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David Fincher: Fight Club
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"Zodiac" is as meticulous and absorbing as David Fincher's other thrillers. In "The Game, " "Fight Club, " and "Panic Room, " he placed a premium on painstaking craftsmanship that made them easy to get lost in. Even though none of those movies was as distinctly satisfying as his music videos, the sensibility seemed completely new. He was a pop artist and a mechanical engineer, and the movies were an impossible combination of the two: laborious fun.
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David Fincher sat down with MTV, and boy did he blab about a bunch of potential upcoming projects. First up he confirmed rumors that he wants to bring Fight Club to Broadway in 2009!?
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It is ... noticeable from the wealth of behind the scenes footage that can be found on the DVD of “Fight Club” that Fincher is keenly aware of the demands for DVD releases in today’s marketplace. But unlike some other directors who hire dedicated cameramen to take footage on the set that can later be used for special editions, David Fincher likes a less intrusive way to obtain his material. John Dorsey was the movie’s associate producer and someone who is on the set all the time any way. Why not make use of such a valuable asset and have actual team members take the desired footage.
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Fincher’s work has stood the test of time with remarkable consistency, particularly his films that weren’t received that well in the first place. “Fight Club,” for example, opened to bad reviews and lackluster box office in 1999, but has since become one of the biggest all-time DVD hits and is firmly planted on IMDB’s Top 50 films. The more conventional but no less entertaining Jodie Foster thrill-a-minute “Panic Room” has followed a similar trajectory, though its popularity isn’t as enormous as “Fight Club.”
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Fincher (“Fight Club,” “Panic Room,” “Alien3“) is only half-kidding. He is one of a handful of Hollywood directors who has fully embraced shooting movies in High Definition video, leading the pack of filmmakers abandoning film cameras and labs for the high tech world of HD cinematography. And he doesn’t even use videotape anymore, opting to send his images to hard drives. Why? “Because tape is stupid,” he growls.
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In 2002 he followed up with the thriller Panic Room, which introduced some innovative uses of computer graphics that allowed Fincher to create elaborate, physically impossible camera movements to create suspense. Though the film impressively pulled in over $92 million at the U.S. box office, it was not as well received by critics as Se7en, Fight Club or The Game. The story follows a more conventional route for Fincher, as a single mother (Jodie Foster) and her daughter hide away in a safe room in their new house, away from criminals (Forest Whitaker, Dwight Yoakam and Fight Club collaborator Jared Leto) bent on finding a missing fortune. Fincher acknowledges that Panic Room is a more mainstream-thriller, describing the film as a "really good B movie" about "two people trapped in a closet" on the DVD's audio commentary.
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Fight Club