Today I look at David Fincher, his personal directing style, and the process that created The Social Network.
Welcome to Random Roles, wherein we talk to actors about the characters who defined their careers. The catch: They don’t know beforehand what roles we’ll ask them to talk about.
The actor: Over two decades of big- and small-screen work, John Carroll Lynch has become one of Hollywood’s consummate “that guy” character actors, capable of punching up the margins of whatever he’s in. Theatrically trained, the Colorado native made his first big impression as eternally supportive husband Norm Gunderson in the Coen brothers’ Oscar-winning Fargo, before scoring a reoccurring role as crossdressing older brother Steve on The Drew Carey Show. Since then, he’s carved out an eclectic body of film and television supporting performances, playing his imposing stature for both paternal, Gundersonian decency (such as during a moving one-episode appearance on The Walking Dead) and for supreme, skin-crawling creepiness (like in Zodiac or The Invitation). Lynch has also worked with several major directors, from Martin Scorsese to Clint Eastwood to John Woo. Recently, he’s picked up the filmmaking bug himself; his directorial debut Lucky, starring the late Harry Dean Stanton in one of his final roles, opens in New York and Los Angeles this Friday, before expanding into further markets.
Zodiac (2007)— “Arthur Leigh Allen”
First thing’s first. Is Arthur Leigh Allen the Zodiac Killer?
JCL: No, and the reason I don’t think so is twofold. First, in performing the role, David Fincher asked me to play it as an innocent man. [Pauses.] Until the end. [Laughs.]
AVC: Until that last scene with Robert Graysmith.
JCL: And then the other thing was… and this is going to sound like a weird defense, but… Arthur Leigh Allen was a pedophile. To get to be a pedophile, to really choose to do that, consciously in your life, it’s my belief that you have to run through some really severe walls of societal norms and morals. It has to be a mania, an obsession, of such grand proportions for you to ignore the health and safety of children to do it—I don’t see how you go, “I want to sleep with children and kill people.” The only way I can think of it not being that way is if he molested children—[Aside.] this is a horrible answer—and he realized that wasn’t it. He just thought it was. But I find that hard to believe. Now, that’s a terrible defense of Arthur Leigh Allen. He wasn’t the Zodiac Killer, he wasn’t a serial killer, because he was a pedophile. But I will say that the circumstantial evidence that Graysmith presented, and that David Fincher expanded upon during the making of the movie, is pretty overwhelming.
AVC: But there have been so many suspects over the years. People have made these iron, convincing cases against several people.
JCL: Sure. That’s what the movie’s about, isn’t it? I think that movie is about the virus of obsession. And I don’t think that’s stopped. The Zodiac isn’t the first one to do that, obviously. The first one I can think of us is the guy here [in Chicago]. The Devil In The White City.
AVC: Oh, right, with the death hotel. Holmes?
JCL: Yes, H.H. Holmes. That guy may be the first recorded one. Although Jack The Ripper was before that. But it’s like the myth of vampirism. There’s just something attractive to people about these men who see themselves as above humanity. To be released from the constraints of moral society. We might be seeing that play out in other ways.
AVC: David Fincher has this reputation as an intense perfectionist, sometimes demanding 50 takes to get a scene right.
JCL: As a person who came from the theater, I love that. It doesn’t bother me at all. The fact that he wanted to do it again was perfectly fine with me. I was also aware of it, so I didn’t take it personally. I didn’t think, “I suck now” because we were on 50. I think if you get to 50 with Clint Eastwood, you’re doing something wrong. [Laughs.] But Fincher is meticulous. He’s like the other masters I’ve worked with. They understand filmmaking to a degree that I could only dream of. And they are following their passion. This is a poor analogy, but Picasso was a cubist and went through a wide variety of movements in his career. He could have drawn figures better than anyone if he wanted to. He didn’t want to. So that’s what it’s like working with David Fincher. He’s after something. And it takes him 50 takes to get it.
AVC: He knows what he wants.
JCL: He knows what he’s looking for, and he knows how to get it. I also think he likes the performances of exhausted actors. He finds something interesting about that.
‘Lucky’ director John Carroll Lynch talks Harry Dean Stanton’s final role
Podcast: 28:04 min
WASHINGTON — He’s one of the most prolific character actors in Hollywood history, from “Cool Hand Luke” (1967) to “Alien” (1979), from “Paris, Texas” (1984) to “Repo Man” (1984).
Now, just days after his death at age 91, Harry Dean Stanton gives his final performance in the indie dramedy “Lucky,” marking the directorial debut of actor John Carroll Lynch (“Fargo”).
Who can forget his suspect in David Fincher’s “Zodiac” (2007)? His acting chops are on display in two scenes: first as he’s called into the police station where the cops remark, “Nice watch.” They don’t seem to notice the clue right under their noses: the watch is a “Zodiac” brand.
“[Fincher] did a great job,” Lynch said. “That [acting] foursome — Elias Koteas, Anthony Edwards, Mark Ruffalo and I — had one of the best days on set that I’ve ever had.”
His final scene is just as brilliant, as Jake Gyllenhaal’s Detective Robert Graysmith enters Lynch’s hardware store, engaging in a silent staredown that suggests he’s the killer.
“Graysmith so desperately needs to know,” Lynch said. “The scene is written like the end of ‘Moby Dick’ where Ahab is tied to the whale. Melville writes, ‘The whale looks at Ahab, and Ahab looks at the whale.’ That’s how I saw it. They recognize each other in that moment.”
One of the most challenging aspects of storytelling is showing a character thinking. It might sound like a straightforward task, but think about what you look like while studying. Ever watched someone complete a puzzle? It’s a quiet, meditative task marked by trial and error. In reality, there’s remarkably little head-scratching or furrowed brows. Visually, it’s rather unimpressive.
So how does a creator reveal thinking—poring over material, investigative work, head-buried-in-clues research—without absolutely boring the audience? How does a director reinvent frustration, the false lead, the maddening search, particularly over a two-hour film?
David Fincher has made a career of chronicling that very process.
Not only has Fincher produced some of the most haunting detective sequences in film—Se7en, Zodiac, The Girl with the Dragon Tattoo—but you’d be unlikely to find criticism calling his films boring. He’s a master at tension-building and unapologetic about his resolutions. Perhaps this is why so many of his characters fall prey to their own obsessive madness. The unraveling of a character is something Fincher portrays with patience and deliberateness.
Allegiances are never simple in a Fincher film.
David Fincher makes some seriously memorable films. That’s like saying water is wet, but his movies are impeccably crafted without seeming ostentatious or painfully clinical. Arguably, the best part about his films is the talking. You won’t find a film of his where character dynamics aren’t laid bare in the form of a lengthy conversation. Literally putting words on screen has been a landmark of his since the beginning of his film career.
Notably, many of Fincher’s movies crescendo to significant arguments and interrogations, and it is never just run-of-the-mill grilling. He has the ability to make talking – for want of a better term – interesting. Part of what makes his interrogations so enveloping and immersive is the insistent, intimate focus on the subjects at hand. Characters are thrust into settings but also command them in cinematically satisfying ways:
Fincher gives us just enough of any given setting, and the details are always overshadowed by the manner in which the characters move and interact within them. (Jones, 44)
Fincher has a new Netflix series coming out in a couple of months; one which will undoubtedly feature some of his signature wordy conversations. While awaiting the release of Mindhunter, we examine what it takes for him to put together the perfect interrogation scene.
The very talented and charming Carrie Coon (don’t miss her superb performances on “The Leftovers” and the 3rd season of “Fargo) offers some insights into her experience working for the first time in a film. A David Fincher film.
From minute 28:28 to 33:52:
Q&A with Carrie Coon of FARGO. Moderated by Jarett Wieselman, BuzzFeed.
From minute 21:31 to 29:51:
Emmy-nominated actress Carrie Coon stops by to talk Leftovers, Fargo, and what’s next.
May 21, 2017
For Gone Girl’s memorable sex scene — its climax ending in a pool of blood — Neil Patrick Harris and Rosamund Pike spent a whole afternoon working through the scene with the “exacting” director David Fincher and, at one point, with Ben Affleck looking on. “[Fincher] was asking us to have unbridled sex — and my character is really into her so is very overwhelmed with — with great precision,” Harris said. He broke down the scene in a conversation at Vulture Festival, moment to moment: “We were just rehearsing porn for hours.”