve stumbled into. But Fincher will not say you’re wrong.

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Clique X: Interview with David Fincher

Mouloud Achour
March 8, 2023
Clique TV (Canal+)

The immense director David Fincher granted us a 90-minute exclusive interview with Mouloud Achour. This new Clique X is a masterclass from the American genius about the secrets of his filmography that has become so emblematic over the years: Seven, Fight Club, Zodiac, The Social Network…

In English with subtitles in French.

Watch the interview on Canal+

David Fincher received the Honorary César Award from the French Academy of Film Arts and Sciences

Virginie Efira, Brad Pitt, and David Fincher (Julien M. Hekimian)

César. Académie des Arts et Techniques du Cinéma / Canal+
February 24, 2023

On February 24, 2023, on the stage of the Olympia in Paris, Director David Fincher received the Honorary César Award of the 48th César Ceremony, broadcast live by Canal+.

The films of David Fincher, including a brief look at The Killer (2023).

Belgian-French actress Virginie Efira, who later won the César for Best Actress, presented the award and introduced a surprise guest, Brad Pitt, who showed his love and admiration for his longtime friend with a touching speech.

Fincher was accompanied by his daughter and his wife and Producer Ceán Chaffin.

Brad Pitt’s speech and David Fincher’s acceptance speech.

Watch Virginie Efira’s speech and Brad Pitt’s speech with a voiceover in French

Watch David Fincher’s acceptance speech with a voiceover in French

David Fincher with his Honorary César Award (ENS Louis-Lumière).

Starring… David Fincher

Jodie Foster
“Panic Room” EPK (2002)

STARRING… DAVID FINCHER

SEVEN
David Fincher (1995)
David Fincher as “John Doe” (Promo clip alternative audio)

BEING JOHN MALKOVICH
Spike Jonze (1999)
David Fincher as “Christopher Bing” (Uncredited)

FULL FRONTAL
Steven Soderbergh (2002)
David Fincher as “Film Director”

“We walk in there with a china cup… they want beer mugs!”

DIRT. Season 1, Episode 1
Matthew Carnahan (2007)
David Fincher as “Himself”

LOGORAMA
François Alaux & Hervé de Crécy (2009)
David Fincher as “Pringles Original” / Andrew Kevin Walker as “Pringles Hot & Spicy”

David Fincher’s Impossible Eye

David Fincher by Jack Davison

With ‘Mank,’ America’s most famously exacting director tackles the movie he’s been waiting his entire career to make.

Jonah Weiner
November 19, 2020
The New York Times

Six years ago, after I contacted David Fincher and told him I wanted to write an article about how he makes movies, he invited me to his office to present my case in person and, while I was there, watch him get some work done. On an April afternoon, I arrived at the Hollywood Art Deco building that has long served as Fincher’s base of operations, where he was about to look at footage from his 10th feature film, “Gone Girl,” then in postproduction. We headed upstairs and found the editor Kirk Baxter assembling a scene. Fincher watched it once through, then asked Baxter to replay a five-second stretch. It was a seemingly simple tracking shot, the camera traveling alongside Ben Affleck as he entered a living room in violent disarray: overturned ottoman, shattered glass. The camera moved at the same speed as Affleck, gliding with unvarying smoothness, which is exactly how Fincher likes his shots to behave. Except that three seconds in, something was off. “There’s a bump,” he said.

Jack Fincher photographed by David Fincher in 1976, when he was 14.
“That’s why it’s out of focus”.

No living director surpasses Fincher’s reputation for exactitude. Any account of his methods invariably mentions how many takes he likes to shoot, which can annoy him, not because this is inaccurate but because it abets a vision of him as a dictatorially fussy artiste. Fincher, who is 58, argues that this caricature misses the point: If you want to build worlds as engrossing as those he seeks to construct, then you need actors to push their performances into zones of fecund uncertainty, to shed all traces of what he calls “presentation.” And then you need them to give you options, all while hitting the exact same marks (which goes for the camera operators too) to ensure there will be no continuity errors when you cut the scene together. Getting all these stars to align before, say, Take No. 9 is possible but unlikely. “I get, He’s a perfectionist,” Fincher volunteered. “No. There’s just a difference between mediocre and acceptable.”

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