The American director discusses his long-awaited return to feature filmmaking with Logan Lucky.
Interview: Matt Thrift
Illustration: Robert Manning
Little White Lies
It’s been four years since Steven Soderbergh announced his retirement from filmmaking, slamming the door on his way out with an impassioned cri de coeur on the state of the industry at the San Francisco Film Festival. In the event, it turned out to be more of a working-vacation, what with his 2013 TV movie, Behind the Candelabra, and two seasons of The Knick released in the interim. Now he’s back on the big screen with Logan Lucky, one of his best films to date, bringing with it a new fight against the system with the film’s experimental distribution model. We sat down for a long chat with American cinema’s most restless workaholic, the original Sundance Kid.
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Thanks to Joe Frady
Published on Aug 4, 2017
The BAFTA-winning director behind Gone Girl, The Social Network, Seven + Fight Club on his craft + career. From the BAFTA Archives.
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:
Conversations with Carrie Coon of FARGO
Published on May 12, 2017
Q&A with Carrie Coon of FARGO. Moderated by Jarett Wieselman, BuzzFeed.
From minute 21:31 to 29:51:
Carrie Coon’s Amazing Five Years
Little Gold Men (Vanity Fair)
August 10, 2017
Emmy-nominated actress Carrie Coon stops by to talk Leftovers, Fargo, and what’s next.
“We’re in advanced development. With David Fincher directing. And Brad Pitt”
Paramount’s Jim Gianopulos on Starting Over, His Fox Exit and Reviving a Struggling Studio
by Pamela McClintock
June 21, 2017
The Hollywood Reporter
(May 27, 2017)
Cinephilia & Beyond
Slightly more than 22 years ago, David Fincher, a talented filmmaker who made music videos and commercials and was left by his directorial stint on his first feature Alien 3 so disillusioned and bitter he felt “he’d rather die of colon cancer than do another movie,” stumbled upon a script that would renew his faith in the filmmaking business. This particular piece was written by Andrew Kevin Walker, and was deemed too dark and bleak to succeed. The story was largely shaped by Walker’s experience of living in New York City for a couple of years, where he felt alienated, lonely and unhappy. Desperately trying to get his story made, Walker agreed to rewrite the screenplay on the demand of director Jeremiah Chechik (Christmas Vacation), and it was this altered version that should have ended up in Fincher’s hands. But the studio made a mistake, delivering Walker’s original piece to Fincher, who was immediately intrigued and, even when the mistake was explained, chose to insist on the utter darkness Walker envisioned. By mere happenstance, therefore, Se7en found its director and made the first, crucial step on its way to cinematic immortality. […]
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