David Fincher
David Fincher
David Andrew Leo Fincheris an American director and producer, notably for films, television series, and music videos. He was nominated for the Academy Award for Best Director for the romantic fantasy drama The Curious Case of Benjamin Buttonand the drama The Social Network. For the latter, he won the Golden Globe Award for Best Director and the BAFTA Award for Best Direction...
NationalityAmerican
ProfessionDirector
Date of Birth28 August 1962
CityDenver, CO
CountryUnited States of America
I always feel ill-prepared for commentaries and it had been so long I was afraid I'd forget everything that happened on the film.
We were working with this lousy print and it just wasn't going to be good enough. I said that we should get the original negative and do it from that. Well, a couple guys pointed out that the negative was locked up over at Deluxe.
You can make movies for a select audience, but you have to market it to them. You can make movies for a select audience, but you have to market it to them.
In film, we sculpt time, we sculpt behaviour and we sculpt light.
The fact is, you don't know what directing is until the sun is setting and you've got to get five shots and you're only going to get two.
When you make the kind of movies I make, you get weird letters from people.
Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies.
Yet as a director, I don't feel you have to identify with your characters as a requirement to make a movie.
For a romantic comedy to be three hours long, that's longer than most marriages.
A movie is made for an audience and a film is made for both the audience and the filmmakers. I think that The Game is a movie and I think Fight Club's a film. I think that Fight Club is more than the sum of its parts, whereas Panic Room is the sum of its parts. I didn't look at Panic Room and think: Wow, this is gonna set the world on fire. These are footnote movies, guilty pleasure movies. Thrillers. Woman-trapped-in-a-house movies. They're not particularly important.
We're designed to be hunters and we're in a society of shopping. There's nothing to kill anymore, there's nothing to fight, nothing to overcome, nothing to explore. In that societal emasculation this everyman is created.
I don't think that digital technology will ever take away the humanity of storytelling, because storytelling is entirely, in and of itself, a wholly human concern.
Everything seems really simple on paper until you take a camera out of the box.
I learned just to be a belligerent asshole, which was really: "You have to get what you need to get out of it." You have to fight for things you believe in, and you have to be smart about how you position it so that you don't just become white noise.