![]() It always surprises me what people get their bowels in an uproar about. I'm always surprised at how seriously people take movies. Actually, Helena Bonham Carter's mother was three seats down from me and she was just laughing and laughing - she was the only one. They called for our hides and we split town. ![]() ![]() Let's put it this way: the youngest person in the screening was Giorgio Armani. We opened at the Venice film festival, and I think to say they hated it would be an understatement. I thought, "Well, surely you don't want to have the Twentieth Century-Fox logo over a shitty movie." And they were like, "Well, as long as it opens." They didn't care. But I'd always had this naive idea that everybody wants to make movies as good as they can be, which is stupid. For a number of years, I'd been around the kind of people who financed movies and the kind of people who are there to make the deals for movies. No one hated Alien 3 more than me to this day, no one hates it more than me. I worked on it for two years, got fired off it three times and I had to fight for every single thing. I don't have any tripod guns or flamethrowers or any of that shit!" If a movie gets off on a wrong foot, when you've never done it before you assume everyone is going to be there to help you right the ship, but really you're beholden to a lot of banana republics. And of course you're sitting there going, "Guys, remember I don't have any guns. So that was a movie where the time was not taken upfront to say, "This is what we're doing, and all of this is what we're not doing." So as we were shooting, a lot of people-I suppose in an effort to make it "better" or "more commercial" or more like the other ones they liked as opposed to the one that you liked-took to being extremely helpful, so that this could be more James Cameron than James Cameron. Otherwise, when they start to question it, the horse can easily run away with you and it's bigger than you are. I think a movie set's a fascist dictatorship-you have to go in and know what it is you want to do because you have to tell 90 people what it is you want to do and it has to be convincing. And if a movie is constantly in flux because you're having to please this vice-president or that vice-president of production. It's just a movie starts from a unified concept, and once you've unified the concept it becomes very easy to see the things you're not going to spend money on. There were a lot of enormously talented people working on that movie. They tried, they just didn't want to get dirty with it, they didn't want to get in up to their necks. And we were kind of like, "I'm not here for this, I'm just here to pull cable." We were the youngest people there and we ended up being the grips and electrics on everybody else's movies, and it was pretty good those six or seven weeks, we got to shoot Panaflex cameras and make a married print-it was in black and white and you made these little cheeseball movies, but at least you were making "something." It was kind of like film school in that way, but those who can't do, teach, and those who couldn't teach, taught there. There were all these people who were there to communicate and change the world, to do all these lofty things-and then they made these really shitty, stupid little movies. It was very impressionist, very Berkeley. I went to a place called the Berkeley Film Institute for a summer program with a grade-school friend of mine, and we just thought it was a joke. He has directed music videos for Madonna, Sting, The Rolling Stones, Michael Jackson, Aerosmith, George Michael, Iggy Pop, The Wallflowers, Billy Idol, Steve Winwood, The Motels and, most recently, A Perfect Circle.Īs a film director, he has achieved huge success with Сім (1995), Бійцівський клуб (1999) and, Кімната страху (2002). Fincher has directed TV commercials for clients that include Nike, Coca-Cola, Budweiser, Heineken, Pepsi, Levi's, Converse, AT&T and Chanel. ![]() He went on to found Propaganda in 1987 with fellow directors Dominic Sena, Greg Gold and Nigel Dick. Fincher left ILM to direct TV commercials and music videos after signing with N. He subsequently worked at ILM (Industrial Light and Magic) from 1981-1983. When he was 18 years old he went to work for John Korty at Korty Films in Mill Valley. David Fincher was born in 1962 in Denver, Colorado, and was raised in Marin County, California.
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