LOVE DEATH + ROBOTS. Volume 3: Final Trailer

May 19, 2022
Netflix

If you awaken, from this illusion…

Love, Death + Robots Vol 3. EXTREMING TOMORROW. May 20, 2022 ❤️💀🤖

Alan Watts – “Dream
Music: Apache Lord & Master

Emmy-winning animated anthology LOVE DEATH + ROBOTS returns with a third volume executive produced by Tim Miller (Deadpool, Terminator: Dark Fate) and David Fincher (MINDHUNTER, Mank). Terror, imagination and beauty combine in nine new episodes which stretch from uncovering an ancient evil to a comedic apocalypse, telling startling short stories of fantasy, horror and science-fiction with trademark wit and visual invention.

Read the LOVE DEATH + ROBOTS. Volume 3 guide

Watch LOVE DEATH + ROBOTS on Netflix

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.’”

Read the full interview

‘Love, Death + Robots Volume 3’: David Fincher Directs A Short That Ties Back To His Failed ‘Heavy Metal’ Revival

Christopher Marc
May 9, 2022
The Playlist

This month will see the return of “Love, Death + Robots” on Netflix, which is produced by Tim Miller and David Fincher. With the third volume arriving, something special is happening. Fincher will be helming his first animated short for the anthology streaming series.

Netflix has released a new trailer and announced Fincher is directing the segment “Bad Travelling” which was written by screenwriter Andrew Kevin Walker (“Se7en”) and based on a short story by Miller’s longtime pal, author Neal Asher. This marks Fincher’s first time directing something for the streaming series.

Netflix has also included a synopsis that reads as follows:

“A jable shark-hunting sailing vessel is attacked by a giant crustacean whose size and intelligence is matched only by its appetite. Mutiny, betrayal, and ventriloquism with a corpse.”

Read the full article

LOVE DEATH + ROBOTS. Volume 3: Official Trailer & Poster

May 9, 2022
Netflix

Emmy-winning animated anthology LOVE DEATH + ROBOTS returns with a third volume executive produced by Tim Miller (Deadpool, Terminator: Dark Fate) and David Fincher (MINDHUNTER, Mank). Terror, imagination and beauty combine in nine new episodes which stretch from uncovering an ancient evil to a comedic apocalypse, telling startling short stories of fantasy, horror and science-fiction with trademark wit and visual invention.

EXTREMING May 20, 2022.

Read the LOVE DEATH + ROBOTS. Volume 3 guide

Watch LOVE DEATH + ROBOTS on Netflix

Neil Kellerhouse (Netflix)

LOVE DEATH + ROBOTS. Volume 3: Official Teaser & Release Date

April 19, 2022
Netflix

From the streamer that brought you The Crown (Winner 21 Emmy® Awards) and The Queen’s Gambit (Winner 11 Emmy® Awards), comes the return of the 11-Time Emmy® Award-winning (yes, look it up!) LOVE DEATH + ROBOTS.

EXTREMING soon.

Global release date: May 20, 2022

Watch LOVE DEATH + ROBOTS on Netflix

Read the series guides:

2019. LOVE DEATH + ROBOTS. Volume 1

2021. LOVE DEATH + ROBOTS. Volume 2

2022. LOVE DEATH + ROBOTS. Volume 3

‘Voir’: Why Crafting Video Essays for Netflix Meant Embracing All Types of Filmmaking

“Voir” writers and “Every Frame a Painting” creators Tony Zhou and Taylor Ramos discuss their learning process to teach audiences about cinema.

Sarah Shachat
December 7, 2021
IndieWire

David Fincher and David Prior’s anthology essay series “Voir” is only six episodes, but fully half of those came from Taylor Ramos and Tony Zhou. Their skill with the form comes as no surprise to fans of their YouTube channel “Every Frame a Painting,” which almost served as a proof of concept for a show like “Voir” — and that millions of people would be interested in videos exploring just how the grammar of filmmaking impacts its meaning. When done well, video essays combine the thrill of knowing a secret and the joy of learning more about a long-held passion. Zhou and Ramos spoke to IndieWire about how the process of creating that joyful learning shifted and expanded when working on “Voir.”

YouTube was very constricting because of things like copyright and DMC,” Ramos said. “The license that Netflix and [David Fincher] gave us, it was very, ‘Oh, we can do anything and everything!’ And [that] was, I don’t want to say daunting, but —”

“It was mildly terrifying,” Zhou added.

Read the full profile

Watch VOIR on Netflix

VOIR: Trailer and Poster

From executive producers David Fincher and David Prior.

A Netflix documentary series.

As told by
Walter Chaw, Drew McWeeny, Taylor Ramos, Sasha Stone, and Tony Zhou.

Take a closer look at the stories that captured our imaginations.

VOIR

Only on Netflix. December 6, 2021.

Director David Prior Talks ‘The Empty Man,’ ‘Voir’ & Netflix Becoming “Custodians To The Cinematic Experience”

Andrew Bundy
November 5, 2021
The Playlist

There’s a specificity of intention to David Prior’s “The Empty Man” that eludes most studio horror projects. Inspired by the Boom Studios! comic (created by writer Cullen Bunn and artist Vanessa del Rey), Prior’s debut could have been a success story were the movie released under different circumstances. Inherited by Disney following the Fox merger, and dumped into theaters mid-pandemic, “The Empty Man” certainly wasn’t given the A24 Ari Aster treatment, which is a shame, as Prior’s film would make an outstanding, grief-tinged double feature with “Midsommar” or “Hereditary,” though its shape is far more chimerically hypnotic. 

Laying somewhere in the cosmic ether between David Fincher’s serial killer films, “Se7en” and “Zodiac,” Prior’s sepulchral vision slithers like a paranormal odyssey in the guise of a J-horror procedural a la Kiyoshi Kurasawa’s “Cure,” veteran character actor James Badge Dale aiding in making detective work look effortless through a mesmerizing lead performance. “We go looking for things we have lost… More than that, there is no such thing as loss,” a mysterious cult leader, played by Stephen Root, preaches

Audiences missed out on “The Empty Man,” but it’s deservedly found a devoted following. “If the price of making the movie I wanted to make meant getting abandoned by the studio and left to be picked up by passionate people who saw it on their own, that’s not a bad outcome.” Prior told us, “At least it’s the movie I wanted to make. It wasn’t some highly compromised, shortened, messed up version of that probably would have gotten more support from the studio but it would have vanished from everybody’s mind as soon as they saw it.”

Prior was later approached by David Fincher (for whom he used to direct documentaries) about a new film appreciation series, titled “Voir.” Scheduled to debut at AFI Fest this month, Netflix’s video essay project spotlights “passionate voices that love movies… highlighting the elements that get people excited about cinema.”

In a time when streaming services threaten to swallow up the theatrical experience, “Voir” is an essential look back at what makes film uniquely hypnotic. “Movies cornered the cultural conversation throughout the 20th century.” Prior told us. “It was the art form of the 20th century… [movies] don’t hold the same place in cultural thinking they used to and there’s a lot that’s important being lost.”

No great film deserves to be forgotten, and Prior is keenly aware platforms like Netflix now hold the keys to Hollywood’s kingdom, as “custodians to the cinematic experience.” “The Empty Man,” may not have mopped up box office dollars but revealed its director to be as impassioned and skilled a filmmaking scholar as David Fincher. We were fortunate to sit down for an extensive chat with him ahead of “Voir’s” upcoming premiere. Eerily, both his debut film and new Netflix series stemming from an obsession with Jaws,” the legendary Steven Spielberg, a fervent supporter of his film appreciation project.

Read the full interview

David Fincher and David Prior Present: VOIR

A collection of visual essays… for the love of cinema.

David Fincher and David Prior

From executive producer David Fincher

VOIR, a new documentary series of visual essays celebrating cinema, from the mind of one of film’s modern masters.

Premiering at AFI Fest on November 13 and coming soon to Netflix.

VOIR

A Campfire Studios Production

Executive Producers: David Fincher, David Prior, Ceán Chaffin, Joshua Donen, Neil Kellerhouse, Ross M. Dinerstein, Ross Girard

Music by: Jason Hill

101. Summer of the Shark

Voir. Cr. Netflix © 2021

Director: David Prior
Screenwriter: Sasha Stone
Producers: David Prior and Sasha Stone
Director of Photography: Martim Vian
Editor: Keith Clark
Production Designer: P.L. Jackson
Cast: Eva Wild, Olive Bernadette Hoffman, Shannon Hayes, Molly Ann Grotha, Tea Jo Raza

102. Ethics of Revenge

Directors: Taylor Ramos and Tony Zhou
Screenwriters: Taylor Ramos and Tony Zhou
Producers: Taylor Ramos and Tony Zhou, and Nach Dudsdeemaytha
Director of Photography: Alfonso Chin and Martim Vian

103. But I Don’t Like Him

Director: David Prior
Screenwriter: Drew McWeeny
Producers: David Prior and Drew McWeeny
Director of Photography: Martim Vian

6 episodes.

What in the tapdancing heck is VOIR?

Drew McWeeny
October 13, 2021
Formerly Dangerous

Fincher Brings Video Essays to Netflix

David Hudson
October 14, 2021
The Criterion Collection

David Fincher – And the Other Way is Wrong

Taylor Ramos and Tony Zhou
October 2, 2014
Every Frame a Painting (YouTube)

Love, Death + Robots. Virtual Panel

June 2, 2021
Netflix

Love, Death + Robots creator and Executive Producer Tim Miller, Executive Producer David Fincher, Supervising Director Jennifer Yuh Nelson and Director of “IceRobert Valley discuss Vol. 2 of the adult animated anthology.

Tim Miller, David Fincher, Jennifer Yuh Nelson and Jerome Denjean Talk ‘Love, Death & Robots’ Season 2 from Annecy

Jamie Lang
June 15, 2021
Variety

On Tuesday afternoon, the Annecy International Animation Film Festival streamed a candid, hour-long conversation between four of the key minds behind Netflix’s second season of “Love, Death & Robots.” Creator and executive producer Tim Miller (“Deadpool,” “Terminator: Dark Fate”), executive producer David Fincher (“The Social Network,” “Fight Club”), supervising director Jennifer Yuh Nelson (“Kung Fu Panda2 and 3) and visual effects supervisor Jerome Denjean from France’s Blur Studio engaged in an unmoderated conversation about the adult animation series, from its origins to its upcoming third season.

Read the full profile