{"id":342,"date":"2008-12-03T13:34:21","date_gmt":"2008-12-03T21:34:21","guid":{"rendered":"http:\/\/www.icgmagazine.com\/wordpress\/?p=342"},"modified":"2014-06-05T21:25:31","modified_gmt":"2014-06-05T21:25:31","slug":"exposure-david-fincher","status":"publish","type":"post","link":"https:\/\/www.icgmagazine.com\/web\/exposure-david-fincher\/","title":{"rendered":"David Fincher \u2013 The Curious Case of Benjamin Button"},"content":{"rendered":"

Since his debut feature, Alien3<\/em>, in 1992, David Fincher has been a fearless \u201cfirst adopter\u201d of new technologies and production methodologies to change the face of genre films; using bleach-bypass to evoke the bleak and nameless urban metropolis in the crime drama Se7en<\/em> or employing a virtual cinematography workflow to achieve otherwise impossible camera fly-throughs in his gripping modernization of the home invasion film, Panic Room<\/em>.<\/p>\n

Fight Club<\/em>, made in 1999 was the second of Fincher\u2019s three collaborations with Brad Pitt, and the film seems ageless, still reflecting the zeitgeist nearly ten years after its debut; likewise for his first teaming with Pitt, Se7en<\/em>, which blew apart the conventions of the serial killer movie and sparked a slew of stylistic imitators. Of course predicting being ahead of the curve isn\u2019t anything new for Fincher, who began his career as an assistant cameraman at ILM shooting miniatures for the Star Wars<\/em> and Indiana Jones<\/em> franchises. His trend-setting music video work made him an early star with Propaganda Films, which went on to launch some of the industry\u2019s most original talents \u2013 Michel Gondry, Neil LaBute, Spike Jonze, and Gore Verbinski to name just a few. Talk about prescient: Fincher\u2019s commercial spot for AT&T (You Will<\/em>) gave consumers a \u201cpeek\u201d into their own wireless, Web-obsessed future way back in 1993; ditto ten years later with his all-digital spot for HP (Constant Change<\/em>).<\/p>\n

Early word on The Curious Case of Benjamin Button<\/em> (see cover story), shot by Fincher\u2019s one-time gaffer and more recently, his commercial DP, Claudio Miranda (and again featuring Brad Pitt in the title role), indicates an odds-on favorite at next year\u2019s Oscars. A morality play and love story that covers more than nine decades in American history, Button<\/em> puts visual styling and special effects in the service of character and story like no other David Fincher film before.<\/p>\n

ICG: Did you come across the original F. Scott Fitzgerald story for The Curious Case of Benjamin Button<\/em> directly or was there already a script? <\/strong>DF: It was sent to me years ago, by a guy working for Ray Stark who then became my agent. <\/strong><\/p>\n

Button was shot mostly in Louisiana. What was it like down there at that point in time?<\/strong> It was maybe six or seven months post-Katrina. We were delayed a bit in construction because you couldn\u2019t get supplies \u2013 and rightfully so, since people needed to repair their roofs. I don\u2019t think we could have started any sooner than we did. New Orleans was wonderful, and they seemed to appreciate having us. They even let us shut down the Garden District for five months.<\/p>\n

Your DP [Claudio Miranda] mentioned being a little surprised at how open you were to improvisation on camera setups with this film. Was it a deliberate change of approach to not lock everything down in previz?<\/strong> I\u2019m always for previz, just to get everybody on the same page and to avoid a lot of slack-jawed people asking the same question over and over. And we did previz on the tugboat, and pre-designed the train station, which was a partial set surrounded by bluescreen, in CAD. But it wasn\u2019t practical to do to the usual degree given all our locations. There was so much to be decided upon after we were in Louisiana, it didn\u2019t make sense to draw boards when you might not find a place that matched that look.<\/p>\n

So nobody did a LIDAR scan [a radar-like survey of a location that allows for 3-D reconstruction] during scouting?<\/strong> That would have been great! If only somebody would do that, I\u2019d love it! Honestly, shooting on location was the only way to make this film for the money. There were a lot of aspects that would have been built on stage otherwise. So we\u2019d find a room here, a porch there \u2026<\/p>\n

Claudio mentioned his natural-light location stills evolved into a basis for the film\u2019s lighting.<\/strong> Well, it\u2019s a kind of ongoing conversation between us. We muse on the fact that location scouts take pictures of a spot, we fall in love with the pictures of that spot and what it has to offer, but then you bring five 40-foot trailers and it looks like some over-filled, crazy flat version of what you wanted. So we tried to be happy with what we were going to get on the day.<\/p>\n

You seem to have avoided falling into the director-for-hire position filmmakers sometimes find themselves in.<\/strong> All of us look for a next project we want to make. Some of those could be obvious commercial choices, I suppose.\u00a0 I don\u2019t think of myself as a director-for-hire; I am a working Hollywood director, but one who tries to be picky about the stuff I do. I have certainly worked on things that I thought would be easier and go off without a hitch, but they didn\u2019t. Zodiac<\/em> was a \u2018little movie\u2019 in-between big projects. It was actually supposed to happen after Button<\/em>, which I started talking about in 2001 and 2002. But then Zodiac<\/em> fell into place just as Button<\/em> seemed to be too costly for everybody.\u00a0 In that respect, I guess I am a working stiff, trying to land a good gig here or there.<\/p>\n

Was coming up with a credible approach to the story\u2019s de-aging storyline part of what kept Button<\/em> from happening seven years ago?<\/strong> When technological ability increases, the cost of marshalling the technology comes down. As time passed, it became more feasible to achieve the effects themselves, and also to do it more cost-effectively.\u00a0 But they still cost a lot!<\/p>\n

Given Button<\/em>\u2019s long gestation, some might have lost enthusiasm. Was there something in particular that kept your interest from flagging on this project?<\/strong> It was just a beautiful story. And I appreciated the fact it was a love story that dealt so unabashedly with mortality.<\/p>\n

So it was more of an issue of universality than just \u201cthe one that was different from the norm?\u201d<\/strong> It\u2019s both. When you make a movie about someone who is different, an audience relates to the characteristic that is common. So even though he is born and going in a different direction, he will end up in the same place, asking the same questions. Did we make an impact? Did we change things? Did we leave people with the kinds of memories of us that we\u2019d hoped?<\/p>\n

You\u2019re known both as a visual stylist and as someone who explores new technology. Do you set out to break new ground each time, or is it a matter of the story at hand?<\/strong> With all the rigmarole of establishing a digital workflow [on Zodiac<\/em>], that was with the notion of making my life easier. It required a lot more in the way of initial setup, but once we were in post it made a huge difference.\u00a0 With all the effects shots and changes that had to happen with Button, we probably couldn\u2019t have even made that story on film. To have a P.O., cut and scan neg, and then try to extend the shot eight frames \u2013 it would have been a nightmare. I don\u2019t think we\u2019d have finished.<\/p>\n

This is our independent film issue, and we\u2019d like to get your thoughts on independence of vision and what that constitutes in your view?<\/strong> Oh, I don\u2019t know. Most people I know make the movies they want to make. And that means something, because we\u2019re talking about a big apparatus to do what you want to do with a film. And for their part, movie studios want to have somebody who has a very specific goal to accomplish.<\/p>\n

A specific methodology, or is it more about the kind of story-telling?<\/strong> I think content is the thing that most differentiates movies. Certainly the way they are marketed separates them too. But it is up to the filmmaker to make choices. We all know there will be more superhero movies and more sequels. But something original always gets those started. Without the first Matrix, you don\u2019t get to the other two. That was a big risk, a balls-out risk. It requires a level of jumping into the unknown that corporations hate, and yet without it, ultimately they won\u2019t get to make those sequels.<\/p>\n

So in this day and age, does that mean demonstrating to the studio that there is the technical expertise in place in addition to the creative vision?<\/strong> I think that there are wonderful directors who worked without possessing a lot of purely technical information. John Huston came from being a writer and barroom brawler; Alexander Payne knows how to tell a story brilliantly; James Cameron can organize a huge logistical force. All of these people are artists, but each with his own strengths. There are always people around who know how to direct traffic and help with the technical aspects, so to me what it always comes down to is figuring out what is most important about the story and then how to show that aspect. There\u2019s the moment when you decide whether to linger on a person\u2019s face as he wonders \u2018what\u2019s going on?\u2019 or on the other person\u2019s face who just told a lie, who is wondering if they are about to be found out. What\u2019s the story being told? \u2013 What you set out to get, what you\u2019re given and what you do with it. All those separate instances that call for a decision on your part define how the story is told. And you seize upon aspects or the moment gets lost forever.<\/p>\n

by Kevin H. Martin<\/em><\/p>\n

Photo by Merrick Morton<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Since his debut feature, Alien3, in 1992, David Fincher has been a fearless \u201cfirst adopter\u201d of new technologies and production methodologies to change the face of genre films; using bleach-bypass to evoke the bleak and nameless urban metropolis in the crime drama Se7en or employing a virtual cinematography workflow to achieve otherwise impossible camera fly-throughs in his gripping modernization of the home invasion film, Panic Room. Fight Club, made in 1999 was the second of Fincher\u2019s three collaborations with Brad […]<\/p>\n","protected":false},"author":1,"featured_media":3726,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[6],"tags":[300,299],"class_list":["post-342","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exposure","tag-david-fincher","tag-the-curious-case-of-benjamin-button"],"acf":[],"yoast_head":"\nDavid Fincher \u2013 The Curious Case of Benjamin Button - ICG Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icgmagazine.com\/web\/exposure-david-fincher\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"David Fincher \u2013 The Curious Case of Benjamin Button - ICG Magazine\" \/>\n<meta property=\"og:description\" content=\"Since his debut feature, Alien3, in 1992, David Fincher has been a fearless \u201cfirst adopter\u201d of new technologies and production methodologies to change the face of genre films; using bleach-bypass to evoke the bleak and nameless urban metropolis in the crime drama Se7en or employing a virtual cinematography workflow to achieve otherwise impossible camera fly-throughs in his gripping modernization of the home invasion film, Panic Room. 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