By any reasonable measure, David Fincher had made it by 1990. He was directing rapturous music videos for Madonna (Express Yourself, Vogue) and doing lucrative ads for top brands worldwide. The production company he co-founded, Propaganda Films, had cornered the MTV market, helping launch the careers of such future notables as Spike Jonze and Antoine Fuqua.
But there was Hollywood to conquer and Fincher, not yet 30, rushed headlong into his feature debut, one that no superfan of Ridley Scott (also a genius director of commercials) could pass up: the third movie of the Alien franchise. While it has since found a hardcore base of defenders, 1992’s dour, much-mussed Alien3, a troubled production, was a disappointment that Fincher has largely disowned.
A little over three years later, however, he was back with a movie that has since come to define him, even with future Oscar-nominated titles on the horizon. Starring Morgan Freeman and a rising Brad Pitt as detectives — one deliberate and cynical, the other impulsive and naive — in an oppressively rainy city hunting down a ghoulish maker of tableaus based on the deadly sins, Seven yoked Fincher’s gift for atmosphere to Fritz Lang-worthy material that approached metaphysical profundity.
“Who wants to spend their time bitching and moaning about transgressions that were done to you?” says Fincher, 61, of the tough years between Alien3 and the breakthrough that cemented his style. “That seems like a waste of time. I don’t think I was persecuted on Alien3, but I definitely learned what my limits were.”
The story of his rebound, though, remains a valuable one, even if the director himself would rather move on. In advance of Friday’s world premiere of a newly remastered 8K Imax version of Seven at the TCM Classic Film Festival, it feels like time to tell it again. Fincher is in a sharply funny, self-deprecating mood — his typical M.O. — when he connects on Zoom from his Los Angeles office.
The violence in The Killer isn’t indiscriminate, or extensive, but it has impact. And as much as Michael Fassbender’s hitman often works with a gun, sometimes things required more intimacy than that.
His journey to dispense his brand of justice takes him to Florida to find The Brute (Sala Baker), a mountainous fellow assassin. In the dead of night, he decides to steal into his house – when all hell breaks loose.
“The Brute represents somebody who may have done horrible things to somebody close to him,” says David Fincher, setting the scene. “He’s come to get his retribution. But I always loved the idea that everyone’s plan works… till you get punched in the face.”
The confrontation grows and grows and would require the utmost effort from the cast, stunt team and other heads of department. “It’s full on,” says Michael Fassbender, who does his fair share of stunt work himself, but is clear who is taking the major beating. “It’s the most physical [this sequence]. Not so much for me, as for the two boys. The fight is messy, it’s intense.”
Before battle could commence, the stage needed to be set. Producer William Doyle had found the exterior of The Brute’s house, while the interior was built in a studio space in New Orleans, with production designer Don Burt having to consider what was right for the character, the story and the stunts.
“The set was built in conjunction with the whole design of the fight itself,” says Burt. “There were a couple of instances, like, ‘Let’s put the door here, to the left instead of the right, so that works better for flowing through to the next room.”
Burt talks highly of fight coordinator Dave Macomber, who worked for months prior to the production to help design the conflict. “He did a video of the action, set up boxes to simulate the rooms and things that would have to be broken, and he would send us specific notes on what would happen.”
There was then time dedicated to a walkthrough rehearsal on the set. “Ceán [Chaffin, producer] made sure that happened early enough so there would be time for the art department to rebound!”
Alongside Burt and Macomber, cinematographer Erik Messerschmidt worked to establish the geography of the house for the audience. “We had to think about how to explain the space, while simultaneously shooting a fight scene,” says Messerschmidt, who points out how they carefully considered the staging with a view to story and commonsense, rather than amping the natural chaos of a fight.
This extended to how the scene was lit with a view to reality. “The sequence is hard, the camera is moving all over the place, the actors are moving all over the place, and it’s fast,” says Messerschmidt. “So we have to think about how we’re going to stage it for the light.”
This meant discussions with the art department about finding sources, from lights fitted under the kitchen cabinets, to establishing streetlights outside. “We decided we wanted hard, artificial street light through the windows,” says Messerschmidt, which meant erecting lights on the exterior location to match that. “In terms of the scope of the movie, a tremendous amount of energy went into just figuring out that fight.”
For fight coordinator Dave Macomber, whose stunt credits include HBO’s Watchmen (2019) and Avengers: Endgame (2019), working with Fincher was a unique experience. “He’s different from any other director I’ve worked with,” says Macomber. “His approach to things, all the intricacies, being able to do the number of set ups he does at the speed that he does.”
He regards the director as being able to predict, or foresee, elements which only become obvious to others in retrospect. “It takes a second to go, ‘Okay, he wants this in order to be able to achieve that!’ Most people only see that when they’re looking at their movie.”
It would be easy to imagine a fight as simply a blizzard of blows, but Macomber sees the possibilities of revealing character in the carnage. “I’ve always thought of fight moves as kind of ‘action dialogue,’” he says. “So whenever we’re creating these kinds of sequences, I’m always trying to keep in mind the motivation of the person within the scene.”
Macomber recalls long conversations with Justin Eaton, the stunt double for Fassbender, as they choreographed the sequence, checking “Does that really make sense?” For Eaton, who has worked with Macomber several times, it was a hugely positive experience, not least because he saw his friend given license to explore what was best for the material. “Fincher gave Dave a lot of freedom, to kind of audition what he thought would be the best way to capture things. Dave was blown away, because Fincher is one of his favorite directors. He’s been like a kid in a candy shop working on this.”
“The way the fight is designed, it’s like each piece goes into the next piece,” says Sala Baker, whose work as a stunt performer and actor goes back to playing the physical incarnation of Sauron in The Lord of the Rings. “David is such a particular mind,” says Baker, who really enjoyed how curious and open the director was, exploring suggestions and ideas to the full. “If you say anything, he’s going to really get into it. And Michael is so easy to work with, fun and open to adjustments.”
Baker also stresses how well-looked after everyone is, however bruising their scenes might be. “It’s such an amazing working environment to have that kind of care.” Pain, of course, when you’re delivering stunts, is part of the job. As Dave Macomber explains, “The way I think about it is there’s a difference between pain and injury. And there’s a difference between injury and debilitating injury. We accept the fact that things are going to be painful!”
“I feel sorry for those guys,” says Fincher, reflecting on the reality of staging the fight, although it all aids the experience on screen. “I like the idea of the audience rooting for this confrontation,” says Fincher. “And then it goes on and on and on. And you’re kind of going, ‘Good God, it’s awful what they’re doing to each other!’”
The man who directed films such as ‘Seven’ and ‘Zodiac’ has released his latest film: ‘The Killer.’ In an interview with EL PAÍS, he reflects on his cinematographic technique, his fascination with criminal minds, his terrible experience directing ‘Alien 3′ and his reputation for being tough on set.
In front of David Fincher, there’s a table and a glass of water. The typical, minimal decoration of any interview. But the talent of the 61-year-old director isn’t typical or minimal at all. With just a few bursts of words, he can transform a nondescript setting into a sudden master class in cinema.
He’s always thinking about how something could be filmed, from where, with what intention. His long shots — assembled with frenetic phrases — are capable of turning even the dullest premise into a thriller.
The Denver-born director has a career that spans three decades, with iconic films such as Seven (1995), The Social Network (2010) and Gone Girl (2014). He’s one of the most-admired filmmakers on the planet, for his visual style, his extensive research into the abysses of the mind and his capacity for immersive narration.
Fincher is a relentless perfectionist, just like theprotagonist of The Killer, his latest film, now playing in theaters and available on Netflix on November 10. The professional assassin has a perfect record… until, for the first time, he makes a mistake.
In Fincher’s career, there are hardly any. Except, perhaps, right at the beginning. He was 30-years-old and had a solid reputation as a director of music videos, when he was offered something on the big screen. From the vertigo of recording Madonna or Michael Jackson, he was suddenly part of something even more terrifying: Alien 3. But he wasn’t scared of the creature, he was simply horrified by the industry, its thirst for money, its managers, its obstacles to creativity. To this day, he says that no one hates that film more than him. “I was like, ‘Well, surely you don’t want to have the Twentieth Century Fox logo over a shitty movie.’ And they were like, ‘Well, as long as it opens.’ He added that the experience made him “a belligerent bastard.”
Another key to his fame is his impeccable workmanship. He’s always hunting for details, seeking the perfect final result. Some say he goes overboard. Gyllenhaal — who starred in Zodiac (2007) claims that Fincher “paints with people” while working. “It’s tough to be a color,” the actor added, inan interview with The New York Times. “It’s hard to be David Fincher,” Jodie Foster once said.
The director confessed, in a chat with Sam Mendes, that the phrase he repeats most on set is “shut the fuck up, please.” He admits that he becomes firm when he notices that someone is slacking. He believes it’s necessary, given the time and the money at stake. The viewer also isn’t allowed to relax.
Years ago, he was in talks to direct an installment of Spiderman, but what he proposed must have been so different that the executives despised it. With Fincher, it’s all love or hate.
The premiere of Fight Club (1999) — at the Venice Film Festival — awakened, above all, the latter sentiment. “They wanted to tear off our skin,” the creator said some time later. However, when he returned two months ago to the festival — where this interview was held — the event organizers welcomed him like a divo.
El creador de ‘Seven’ y ‘Zodiac’ estrena su última película, ‘El asesino’, y reflexiona sobre la técnica cinematográfica, su fascinación por las mentes criminales, su pésima experiencia en ‘Alien 3′ o su fama de duro en el plató.
Ante David Fincher hay una mesa y un vaso de agua. Lo habitual, la decoración mínima de cualquier entrevista. Pero el talento del director (Denver, 61 años) poco tiene de común. Tanto que, con dos ráfagas de palabras, transforma el anodino cáliz en protagonista de una repentina clase magistral de cine. Cómo podría filmarse, desde dónde, con qué intención alguien lo cogería. Y un largo travelling de disquisiciones técnicas, montado a golpe de frases frenéticas, capaz de convertir en todo un thriller tan insulsa premisa. He aquí la síntesis más breve de la unicidad de su trabajo. La versión larga, en cambio, abraza tres décadas de carrera, películas como Seven, La red social, Perdida,Manko la serie Mindhunter y el estatus de uno de los cineastas más admirados del planeta. Por su estilo visual, su indagación en los abismos de la mente, su narración envolvente. Un perfeccionista implacable, como El asesino de su último largo—estrenado ahora en una treintena de salas antes de llegar el 10 de noviembre a la plataforma Netflix—. Hasta que, por primera vez, comete un error.
En la trayectoria de Fincher apenas los hay. Salvo, quizás, justo al principio. Tenía 30 años y un sólido prestigio como director de vídeos musicales cuando le ofrecieron debutar en el séptimo arte. Del vértigo de grabar a Madonna o Michael Jackson a otro extraterrestre, más terrorífico aún: Alien 3.No tanto por el xenomorfo, en realidad: le horrorizaron los directivos, la industria, su sed de dinero, sus trabas a la creatividad. A día de hoy, dice que nadie odia esa obra más que él. “Pensaba: ‘No querrán el logo de Twentieth Century Fox sobre una película de mierda’. Y ellos decían: ‘Bueno, mientras se estrene…”, ha contado en alguna ocasión. Y añadió que la experiencia le volvió “un cabrón beligerante”.
In 1995, Brad Pitt‘s exclamation of fear and dread jolted audiences and left a lasting cultural imprint. The ending of Seven, director David Fincher‘s breakout film, is one of the most shocking, disturbing, and iconic twists in modern cinema, capping a tight, wrought thriller.
The film’s initial introduction to its world, a metropolis mired in unrest, is normal enough. Cool veteran Detective Somerset (Morgan Freeman) is paired with young hothead Detective Mills (Pitt) in pursuing a serial killer who picks his victims based on the seven deadly sins. They follow the clues and corpses, and the murderous John Doe (Kevin Spacey) eventually makes it into their custody, promising to reveal his two final victims—targeted for envy and wrath.
But the third act abandons cinematic tropes and convention. The promise of the final two corpses is questioned when a mysterious box arrives that is Doe’s coup de grace; it contains the head of Mills’ wife, Tracy (Gwyneth Paltrow)—never seen on screen, but revealed through dialogue and reaction. Doe acted on his envy of Mills’ normal life and incurs Mills’ lethal wrath. Though he’s killed at the hands of the good guy, the bad guy’s death serves as a loss for the positive forces of the world.
And it was all this close to not happening; “What’s in the box?!” nearly missed its canonization. Fincher, scribe Andrew Kevin Walker, and some of the cast, including Brad Pitt, fought for the original planned finale, against the studio’s protests. The producers eventually conceded to uphold the work’s artistic integrity. “There’s nothing wrong with up endings, it’s just that the dark ending of Seven was what it was about,” Walker told Uproxx. “To change the ending to something else was to remove the very heart of the story.”
Entertainment Weekly looks at how off-camera elements of the film successfully crafted suspense and resulted in Seven‘s enduring ending.
Born in Los Angeles, California, on June 26, 1957, Ceán Chaffin is a film producer who has mostly collaborated with her husband, director David Fincher.
I started out in commercials, at the bottom. PA-ing, 2nd AD-ing, the whole route into line producing. (1)
She joined Propaganda Films in 1992 and worked as a producer for several commercial directors, handling a diverse group of accounts that took her to 13 countries before accepting a job on a Japanese Coca-Cola commercial that was directed by David Fincher: Coca-Cola: Blade Roller (1993, filmed in December 1992). (2) (3) (4) (5)
I started working with difficult directors at Pytka and Propaganda Films.
It wasn’t a conscious choice but with those guys, I just learned more. Someone dared me to work for Fincher and partly because he was younger than me, I thought, “That little punk?” But I figured I’d give it a shot, and I learned more than I’d ever learned before. (1)
That project led to an association with Fincher on other commercials and such notable music videos as the Rolling Stones’ Grammy Award-winning Love is Strong (1994).
She also produced the music videos directed by Mark Romanek, Madonna’s Bedtime Story (1995), and Michael Jackson’s Scream (1995), for which she earned a second Grammy. (4)
Propaganda offered me a movie; they had moved other commercial producers into films, but I believe I was their first female producer. So I was offered this film with David, but he signed up first to make Seven, which I wasn’t hired to do. I prepped it but they wouldn’t hire me because I had never line-produced a feature before. Which drove me crazy and still does, that Catch-22. It was a film for Polygram, which owned Propaganda; the budget was $69 million, and it was called The Game. (1) (2) (4)
Chaffin and Fincher became a couple in 1995 and they married in 2013. (6) (7) (8) (9)
Producer Arnold Kopelson (Seven, 1995):
Ceán is very supportive of David. She makes it possible for him to be totally enmeshed in his life of making movies. (8)
Their upcoming project, the neo-noir action thriller film The Killer is scheduled to be released on November 10, 2023, on Netflix.
(1) “Case Study. Walking the Line” (Produced By, October 2009) (2) “Entrevista de El curioso caso de Benjamin Button” (Ceán Chaffin) (Cine PREMIERE, YouTube, January 19, 2009) (3) Nev Pierce – “Interview” (Mank, The Unmaking, 2021) (4) “Cean Chaffin” (Panic Room, Production Notes. Sony Pictures, 2002) (5) Benoît Marchisio – Génération Propaganda (Playlist Society, 2017) (6) Nev Pierce – “The Devil Is in the Detail” (Total Film, March 26, 2007) (7) Nev Pierce – “In Conversation with David Fincher” (Empire, January 2009) (8) Stephen Galloway – “David Fincher. Punk. Prophet. Genius” (The Hollywood Reporter, February 9, 2011) (9) Nev Pierce – “Essay” (Mank, The Unmaking, 2021)
Interview with David Fincher’s Producer Ceán Chaffin on The Curious Case of Benjamin Button
January 19, 2009 Cine Premiere (Mexico)
Case Study. Walking the Line
September 2009 Produced By
Quotes from Ceán Chaffin:
“I feel that being a line producer is an honor. I’m really proud of that. When you talk to somebody in the business and you say you’re a line producer, I think you get more respect then when you say, ‘Oh, I’m a producer.’ I think that I watch a director’s back better than anyone else, and that’s why David forces me into a Produced By credit. At first I was really hesitant because there’s a part of Hollywood that I kind of hide from. I really love directors, and I love what they do. But I also think that we all walk that line of supporting these filmmakers, while at the same time doing that job for the studio, because they’re financing it. We walk that line, and I don’t see anybody else willing to do that. How else are you going to deliver on all these different levels?”
“I think there’s too much hung on the creative idea; people’s egos are too attached to it or something. Because what we in this room all do couldn’t support the creative process more. Fincher is a very smart director; he gets that. I didn’t survive those early years with him because I had a different philosophy than he does. He feels the same way, so much so that one of the things he says to his fellow directors is “you gotta have your producer skills.” You need to understand what these people are doing for you because if they’re not doing it for you, you’re screwed.”
“Very rarely does anyone get upset when we say, ‘the money goes on the screen.’ That is our mantra. We don’t lie, and the money goes on the screen. When there are a lot of producers on a show, you sometimes have everyone in trailers … there are drivers, assistants, the whole entourage. And so, very gently, I hope, we ask: let’s put that on the screen instead. There aren’t a lot of bells and whistles and bling for everybody; when we have a Fincher project, it goes on the screen. We’re very serious about it. It’s not an easy question to ask some people, but you do.
You can look at dailies now online and on demand, so having some place to do that work is important, but it can be anywhere. It can be the AD’s trailer, wherever…”
“They will suss it out in a nanosecond if you’re not being honest. It’s so important. That’s probably number one.
I take ‘no’ from the director. And I understand the firm ‘no’ from the maybe-I-canchange-his-mind-later ‘no.’ That’s another skill.
We have our own opinions too. We’re not always going to agree with either the director or the studio. And that can get in the way.”
“We feel very strongly, both of us, that we have to make things work within the envelope that we promised… partly because that’s an expectation with the kind of movies that he makes. It’s a different beast that way. When you’ve got a Transformers, they’re willing to spend a little differently. So we give the bad news up front. We know that David asks for more days than most people do, but that’s the way he works. The studio once actually asked me, ‘How are you shooting 80 days on Panic Room when we’re at 80 days on Spider-Man?’ I said, ‘Well, who do you think is lying?’ [laughs]”
“It’s a wonderful little thing you get from commercials and music videos, which we still do, though not as much these days. But they’re a great opportunity to try out new DPs, new equipment… It’s a chance to push the edge, a little bit. It’s like a date. You get to date your crew, and then when you make a feature, you get to run a marathon with them.
You have to have visual effects knowledge as a producer or line producer. I haven’t had a job, including commercials, in probably 18 years that hasn’t used VFX. You have to know this stuff.
You just have to show up; that’s how we all learn. I didn’t know what a telecine was when I first started, 25 or 30 years ago. So I showed up. You go and you learn, and you go to all the meetings with the visual effects groups. And it’s a big time commitment, but I don’t see any other way of doing it. I actually get tired of chasing David, sometimes, because he is so curious. But you go, and you visit RED, and you meet with Viper, S.two, engineers… It’s all part of the job.”
“The audience has changed, our economy has changed, clearly technology has changed, and the delivery system is still changing. So between all those things, it does have an impact on everybody in the film business. And that’s why it is important, I think, that we embrace the change. Change ultimately can be a good thing. It almost always is, if you look at it historically. People always prefer their past to their present, but I think once you embrace the change, there’s another curve out here that can be a positive one.”
Conference Spotlight: Ceán Chaffin and David Fincher
July 2014 Produced By
One of the most anticipated sessions of the 2014 Produced By Conference was its “Conversation with Ceán Chaffin and David Fincher” — a rare look into the process of the producing and directing team behind some of the most provocative films of the last 20 years, including Fight Club, The Social Network, The Girl with the Dragon Tattoo and the upcoming Gone Girl.
In order to keep the discussion candid and open, members of the press were not allowed into the session, but Ms. Chaffin and Mr. Fincher graciously agreed to sit down with Producedby for a brief interview just before taking the stage.
Many of your films feel more like independent or even art films, given their challenge and complexity, and yet you’ve been able to make them within the major studio system. What’s your secret?
David Fincher: We’ve been pretty lucky. You have to have people within those bureaucracies who are fervent believers. We could not have made Fight Club without Laura [Ziskin] and Bill [Mechanic]. They bought the material. They had it before I had it. So I think you have to look for like-minded perverts within those bureaucracies to convert. And you have to do what you say you’re going to do.
Ceán Chaffin: And do it time and time again, so they start believing. It takes a while for that trust to be built up so you have a reputation that you can do what you say you’re going to do.
Wasn’t Seven famously a script that everyone said couldn’t be made?
Fincher: No, they just didn’t want to make it as written. They wanted to take out all the things that were disturbing. When it came down to whether there was going to be a head in the box at the end, my argument was: This movie is known around town as the ‘head in the box’ movie — so taking it out makes no sense. It’s like taking the wizard out of The Wizard of Oz. I don’t think it’s a question of unmakeability as much as it’s just people saying, “this could be too offensive.”
Chaffin: But they’re happy to make “too offensive” if it’s the right price.
Fincher: [With Seven], it was 11 drafts in development, and by the time I got it from Mike De Luca, I said, “Let’s go back to draft one.” So it’s finding the…
Chaffin: The champion.
Fincher: …the fellow pervert!
Chaffin: The like-minded people.
Working on projects with successful, popular source material often means that there are other producers attached. How do you stay true to your vision while collaborating with other producers?
Chaffin: It depends on the competence level and ego of each person. People know that David and I come together as a team, and I fill a space that they don’t [always] want to fill. [Other producers] have so much respect for David, and by this point they appreciate how we work, and they just want to be there when we need support. But a lot of people don’t want to do the things that we do and work how we work.
Let’s talk about that. What are those things?
Chaffin: We come from working on short-format together, and in that world you do everything from start to finish — and we just moved that over to films. I also line produce. You just wear more hats when you come from commercials and music video. So there’s more of an immersion in the whole process.
Fincher: I also think that the assembly-line nature of our industry encourages specialization, but I really have an aversion to that. So the people I am naturally going to turn to are people who can think about it from multiple facets. So for me, what Ceán brings to it is… for my job, I have to be out there, not trying to fail, but certainly exposed to failure. And I need someone behind me saying, “You need to keep in mind that if this goes horribly awry, that’s three days of shooting.” You need that balance. Or when it comes to music, like the Pixies song at the end of Fight Club — that’s Ceán saying “Listen to this.”
Chaffin: That’s not true. I just listen to a lot of music…
Fincher: Well, it is true. Or when we were casting Dragon Tattoo, Ceán was there right at the beginning saying, “I think Rooney [Mara] might be able to do it.” She has a legacy of experience, and I have that with 10 or 12 people that I continue to go back to because I know that they’re not going to try to talk me out of things that discomfort the audience.
Chaffin: But creative input — that’s not something I focus on with David. To me it’s all about watching the director’s back. And you’re in the position that you’re also working for the studio, and it’s very important that there’s somebody out there trying to work with both sides. It’s not just “us against them.”
Speaking of conflict, how often do you fight, what are the fights about, and who generally wins?
Chaffin: [Long pause] I don’t know.
Fincher: We don’t fight, we disagree. We disagree about a lot of things. Usually it’s because we’re looking at it from diametrically opposed [places]. I’m looking at it in terms of mortality, and she’s looking at it more in terms of feasibility. What can we guarantee? What can we expect from someone hanging from wires for nine hours?
Chaffin: We’ve worked together longer than we’ve been a couple, and we found early on that we have the same philosophy. That’s so much better, because if you don’t have that same care, it’s really tough, and can be dangerous, and can be dishonest, and that’s not comfortable for me. And with David, I have that. Then it was about…
Fincher: Not making you cry.
Chaffin: [Laughs] He made me cry on the first job; that’s true. But he makes everybody cry. I didn’t take it personally. His old person said, “Don’t worry, everyone cries.” [Fincher nodsin agreement.] I’m kidding. But it’s not just with David, it’s all the people [we work with] who are so talented. You have to learn what their process is. Because when you don’t understand that, it can create conflict. It’s not about being right, it’s about making the whole work, and if you don’t understand each individual’s process, you can’t really be that person that moves [things] along, makes deadlines, makes budgets. I think that’s the part that keeps us from knocking heads — as a producer, sitting back and asking, “How does this person work? Let’s observe how they behave.” And then you support them.
In 2021 AD, the futuristic megalopolis of ZERO-CITY is under martial law. When the authorities try to enforce a curfew, a gang of renegade “Blade Rollers” defy it rollerblading daredevil-style through the deserted rain-slicked streets.
For this stylistic homage to Blade Runner (Ridley Scott, 1982), director David Fincher recruited the cinematographer of the classic film, Jordan Cronenweth, ASC, one of his all-time heroes.
It was also the first collaboration between Fincher and Producer Ceán Chaffin.
Watch all the versions of the commercial and read The Fincher Analyst dossier:
Sean Parker (Illustrator) and Steve Goldberg (NY Nets Content Manager) discuss the horror genre; interviewing the amazing people who contribute to it and discussing our love for horror films, television and more!
In this episode, they talk about The Last Of Us, Infinity Pool, The Boogeyman, and the super secret stuff they have coming up.
Then, they’re joined by director David Prior. They discuss horrifying formative childhood memories, his Fincher featurettes, the video clerk to director pipeline, and more!
The Fincher Analyst 