The Best Director of Our Time? When he got older he worked on movie sets until he knew every crew member's job. The spot got him noticed, and led to many more commercials--and music videos.
Jul 27 In the wake of Prometheus, the Alien franchise has once again come into the spotlight. Opinions on the four film series remain the same: Aliens is also great! Alien Resurrection is really weird! Any discussion of the Alien films is incomplete without the haranguing of Alien 3, perennial whipping boy of the franchise.
This criticism seems a touch unfair, especially considering that the only connections between Alien and Aliens were Lt. Ellen Ripley Sigourney Weaver and the titular creature.
But even when regarded as its own entity, Alien 3 received less than stellar reviews. After the war-movie scope of Aliens, returning the series to its single-alien origins felt like a rehash, and many considered the prison planet setting offensive rather than inventive. But back in the early 90s, Fincher was a kid in his late 20s trying to make his first feature film.
And it was hard. An interview with Fincher from shows the director openly admitting his unhappiness with the film while in the midst of production: At a certain point, I just start waking up.
Wake up at two, three, four on the hour. Thinking of things you could have done differently? Considering how awful his formative experience with Alien 3 was for Fincher — and how it nearly turned him off filmmaking forever — his career since can be viewed as a response to his first film.
As a filmmaker, Fincher has arguably become best known for the Kubrickian level of control he wields over his films. Sometimes that means repainting a few leaves; sometimes it means doing 50, 60, even takes of a single scene.
This was the third film in a blockbuster series, and he was some kid making his first movie. Everyone, from studio heads to other producers, had their own version of the film, and Fincher had to figure out something to please everyone.
His attempts to bring his exacting standards to Alien 3 were thwarted by a studio that needed to oversee every decision and eventually recut the film without him.
The importance of control has been a running theme in every Fincher film since Alien 3. Chaos is the ultimate threat to life, and losing control, his films seem to argue, is the worst thing that can befall a person.
Like Fincher with the production of Alien 3, the lead detectives work furiously despite little success. Both technically achieve their goals: Fincher finished his film, and the detectives capture their serial killer.
But the work itself only furthers their personal misery. Next Fincher directed the puzzling mystery thriller The Game, in which a despondent businessman Michael Douglass receives a strange birthday gift from his younger brother Sean Penn.
Forced participation at the center of a massive and convoluted role-playing game. Apparently, the director was tormented for fun. Fincher returned to his tormenters to make his next film, the perennial dorm room favorite Fight Club.
But this time, Fincher got the autonomy he wanted. Fight Club allowed him to directly confront both his time on Alien 3 as well as his fear of losing control. Though Fight Club resembles violent wish fulfillment, underneath the brutal surface lies a sly satire that condemns both American consumerism and the self-proclaimed anarchists seeking to destroy it.
Even chaos, Fincher implies, can be controlled.
In the same Wired piece, Aaron Sorkin reveals: After the wide-ranging mayhem of Fight Club, Fincher went onto direct a more straightforward film, the home invasion thriller Panic Room. Ostensibly a B-movie, the film afforded the director a new level of control.
Save for a brief intro and outro, the entirety of Panic Room takes place within a single setting: Rather than find a suitable location, the production built a massive full-scale set.“David Fincher is a perfectionist,” actor Jesse Eisenberg told The New York Times in a interview.
“You hear about people who work tirelessly, meticulously to get what they are after. Auteur theory has had a major impact on film criticism ever since it was advocated by film director and film critic François Truffaut in "Auteurism" is the method of analyzing films based on this theory or, alternately, the characteristics of a director's work that makes him an Auteur.
Download-Theses Mercredi 10 juin David Fincher - Auteur 1. David Fincher as Auteur Film Style in Fight Club 2. David Fincher David Fincher has proven himself to be a master filmmaker over the years with a filmography including Fight Club, Se7en, Zodiac, The Social Network and The Girl with the Dragon Tattoo.
The film adaptation of Chuck Palahniuk’s novel Fight Club features a protagonist narrator whose name we assume to be Jack: an average American white-collar . The Criterion Collection.
The Silence of the Lambs: A Hero of Our Time. By Amy Taubin. On Film / Essays — Feb 19, W hen Jonathan Demme including those of another contemporary auteur, David Fincher—is the fact that his hero is a woman. Clarice Starling (Foster) matches wits with one serial killer, Hannibal Lecter, in order to elicit.