“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
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)
May 10, 2021
Netflix
Do you realize what you’re doing is illegal? The adult animated anthology returns with a vengeance. Love, Death + Robots Volume 2 coming May 14. Consume Irresponsibly. Presented by Tim Miller, David Fincher, Jennifer Miller, and Joshua Donen.
Global release date of Volume 3: 2022
Otherworlds, naked giants and robots-gone-wild clash in this anthology of adult animated stories executive produced by Tim Miller, David Fincher, Jennifer Miller, and Joshua Donen.
April 19, 2021
Netflix
LOVE DEATH + ROBOTS is a blast of the future with its roots deep in the past. Show creator Tim Miller teamed up with director David Fincher after years of wanting to make adult animated features and short films at his animation house Blur Studio.
When his directorial debut Deadpool hit big, they saw their opportunity and the anthology series found a natural home at Netflix. “We couldn’t have been happier at the response to the show,” recalls Miller, of the excitement around season one and the appetite for more. “It was exactly the kind of passionate reception from animation fans David and I hoped for, but for many long years had been told wouldn’t happen.”
For season two Miller was joined by Jennifer Yuh Nelson as Supervising Director. The Oscar-nominated director has vast animation experience – having worked in the industry for years and helmed Kung Fu Panda 2 and 3. Together they sought talented and diverse animation directors from around the world, for a blend of styles and stories ranging from violent comedy to existential philosophy. “It’s a tonal and stylistic Jenga game,” says Jennifer Yuh Nelson, “Trying to figure out which director might best handle what story.”
Global release date: May 14, 2021
Global release date of Volume 3: 2022
More details, including an interview and an Episode Guide
Watch LOVE DEATH + ROBOTS on Netflix
Neil Kellerhouse (Netflix)
When it comes to iconic lines, no one does it quite like Fincher. We picked some of the most quotable lines from Mank, starring Gary Oldman, Charles Dance, Amanda Seyfried, and Lily Collins.
“The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics“. By Sydney Ladensohn Stern:
Even before theatrical failures dimmed his dreams of escape, Herman had decided he could bring New York to Hollywood by importing some of his friends. If Ben Hecht couldn’t write him a good script, Herman told Schulberg, then Schulberg could tear up Herman’s two-year contract and fire them both. His boss could hardly refuse a bet like that, so Herman wired, “Will you accept three hundred per week to work for Paramount Pictures. All expenses paid. The three hundred is peanuts. Millions are to be grabbed out here and your only competition is idiots. Don’t let this get around.”
Hecht, who later claimed that Herman’s telegram arrived just in time to avert a financial disaster so severe that he had taken to his bed with Gibbon’s Decline and Fall of the Roman Empire, hurried west to enroll in what he called the Herman Mankiewicz School of Screenwriting.
Director: Kimb Luisi & Dan Young
Production Company: Sawhorse Productions
DP: Skyler Bocciolatt
Production Design: Sage Griffin
Storyboards: Andrew Paul
𝙸𝚗 𝚜𝚎𝚕𝚎𝚌𝚝 𝚝𝚑𝚎𝚊𝚝𝚎𝚛𝚜 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝚊𝚗𝚍 𝚘𝚗 Netflix 𝙳𝚎𝚌𝚎𝚖𝚋𝚎𝚛 𝟺
1930s Hollywood is reevaluated through the eyes of scathing wit and alcoholic screenwriter Herman J. Mankiewicz as he races to finish Citizen Kane.
Starring: Gary Oldman, Amanda Seyfried, Charles Dance
Cast: Lily Collins, Arliss Howard, Tom Pelphrey, Sam Troughton, Ferdinand Kingsley, Tuppence Middleton, Tom Burke, Joseph Cross, Jamie McShane, Toby Leonard Moore, Monika Gossmann
2h 11m
Click to enjoy the images in glorious 5K, full quality, and full screen view:
𝚆𝙴𝙻𝙻𝙴𝚂
(𝚎𝚡𝚝𝚎𝚗𝚍𝚒𝚗𝚐 𝚑𝚊𝚗𝚍)
𝙼𝚊𝚗𝚔? 𝙸𝚝’𝚜 𝙾𝚛𝚜𝚘𝚗 𝚆𝚎𝚕𝚕𝚎𝚜.⠀
⠀⠀⠀⠀
𝙼𝙰𝙽𝙺
(𝚎𝚝𝚑𝚎𝚛𝚒𝚣𝚎𝚍)
𝙾𝚏 𝚌𝚘𝚞𝚛𝚜𝚎 𝚒𝚝 𝚒𝚜.
Orson Welles played by Tom Burke
𝙸𝚗 𝚜𝚎𝚕𝚎𝚌𝚝 𝚝𝚑𝚎𝚊𝚝𝚎𝚛𝚜 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝚊𝚗𝚍 𝚘𝚗 Netflix 𝙳𝚎𝚌𝚎𝚖𝚋𝚎𝚛 𝟺
On the cusp of the 25th anniversary of Se7en and the 10th anniversary of The Social Network, The Ringer hereby dubs the next five days David Fincher Week. Join us all throughout the week as we celebrate and examine the man, the myth, and his impeccable body of work.
The first few minutes of David Fincher’s ‘The Social Network’ is a thesis statement on its protagonist—and a harbinger for a decade defined by assholes
Katie Baker
September 21, 2020
The Ringer
“The scene is stark and simple,” reads the first page of the screenplay. A young couple sits bickering at a campus pub, a tale as old as time. They speak quickly and sharply about pressing student concerns: SAT scores, summer jobs, a cappella groups, and whether one of them used to sleep with the establishment’s bouncer. (He’s just a friend named Bobby, she insists.)
Each character feels increasingly insulted by the other. By the end of the conversation, their relationship is through. “A fuse has just been lit,” notes the script at the scene’s conclusion, describing a dynamic—college breakup as launching pad—that is broadly familiar to audiences yet is also, in this telling, a portal to a great and eventually unrelatable unknown. That’s because this movie is no rom-com; it’s The Social Network, the 2010 deep dive into the hectic and ultimately litigious early days of Facebook that was written with snide perceptiveness by Aaron Sorkin, directed with bold ambition by David Fincher, scored with staccato generosity by Trent Reznor, nominated for eight Oscars, and received by audiences worldwide to the tune of nearly a quarter of a billion dollars.
A collection of things to listen to, read, and watch about the director behind ‘Fight Club,’ ‘The Social Network,’ ‘Mindhunter,’ and more
The Ringer Staff
September 21, 2020
The Ringer
The Fincher Analyst 