Tag: Interview

LOVE DEATH + ROBOTS. Volume 3: Interviews. Tim Miller, Jennifer Yuh Nelson, and Alberto Mielgo

Directors Jerome Chen, Jennifer Yuh Nelson, Tim Miller, Executive Producer Jennifer Miller, Alberto Mielgo, and Emily Dean.

The AFA Podcast Interview: Tim Miller, Jennifer Yuh Nelson and Alberto Mielgo

AFA: Animation For Adults
June 3, 2022

Executive Producer Tim Miller And Supervising Director Jennifer Yuh Nelson On Netflix LOVE, DEATH + ROBOTS

Paul Salfen
May 17, 2022
AMFM Magazine

Sophisticated Sci-Fi Is Back in ‘Love, Death + Robots’ Vol. 3

Ramin Zahed
May 20, 2022
Animation Magazine

Tim Miller And Jennifer Yuh Nelson Unleash “Love, Death + Robots” Vol. 3

Jackson Murphy
May 20, 2022
Animation Scoop

Alberto Mielgo Tells a Toxic Tale of Sensuality in ‘Love, Death + Robots’ Volume 3

Victoria Davis
May 20, 2022
Animation World Network

Tim Miller and Jennifer Yuh Nelson Talk ‘Love, Death + Robots’ Volume 3

Dan Sarto and Jon Hofferman
May 26, 2022
Animation World Network

Director Emily Dean Talks Animation Style of ‘The Very Pulse Machine’ in Netflix’s ‘Love Death + Robots’

Ben Morris
June 24, 2022
Awards Daily

Alberto Mielgo on His Animated Short “Jibaro” in Netflix’s ‘Love Death + Robots’

Ben Morris
June 26, 2022
Awards Daily

Emmy-Winners Jennifer Yuh Nelson, Tim Miller Share their Passion, Creativity for ‘Love Death + Robots’

Ben Morris
August 19, 2022
Awards Daily

Talking ‘Love, Death & Robots’ with Tim Miller and Jennifer Yuh Nelson

Joey Magidson
August 19, 2022
Awards Radar

So, how exactly does someone pitch an episode of ‘Love, Death + Robots’?

With Vol. 3 now out, creator/EP Tim Miller and supervising director Jennifer Yuh Nelson explain how it works.

Ian Failes

befores & afters

Love, Death + Robots’ Tim Miller Dives Into Animation’s Endless Possibilities

Caitlin Chappell
May 20, 2022
CBR.com

Emily Dean Directs a Love Letter to Moebius in Love, Death + Robots

Caitlin Chappell
May 20, 2022
CBR.com

Love, Death + Robots Director Alberto Mielgo Explains the Name ‘Jibaro’

E.L. Meszaros
May 26, 2022
CBR.com

Love, Death + Robots Volume 3: Tim Miller & Jennifer Yuh Nelson Break Down the Making of the Series

Steve Weintraub
June 4, 2022
Collider

Love, Death + Robots: Alberto Mielgo Talks Returning for Volume 3, New Challenges and More

Nick Valdez
May 22, 2022
comicbook.com

Alberto Mielgo On Creating A “Toxic Relationship” Between Two Predators In “Jibaro”

Ryan Fleming
June 6, 2022
Deadline

Engadget Podcast: A chat with the folks behind Netflix’s Love, Death and Robots

Devindra Hardawar
May 20, 2022
Engadget

Alberto Mielgo Talks About His Love, Death + Robots Volume 3 Episode ‘Jibaro’, Creating Short Episodes, And Production Pushbacks

Raven Brunner
May 21, 2022
GameRant

Alberto Mielgo (‘Love, Death + Robots’) on the toxic relationship at the center of ‘Jibaro’

GoldDerby / Gold Derby
June 18, 2022

Tim Miller and Jennifer Yuh Nelson (‘Love, Death + Robots’) on how hard it is to choose stories

GoldDerby / Gold Derby
August 8, 2022

‘Love, Death + Robots’ Season 3: Getting Animated About the Dark, Medieval Fable ‘Jibaro’

Oscar and Emmy winner Alberto Mielgo tells IndieWire about returning to the anthology with an animated original about a golden siren and an armored knight.

Bill Desowitz
May 23, 2022
IndieWire

Tim Miller and Jennifer Yuh Nelson Exclusive Interview | LOVE, DEATH & ROBOTS Season 3 (2022)

JoBlo Celebrity Interviews
May 20, 2022

Tim Miller & Jennifer Yuh Nelson On Love Death + Robots’ ‘Demented’ Volume 3

Reuben Baron
May 20, 2022
Looper

David Fincher Waited On ‘Love, Death + Robots’ Episode in Case Show ‘Sucked’

Roxy Simons
May 20, 2022
Newsweek

Love, Death & Robots’ team wants more adult American animation — and anime is helping

Petrana Radulovic
May 22, 2022
Polygon

Love, Death + Robots Executive Producers and Director On Photo-Realism And The Show’s Place In Science Fiction

Erik Amaya
May 20, 2022
Rotten Tomatoes

Love, Death and Robots: Entrevista con Tim Miller y Jennifer Yuh Nelson

Ruben Peralta Rigaud
May 22, 2022

Alberto Mielgo habla sobre Love, Death and Robots, episodio ‘Jibaro’

Ruben Peralta Rigaud
May 23, 2022

Tim Miller & Jennifer Yuh Nelson Interview: Love, Death & Robots Vol. 3

Stephen M. Colbert
May 21, 2022
ScreenRant

Alberto Mielgo Interview: Netflix’s Love, Death & Robots Vol. 3

Stephen M. Colbert
May 21, 2022
ScreenRant

Emily Dean Interview: Netflix’s Love Death & Robots Vol. 3

Stephen M. Colbert
May 30, 2022
ScreenRant

Love, Death And Robots Creators Tim Miller And Jennifer Yuh Nelson On Season 3 And The Future Of Animation

Danielle Ryan
May 20, 2022
/Film

Love, Death And Robots Director Alberto Mielgo Talks About His Stunning New Short, Jibaro

Danielle Ryan
May 20, 2022
/Film

Director Emily Dean creates a trippy Moebius tribute for Netflix’s ‘Love, Death + Robots Vol. 3’

Jeff Spry
June 15, 2022
Space.com

Love, Death and Robots’ most beautiful episode was ‘a love letter to Moebius’

Andrew Webster
June 5, 2022
The Verge

The Dazzling Visual Diversity and Artistry of Animated Series Love, Death + Robots Vol. 3

Trevor Hogg
June 21, 2022
VFX Voice Magazine

Love, Death and Robots Volume 3: David Fincher Wanted His Episode to ‘Feel Like Alien’

David Fincher chats with IGN about directing his first animated episode for Love, Death and Robots Volume 3.

David Griffin
May 20, 2022
IGN

After nearly 40 years in the entertainment business, 3-time Oscar-nominee, David Fincher, has seemingly done it all. From his early years directing music videos for Madonna and Aerosmith, crafting memorable films like Seven and The Social Network, and working on acclaimed TV shows such as House of Cards and Mindhunter, Fincher’s resume appears to be complete. But what about animation?

With the launch of Volume 3 of Netflix‘s mind-bending Love, Death and Robots anthology series, Fincher can finally check animation off his bucket list with his episode, titled “Bad Travelling.” In this seafaring horror story, a group of Jable shark hunters on a far-away planet are attacked by a giant crustacean. With the sailors’ lives in jeopardy, chaos and mutiny ensue.

Although Fincher has decades of experience working behind the camera on live-action projects, we wanted to know if animation brought any new challenges to the seasoned director.

“Ultimately, directing comes down to understanding context and sculpting time, light, and behavior with that innate understanding,” Fincher told IGN. “In some cases, like in the case of motion capture, there are people in onesies with ping pong balls hanging off them, and you’re going, ‘Okay, now remember the ship is rocking and all…’ You’re there to add a little imagination sauce to all the other shit that they’re trying to keep in their heads. I mean, it does tend to look a little like Saturday Night Live. It’s a ridiculous thing to be asking somebody to do a one-act play, dressed in pajamas. So that aspect of it, it’s the same thing. You’re playing dress up, right? And you’re trying to say, ‘Look, from the audience’s standpoint, this needs to happen a little faster here, a little… This can go a little slower. Find that word.’ It’s all the same shit.”

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David Fincher Tells You Everything You’d Ever Want to Know About Making ‘Love, Death + Robots’ and Directing ‘Bad Travelling’

Fincher also talks about his love of director Alberto Mielgo’s ‘Jibaro’ and how he’s “never seen anything like it. I’ve never been that mesmerized.”

Steve Weintraub
May 20, 2022
Collider

If you’re a fan of David Fincher and Love, Death + Robots, you’re about to be very happy. Not only is Love, Death + Robots Volume 3 now streaming on Netflix, David Fincher directed one of the episodes, Bad Travelling, and it’s fantastic. Written by Se7en screenwriter Andrew Kevin Walker, it’s about a giant crustacean and a shark-hunting sailing vessel. I’d love to tell you more…but the best thing about Love, Death + Robots is not knowing anything about what you’re going to watch and just letting it happen.

Shortly after watching the episode, I was able to get on the phone with Fincher for a deep dive conversation about directing Bad Travelling and the making of Love, Death + Robots. During the sprawling conversation, Fincher talked about his history with animation, how he decided on the style of animation for his episode, how they decided where something should end, how everyone involved in the series is doing it for the love of the genre, and if they’ve thought about making a Love, Death + Robots feature film or doing a live-action version. In addition, he talked about his love of director Alberto Mielgo’s Jibaro (another Love, Death + Robots Volume 3 episode) and how he’s “never seen anything like it. I’ve never been that mesmerized.”

Trust me, if you’re a fan of Fincher and this amazing series, you’ll learn a lot about how it’s made.

Check out what he had to say.

David Fincher Tries Animation in ‘Love, Death + Robots’

Fincher, left, directed the short under Covid protocols. “I didn’t quite realize how much I communicate through my face,” he said.

Noel Murray
May 19, 2022
The New York Times

The director made his first animated short for the new season of this Netflix anthology. “It was an incredibly freeing, eye-opening, mind-expanding way to interface with a story,” he said.

Before David Fincher became an A-list director and multiple Oscar and Emmy nominee — lauded for of-the-moment films like “Fight Club” and “The Social Network” and the TV series “House of Cards” and “Mindhunter” — he was one of the co-founders of the production company Propaganda Films. Propaganda was known for its visually dazzling TV commercials and music videos, and Fincher honed his craft in dozens of miniature movies made in myriad styles.

Yet until recently, he had never directed animation, even though he loves the medium so much that he signed on a few years ago to be an executive producer of the Netflix anthology animation series “Love, Death + Robots,” which returns for its third season on Friday.

“Love, Death + Robots” sprung from the ashes of a project Fincher had been developing with the “Deadpool” director Tim Miller since the late 2000s: a revival of “Heavy Metal,” the animated movie series inspired by the adults-only science-fiction and fantasy comics magazine. The first season of “Love, Death + Robots” debuted in 2019, featuring 18 episodes (ranging in length from 6 to 17 minutes) that adapted short stories by genre favorites like Peter F. Hamilton, John Scalzi and Joe Lansdale. An eight-episode second season followed in 2021.

Despite his involvement, Fincher never made a short of his own until Season 3, when he and the screenwriter Andrew Kevin Walker (who wrote Fincher’s crime thriller “Seven”) tackled a tale by the British science-fiction author Neal Asher called “Bad Travelling.” Set on the high seas on a distant planet, the story follows a merchant ship as it is tormented by a giant, intelligent crab that manipulates the crew members and then eliminates them one by one. Fincher described the short as “like a David Lean movie crossed with ‘Ten Little Indians.’”

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‘Mindhunter’ Season 3 Would Have Sent the FBI to Hollywood, Says Andrew Dominik

Dominik also discusses what it was like to direct Season 2’s Charles Manson episodes.

Carly Lane
April 20, 2022
Collider

It’s not often that we as viewers and lovers of television get an inside scoop on what the future of a favorite show would have been — especially once it’s canceled. In the case of Netflix’s Mindhunter, which released its second season back in 2019, the series technically wasn’t canceled so much as a possible third season was put on “indefinite hold” per David Fincher, though the series’ executive producer has also confirmed in interviews since that Season 3 likely isn’t happening, partly due to the fact that it would have required an even steeper budget than the previous one. Now, thanks to Season 2 director Andrew Dominik, we have even more of a sense of why Mindhunter‘s dead-in-the-water third season would’ve had a higher price tag.

In speaking with Collider‘s own Steve Weintraub in a long-spanning interview about his documentary about Nick Cave and Warren Ellis, This Much I Know to Be True, the director also briefly touched on not only his experience with directing two of Mindhunter‘s Season 2 episodes, but also what the third season would have entailed in terms of its main story — as well as which real-life figures the FBI Behavioral Science Unit team consisting of Holden Ford (Jonathan Groff), Bill Tench (Holt McCallany), and potentially even psychologist Wendy Carr (Anna Torv) would have crossed paths with.

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Frame & Reference Podcast: “Being the Ricardos” DP Jeff Cronenweth, ASC

Kenny McMillan
April 7, 2022
Frame & Reference

Frame & Reference is a conversation between Cinematographers hosted by Kenny McMillan. Each episode dives into the respective DP’s current and past work, as well as what influences and inspires them. These discussions are an entertaining and informative look into the world of making films through the lens of the people who shoot them.

In this episode, Kenny talks with legendary cinematographer Jeff Cronenweth, ASC about the Oscar Nominated film “Being the Ricardos.” You likely know Jeff from his work on films such as “Fight Club“, “Gone Girl“, “The Social Network” & “The Girl with the Dragon Tattoo.”

Listen to the podcast:

Apple Podcasts
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“David had the picture of the movie in his head”

Kevin Tod Haug, the VFX supervisor of ‘Panic Room’–the film is now two decades old–shares key moments from its production.

Ian Failes
March 30, 2022
befores & afters

David Fincher’s Panic Room turns 20 years old this week. The film starring Jodie Foster and Kristen Stewart featured a somewhat memorable troubled production history, partly because the original principal actor Nicole Kidman had to pull out of the project after shooting had began, among other events.

From a visual effects perspective, however, the film is memorable for different reasons. One is the incredible approach taken to extremely long takes inside the main location–a New York brownstone townhouse built on a stage in Redondo Beach–featuring ‘deliberately’ impossible camera moves. These were the result of meticulous previs, motion control and other camera work and a photogrammetry approach to VFX orchestrated by BUF, which had done some similar work on Fincher’s Fight Club.

Another memorable aspect of the film is its unsettling opening titles in which cast and crew names appear as giant lettering framed within New York buildings and locations. The work here was done by Picture Mill and ComputerCafe.

Overseeing those two key visual effects components of Panic Room was visual effects supervisor Kevin Tod Haug, who had also worked with Fincher on Fight Club. He revisits the production in this anniversary chat with befores & afters, looking back at the planning, previs and shoot, and the approach to those impossible camera moves and the unique titles.

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Literally! With Rob Lowe: Steven Soderbergh

Rob Lowe
February 10, 2022
Literally! With Rob Lowe (Team Coco)

It’s Showtime! When Steven Soderbergh joins Rob, the two friends get to ask the questions they’ve never asked one another. In this episode find out about Steven’s new film Kimi, and how he thinks Sex, Lies, and Videotape now feels like a Jane Austen novel.

Listen to the podcast:

Apple Podcasts
Google Podcasts
Spotify
Stitcher

Zodiac Screenwriter on His Overlong Spec Script and Convos with David Fincher on the ‘Passage of Time’

Author Robert Graysmith, director David Fincher, producer Brad Fischer, and screenwriter James Vanderbilt (Photo: Margot Graysmith)

Caleb Hammond
March 2, 2022
MovieMaker

James Vanderbilt wrote the screenplay for 2007’s Zodiac on spec — meaning he wasn’t commissioned to write it. So he began cutting it down before he sent it out to studios.

“I was just like, ‘This script is too fucking long. No one is going to read it.’ And I think the original script they sent out was 150 pages. It’s the thing you shouldn’t do, is write a 150-page script,” Vanderbilt tells MovieMaker about the film, released 15 years ago today.

Even when David Fincher agreed to direct the project, Vanderbilt was still concerned about its length. But much to his surprise, scenes were often added in development, not removed.

“In the spec, I had written the whole sequence with Brian Cox, and the morning show where Zodiac calls in, and then I cut it before sending the script out,” Vanderbilt says.

“And then one day Fincher was like, ‘You know, Zodiac might have called this morning show?’

“I was like, ‘Oh, I wrote it.’”

Fincher, who had spent months doing his own research on Zodiac, was impressed.

“You did?” he replied.

So Vanderbilt sent him the previously-cut 15 minute sequence.

“And he goes, ‘Well, this has got to go back in,’” Vanderbilt says. “And so it just kind of kept growing.”

Eventually Fincher sat Vanderbilt down and told him to “stop worrying about the length. I’m going to just make everyone talk very fast,” Vanderbilt says.

True to his word, “if you watch the movie, it is very bip, bip, bip, bip — everyone is talking very fast,” he adds.

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Jeff Cronenweth, ASC: An Adventurous Eye

Jeff Cronenweth, ASC on the set of his most recent feature, Being the Ricardos.

The cinematographer’s career exemplifies how talent, versatility​, opportunity and collaboration can combine to result in bold camerawork.

Jon Silberg
February 25, 2022
American Cinematographer

Directors who have worked with Jeff Cronenweth, ASC observe that he is quiet, centered, and possesses a very dry sense of humor. Working in an eclectic mix of genres and styles, he quickly zeroes in on central concepts, often exceeding expectations with the results. His career as a feature cinematographer began auspiciously with David Fincher’s eye-popping Fight Club (AC Nov. ’99), and his filmography since then includes The Social Network (AC Oct. ’10), Gone Girl (AC Nov. ’14), One Hour Photo (AC Aug. ’02) and the Amazon miniseries Tales From the Loop (AC April ’20). Cronenweth has also shot stylistically bold, groundbreaking music videos for David Bowie, Taylor Swift, Janet Jackson, Nine Inch Nails and many other top artists.

Jeff with his father, Jordan Cronenweth, ASC.

It wouldn’t be at all hyperbolic to say Cronenweth was born into filmmaking. His great-grandfather owned and operated a photographic-equipment store in Wilkinsburg, Pa.; his grandfather Edward worked as a portrait photographer for Hollywood studios during the peak of that unique specialty, earning an Academy Award for his work; his grandmother Rosita was a Busby Berkeley dancer; and his father, renowned ASC member Jordan Cronenweth, served as director of photography on Blade Runner (AC July ’82), Peggy Sue Got Married (AC April ’87), Altered States (AC March ’81), Gardens of Stone (AC May ’87), and many classic music videos for leading artists of the 1980s and ’90s. 

Taking this lineage a step further, Jeff Cronenweth has also collaborated with his brother Tim, a successful commercial director, on more than 500 spots.

“A storyteller doesn’t want to tell the same story over and over, and I don’t want to, either. I always want to find something new and challenging to work on.”
— Jeff Cronenweth, ASC

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