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 want stuff to play as wide as possible. I want to be able to see... if I could play the whole thing in a master and it could be compelling enough, that'd be great. Then it simplifies my day, it simplifies life for the actors when you could just focus on that. But by the same token I don't want to be forced into coverage. So I want it to be as good from every angle and I need to get as many of the kind of shadings that I want from every angle.
I've never been to Harvard, I've never been to college, so I don't know what dorm life is like.
You’ll find that the movie business is paid for by those mega movies. The movie business is paid for by Big Macs. By movies as product. Movie studios use that term “product” all the time. Product? You mean you have a lot of stories? No, we have a lot of product. You have stories.
Human beings are amazing at finding ways to waste their own time.
Look, it's nice. I like the fact that critics liked this movie, but most of the movies that I've made, you'll find a handful of people that love it and more than a few other handfuls of people hate it. If I was invested in that, I would've given up long ago.
You know, I don't think I've ever listened to someone's commentary. Ever.
When you go and you tell a studio and that it's an ensemble, that doesn't mean a lot to them. But, my hats off to Paramount and Warner Brothers, because when we told them that these were the kinds of people that we want to get, across the board, they were unbelieveably enthusiastic about it.
When you cast somebody you cast them not only for... I look for an inherent kind of quality. You are going to be shooting 14 hour days and you are going to be tired. You are going to not necessarily be able to conjure armor or a façade every single moment.
I do agree you can't just make movies three hours long for no apparent reason. For a romantic comedy to be three hours long, that's longer than most marriages.
I think title sequences are an opportunity to sort of set the stage or to get people thinking in different terms than maybe whatever they understand the movie to be going in.
It's a bad day when you don't get the work done that you need to get done or you don't get it done to the satisfaction.
For me, the scariest thing about a serial killer is that there's somebody who lives next door to you, running power tools late into the night, and you don't know he has a refrigerator full of penises.
Our Pavlovian response to movies has gotten to its lowest point ever. You look at a lot of movies that are successful and a lot of movies that studios hold up as examples and you go, 'My God, that isn't even a story. It isn't even two acts. It's eight set pieces drawn out with slow motion.' The difficulty for me was that you had to hope that people were interested in this kind of a story.
The thing I always say to any writer that I'm working with is: Just make sure that in any argument, EVERYONE is right. I want every single person arguing a righteous side of the argument. That makes interesting drama.