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.
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.”
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.
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.
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.”
David Fincher: Mind Games is the definitive critical and visual survey of the Academy Award– and Golden Globe–nominated works of director David Fincher. From feature films Alien 3, Se7en, The Game, Fight Club, Panic Room, Zodiac, The Curious Case of Benjamin Button, The Social Network, The Girl With the Dragon Tattoo, Gone Girl, and Mank through his MTV clips for Madonna and the Rolling Stones and the Netflix series House of Cards and Mindhunter, each chapter weaves production history with original critical analysis, as well as with behind the scenes photography, still-frames, and original illustrations from Little White Lies‘ international team of artists and graphic designers. Mind Games also features interviews with Fincher’s frequent collaborators, including Jeff Cronenweth, Angus Wall, Laray Mayfield, Holt McCallany, Howard Shore and Erik Messerschmidt.
Grouping Fincher’s work around themes of procedure, imprisonment, paranoia, prestige and relationship dynamics, Mind Games is styled as an investigation into a filmmaker obsessed with investigation, and the design will shift to echo case files within a larger psychological profile.
The Unmaking Of Movies. In-depth accounts of the ‘Greatest Movies Never Made’, Prominent ‘what ifs?’. Behind the scenes looks at canceled movies, lost projects, and the reasons why some projects went down in flames of development hell… Superman, Batman, Iron Man, Spider-Man, He-Man, Aliens, Hellboy, Robocop,and many more!
David Fincher has long been signed to produce a movie adaptation of Eric Powell‘s cult comic book: The Goon, published by Dark Horse, to be co-directed by Tim Miller and Jeff Fowler of Blur Studios with an original screenplay by Powell.
Video contains test animation for the David Fincher / Blur Studios / Dark Horse Entertainment produced film The Goon. Based on the Dark Horse Comic series by Eric Powell. Clancy Brown and Paul Giamatti provided the voices for this test. All artwork & footage belongs to its respective creators.
Drew McWeeny explained that he almost missed out on David Fincher’s emails and calls after he thought someone was pranking him and was using a very weird, full of movie references email address (and yes, I really need to know what were these references now…):
“He emailed me in the middle of the night. I didn’t know him, we hadn’t spoken before (…) and the email just said “Hi, this is David Fincher. Call me.”
He ignored the email. David Fincher emailed him again the next day, but Drew didn’t want to believe it.:
“And it’s the third day when he actually called me and said ‘Hi, this is David Fincher, what’s your problem?!’ And I went ‘Oh my god! Hi, how are you?”
VOIR: 03. But I Don’t Like Him. Written and narrated by Drew McWeeny
Drew McWeeney declared that creating Voir started with David Fincher having “the vaguest notion that he wanted to celebrate movies”.
But when Drew McWeeney decided to make his episode of Voir centered on unlikeable characters, it was because he felt that a conversation needed to be had:
“I think ‘likeability’ has become this weird, weird buzzword, we hang a lot of other issues about movies on it. When people don’t like a movie, they immediately go to ‘I didn’t like the character’. But that’s not necessarily a bad thing. And all I wanted to do is reframe that conversation”. (…) Art is not about endorsement.”
Cinematographer Jeff Cronenweth, ASC, is the son of Jordan Cronenweth, ASC, one of the most influential cinematographers in history, most notable for Blade Runner.
He worked with his father as a camera loader and second assistant camera during high school, graduated from the USC School of Cinematic Arts, and worked his way up to first assistant camera and then camera operator until the mid-1990s. He also worked for legendary Swedish cinematographer Sven Nykvist.
The first major motion picture where he acted as a DP was for David Fincher‘s Fight Club. Other notable feature films on which he worked as a DP are One Hour Photo, directed by Mark Romanek, K-19: The Widowmaker, Down With Love, The Social Network, Hitchcock, The Girl with the Dragon Tattoo, Gone Girl, and recently, Being the Ricardos, written and directed by Aaron Sorkin.
He was nominated twice for an Academy Award for Best Cinematography for his work on Fincher’s The Social Network (2010) and The Girl with the Dragon Tattoo (2011).
This video essay examines the innovative use of sound recording and mixing in David Fincher’s Mank (2020). Whilst Mank received a limited theatrical release, the film is most widely available via the Netflix streaming platform. The essay takes as a starting point the rerecording and spatialisation of the soundtrack, with a focus on the home viewing experience. Donnelly argues that the re-recording process used on Mank’s soundtrack could potentially suggest a method by which films released into the domestic market could retain the reverberant sonic signature of cinematic exhibition. The published screenwork draws upon interviews with Fincher’s sound designer Ren Klyce, as well as the work of experimental composer, Alvin Lucier in order to better understand the experience of listening to Mank in our own rooms.
The Fincher Analyst 