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David Fincher
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David Fincher is one of many hot directors (among them Antoine Fuqua, Gore Verbinski, and Spike Jonze) who received his start directing innovative music videos for Propaganda Films in the 1980s. Some of the best video work in history was done during this period, with Fincher’s coming to mind specifically as some of the best. His work on videos for Madonna, Paula Abdul, George Michael, and The Rolling Stones has had enormous influence on MTV artisans in the 90s. His video for Madonna’s “Vogue,” a Vaudevillian fantasy featuring gorgeously shot androgynous model-dancers pulsating like enlivened mannequins, is frequently cited next to Michael Jackson’s “Thriller” as the greatest music video of all time.
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David Fincher is a devotee of darkness. Scene after scene in his films takes place in cramped, sparsely lit rooms where malignancy seems to hang in the air like ineradicable damp. For the shadows that pervade his films are moral and psychological no less than physical. Using darkness as a metaphor for evil and danger is hardly original—it is the entire basis of film noir, for a start—but Fincher brings to the banal equation a degree of emotional intensity that reinvigorates it. The darkness in his films is organic, the element in which his characters swim. When the Narrator in Fight Club quits his bland, Ikea-styled apartment to move into the derelict Victorian mansion where Tyler Durden lives, it's clear that he's coming home. This leaky ruin, squalid and underlit, is where he spiritually belongs.
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Flash-forward 8 or 9 years and it is announced that Brian DePalma is going to direct Dahlia – this only after David Fincher has dropped out a year before. DePalma’s fine legacy of thrillers including ‘Scarface’ (1983), ‘Carrie’ (1976), ‘Dressed to Kill’ (1980), ‘Blow Out’ (1981) and the thematically relevant ‘Body Double’ (1984) should have made him a suitable interpreter of this noir material [more] »
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It is obvious from his remarks that David Fincher has a tendency to get very involved in the entire process of releasing his films to the home video market. “Fight Club” is a widescreen film in its truest sense - shot at a 2.40:1 aspect ratio that is turned into a 2.35:1 usable aspect ratio on TV because TV cuts off the edges, this is film you definitely do not want to see on a cropped pan and scan version.
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With its complex narrative structure, arresting visuals, and devious subtext, David Fincher's Fight Club practically begs for scene-by-scene dissection and analysis. The elaborate DVD Special Edition from 20th Century Fox Home Entertainment facilitates such examination with a mind-boggling array of supplemental features -- including commentaries by cast and technicians, storyboards, concept drawings, behind-the-scenes vignettes, and much more, all compiled on a separate disc by Special Edition producer David Prior. A must-have item for anyone interested in how blockbuster films are made, Fight Club sets a new standard for the selection and presentation of extras on DVD. Recently Fincher and Prior discussed the two-disc set -- and the advantages of DVD in general -- with Barnes & Noble.com.
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David Fincher made his feature film debut in 1992 with Alien 3. In 1995, he directed Se7en, the relentlessly grim and cynical story of two detectives (played by Brad Pitt and Morgan Freeman) tracking down a serial killer who bases his killings on the seven deadly sins. Screenwriter Andrew Kevin Walker's original grisly detective story was a box office success, grossing more than $300 million worldwide. The film's innovative approach, title and credit sequences would influence other films to follow in the thriller, crime and suspense genres.
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David Fincher