Head Case Catalog

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—DAVID FINCHER

[FESTIVAL GUIDE]

“IF YOU HAVE A FUCKING CLUE AND A PASSION, PEOPLE WILL GET OUT OF YOUR WAY BECAUSE PEOPLE WANT SOMEONE TO FOLLOW.”

A DAVID FINCHER FILM FESTIVAL

[FESTIVAL GUIDE] [THE DIRECTOR] [THE FILMS] [THE FESTIVAL] [THE GOODS]


HEAD CASE


A DAVID FINCHER FILM FESTIVAL

A DAVID FINCHER FILM FESTIVAL


HEAD CASE


A DAVID FINCHER FILM FESTIVAL

“I HAVE DEMONS YOU CAN NOT EVEN IMAGINE” —

DAVID FINCHER


HEAD CASE


TABLE OF CONTENTS DIRECTOR

6–11 FINCHERLAND FILMOGRAPHY

FILMS

12–25 SE7EN THE GAME FIGHT CLUB

FESTIVAL

28–29 30–31 32–33 34–35 36–37 38–39

42–55 FINCHER TALKS: ONE SEVEN ANALYSIS THE GAME ANALYSIS FIGHT CLUB ANALYSIS

COLOPHON

14–17 18–21 22–25

26–39 THE SAENGER BLUEPRINT EATERIES THE MAP CRASH PADS ATTRACTIONS

GOODS

8–9 10–11

42–49 50–51 52–53 54–55

56–57 CREDITS

56-57


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A DAVID FINCHER FILM FESTIVAL

THE DIRECTOR


HEAD CASE

FINCHERLAND

D

irector. Born on May 10, 1962, in Denver, Colorado. Known for

that featured a fetus smoking a cigarette inside the mother’s womb. This, of course,

his image-driven and often dark films, David Fincher is one of

became a very controversial ad, causing Fincher’s name to echo throughout the halls of

the most innovative and meticulous directors working today.

the entertainment industry. Never Fincher’s intent, but Fincher would agree, any press

He developed a love for film at an early age and started making

is good press.

movies after getting a Super 8 camera for his eighth birthday.

Working with the likes of Madonna, Don Henley, Aerosmith, and many others, Fincher

After seeing Fincher’s works, one would not be surprised to

became a successful director of music videos. Video after video, Fincher developed new

learn that his father was a professional writer and his mother

and innovative ways of film making.

a mental health nurse. Talk about influence. Growing up in Marin County, Fincher and

Along with other prolific directors such as Spike Jonze, David Lynch and Antoine Fuqua,

his friends were lucky enough to watch as George Lucas filmed American Graffiti in

(to name a few), Fincher helped found Propaganda Films in the mid-1980s, producing

the area, and Fincher even lived a few doors down from the famed director. After high

almost a third of all music videos in the U.S.

school, Fincher worked for Korty Films where he worked on the animated film Twice

On the big screen, Fincher made his directorial debut with Alien3 (1992). The sci-fi action

Upon a Time. He then joined the staff of Lucas’s special effects company, Industrial

film was a personal and professional disappointment. Starring Sigourney Weaver, the

Light and Magic. Here, Fincher honed his skills at using CGI to assist in amazing

film was the third installment of the successful series, but the project was experiencing

storytelling. The student quickly became the master.

problems before Fincher even signed on as director. Fincher told Entertainment Weekly

While at Industrial Light and Magic, Fincher worked on the box office hits Return of

in 1997 that he learned from the experience, “never to shoot a movie without a script,

the Jedi and Indiana Jones and the Temple of Doom (1984). He eventually moved

and the more money you have the more trouble you’re likely to run into.” Fincher learns

on to making commercials, earning a reputation for his edgy work. One of his most

as his work teaches. Fincher is notorious for filming one scene over and over again until

notable projects was a public service announcement for the American Cancer Society

he deems it perfect. This is filmmaking 109. This is David Fincher.

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A DAVID FINCHER FILM FESTIVAL

“I have a philosophy about the two extremes of filmmaking. The first is the “Kubrick way,” where you’re at the end of an alley in which four guys are kicking the shit out of a wino. Hopefully, the audience members will know that such a scenario is morally wrong, even though it’s not presented as if the viewer is the one being beaten up; it’s more as if you’re witnessing an event. Inversely, there’s the “Spielberg way,” where you’re dropped into the middle of the action and you’re going to live the experience vicariously - not only through what’s happening, but through the emotional flow of what people are saying. It’s a much more involved style. I find myself attracted to both styles at different times, but mostly I’m interested in just presenting something and letting people decide for themselves what they want to look at.” —DAVID FINCHER

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HEAD CASE

FILMOGRAPHY Aliens 3 Se7en The Game Fight Club Panic Room

1992 1995 1997 1999 2002

Zodiac

2007

The Curious Case of Benjamin Button

2008

Social Network 

2010

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A DAVID FINCHER FILM FESTIVAL

ALIENS 3

SE7EN

THE GAME

FIGHT CLUB

PANIC ROOM

ZODIAC

THE CURIOUS CASE OF BENJAMIN BUTTON

THE SOCIAL NETWORK

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HEAD CASE

THE FILMS


A DAVID FINCHER FILM FESTIVAL


HEAD CASE

[

SE7EN

G

luttony. Greed. Sloth. Pride. Lust. Envy. Wrath. Both the seven

the murder scene. Putting the clues together (which no one else is able to do) Somerset

deadly sins and the basis for the best psychological, intelligent

predicts another five murders, based on the sins mentioned. Knowing the motive doesn’t

thriller of recent times. William Somerset (Morgan Freeman)

help that much though — the killer is far too clever, leaving clues which point the cops to

has existed in this anonymous city for decades, mostly on the

his next victim but don’t give anything away. The third sin, sloth, is graphically illustrated

homicide squad. The time for his (voluntary) retirement is fast

by a man tied to a bed; for a year! The power of the scene, in semi-darkness with Christmas

approaching, hence he is joined by his keen, young replacement

tree air-fresheners hanging from the ceiling, is immense.

David Mills (Brad Pitt) for his final week. Somerset has no

A lucky break for Mills and Somerset allows them to track down the serial killer leading

particular interest in hand-holding his enthusiastic partner, leading to friction as Mills

to an astonishingly intense, scary and gripping chase as they pursue the killer through

tries to prove his worth. Life is rarely that easy though, as we see when called to an

darkened passageways and rain-swept alleys. He slips from their grasp but not before we

unusual murder. In a small apartment a grossly fat man is slumped at a table, face

realize just how calm, resourceful and intelligent their opponent is. The rate of murders,

down in a plate of pasta sauce. By the lights of flickering torches (the lights never work

and the pace of the film, picks up as the killer indicates his feelings on ‘pride’ and ‘lust’.

in this film!) we see the distended veins covering his body, the ropes tying him to the

Somehow, though, he is just out of reach for the detectives as they frantically try to track

chair and the rows of tins of tomato sauce.

him down - with little success. That is until the killer walks in to their police-station, blood

Somerset suspects hidden depths to this motiveless homicide, who wouldn’t?, but asks

dripping from his fingers. Why? Somerset and Mills know that he’s toying with them but for

to be taken off of a case which could drag on forever. There is no escape for Somerset,

what purpose, with two murders to complete? With this build-up the finale is explosive,

of course. The next day a second corpse turns up - this time a rich, high-profile lawyer is

psychotic, manipulative and shocking in the extreme.

found with the word ‘greed’ written, in his own blood, on the floor next to him. Forensics turn up clues on the first murder leading Somerset to discover the word ‘gluttony’ at

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DISO RDER

DIAGNOSIS

DEFI NED

CASE NO.

SOCIOPATH A pervasive patte rn of disregard for, and viola tion of, the right s of othe rs that begin s in child hood or early adole scen ce and cont inues into adult hood .”

328 748 758275

MAIN CHARACTERS

BRAD PITT: DETECTIVE DAVID MILLS

MORGAN FREEMAN: DETECTIVE SOMERSET

KEVIN SPACEY: JOHN DOE

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HEAD CASE

“YOUR NOT BUYING ALL THIS ARE YOU?” —DETECTIVE DAVID MILLS


A DAVID FINCHER FILM FESTIVAL

“DOESN'T SEEM LIKE OUR GUY DOES IT?” —DETECTIVE LT. WILLIAM SOMERSET


[

HEAD CASE

THE GAME

N

icholas Van Orton (Michael Douglas) is an extremely wealthy

Nicholas visits CRS where he undergoes a series of mental, physical, and psychological

San Francisco banker, living in an opulent estate just outside of

tests to make sure he can handle what they offer. In return, CRS agrees to customize the

the city. But Nicholas is not a happy man. He generally spends

adventure of a lifetime for Nicholas - as they do for famous and wealthy executives all

his time alone, the exception being when he spends time with

over the globe...

his clients brokering lucrative business deals. Nicholas even

But when strange things start to take place and those are followed by seemingly

spends his birthday alone, and on his forty-eighth birthday,

horrendous events, Nicholas must make use of his intellect and his instincts in order

Nicholas is forced to reflect on the fact that his father

to survive. Afraid the events are part of a misguiding sense of humor on the part of

committed suicide at the same age.

the employees at CRS, Nicholas arrives at their office building prepared to cancel the

But this year, Nicholas’s birthday takes an unexpected twist when his estranged

entertainment package. But to his dismay, the office space is vacant and the landlord has

younger brother Conrad (Sean Penn) arrives unannounced at the Van Orton estate.

never heard of CRS. Even worse, Nicholas finds out that every financial account he owns

A former drug addict involved in all sorts of nefarious schemes in the past, Nicholas

has been wiped clean and that a criminal organization has been pulling similar heists on

remains skeptical of the true reasons for his brother’s return. However, Conrad soon

wealthy industrialists all over the world. When Nicholas wants to turn for help he finds

manages to convince Nicholas that his only reason for returning is to give his lonely,

out that there is no one he can trust, and those he thinks are there for him quickly turn

boring brother a birthday present he’ll never forget. What exactly is the gift?

against him. Uncertain of his future, Nicholas sets out to get to the bottom of the truth,

It’s a very expensive entertainment package provided by a firm called Consumer

and in doing so, he finds out the truth about himself...

Recreation Services (CRS). Curious as to what sort of entertainment they provide,

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A DAVID FINCHER FILM FESTIVAL

DISO RDER

DISORDER

DEFI NED

CASE NO.

PTSD Post-traumati c stres s disor der is a seve re anxie ty disor der that can develop after expo sure to any even t that results in psyc holog ical trauma.

385084754 87

MAIN CHARATCERS

MICHAEL DOUGLAS: NICHOLAS VAN ORTON

SEAN PENN: CONRAD VAN ORTON

DEBORAH KARA UNGER: CHRISTINE

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HEAD CASE

“WHAT FLOOR?” —NICHOLAS VAN ORTON


A DAVID FINCHER FILM FESTIVAL


HEAD CASE

[ FIGHT CLUB

T

he narrator, Jack (Edward Norton) is an automobile company

Marla eventually meets Tyler and the two embark upon a sexual relationship that Jack does

employee who travels to accident sites to perform product recall

not like. Under Tyler’s leadership, the fight club starts committing increasingly destructive

cost appraisals. Suffering from insomnia, his doctor suggests

acts of anti-capitalist vandalism in the city. The fight club becomes a network for Project

that he visit a support group for testicular cancer victims in order

Mayhem. After a member of Project Mayhem dies on a mission, Jack attempts to shut down

to appreciate real suffering. Attending the group, Jack feels

the project. Tracing Tyler’s steps, he travels the country to find that fight clubs are now in

distraught at the condition of these ill fated people and breaks

every major city, where one of the participants identifies HIM as Tyler Durden. A phone call

down. Now able to sleep soundly, Jack subsequently fakes more

to Marla confirms his identity and he realizes that Tyler is his alter ego. Out of thin air, Tyler

illnesses to attend other support groups in order to get out his pent up emotions. His

appears before Jack and explains that he controls Jack’s body whenever Jack is asleep.

routine is disrupted when he notices another impostor, Marla Singer (Helena Bonham

To much to take in, Jack faints. Awaking hours later, Jack traces Tyler’s plans to destroy

Carter), at the same meetings and his insomnia returns. On a flight home from a

the headquarters of several major credit card companies. Failing to find help with the

business trip, Jack meets Tyler Durden (Brad Pitt), an eccentric soap salesman seated

police, Jack attempts to disarm the explosives in the basement of one of the buildings.

next to him. Jack is fascinated with Tyler’s take on life. An strong impression is made.

He is confronted by Tyler, knocked unconscious, and taken to witness the impending

Arriving home to find his apartment destroyed by an explosion, Jack calls Tyler and

destruction. Jack, held by Tyler at gunpoint, realizes that in sharing the same body with

meets him at a bar. Tyler agrees to let him stay at his home on one condition, that the he

Tyler, he is the one who is actually holding the gun and fires a shot into his mouth, through

hit him. Jack complies and the two end up enjoying an emotionless fist fight outside the

the cheek, without killing himself. The illusion of Tyler collapses with an exit wound to the

bar. Jack eventually moves into Tyler’s dilapidated house where they conjure up plans

back of his head. Shortly after, members of Project Mayhem bring a kidnapped Marla to

to start a ‘Fight Club’, made up of other men who feel their lives are lost.

Jack. The two hold hands and witness the destruction of the entire financial city block through the windows.

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DISO RDER

DIAGNOSIS

DEFI NED

CASE NO.

SCHIZOPHRENIA A ment al disor der characterized by a disintegration of the process of think ing and of emotional responsiveness.

384756383304

MAIN CHARACTERS

BRAD PITT: TYLER DURDEN

EDWARD NORTON: THE NARRATOR

HELEN BONHAM CARTER: MARLA SINGER

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HEAD CASE

“I WANT YOU TO DO ME A FAVOR. I WANT YOU


TO HIT ME AS HARD AS YOU CAN.” —TYLER DURDEN


HEAD CASE


A DAVID FINCHER FILM FESTIVAL

THE FESTIVAL


HEAD CASE

[ THE SAENGER

T

he Saenger Theatre first opened on February 4, 1927. Originally it

to their list that December. In 1978, the Saenger was sold at or around $1 million to

was a 4,000 seat-theatre, which took three years to build and wound

E.B. Breezeale, who invested $3 million in renovations (along with other investors Zev

up costing $2.5 million. When the historic theatre opened it inspired

Bufman and Barry Mendelson) to convert the building into a performing arts center. One

people to parade down Canal Street. At the time tickets cost at most

other co-investor by the name of Pace Management stepped in and was hired to run the

.65 cents. What you got for your money was a silent movie and stage

Saenger. In 1980 the Saenger Theatre made a comeback reopening with a reduction in

play. (Produced by the Paramount-Publix Corporation), as well as,

seating of 2,736. Big names appeared on the mezzanine for this event, such as Johnnie

music from the Saenger Grand Orchestra.

Carson, who did a show on the opening night. In 1983 the band Styx, while on their Kilroy

Emile Weil, the Architect, designed the interior in reflection of the Italian Baroque

Was Here tour, recorded and filmed their two performances for the Caught in the Act film.

courtyard. The first installation was the 150 lights placed in the ceiling of the

The Saenger was purchased from Breazeale by the Saenger Theatre Partnership, Ltd., in

main room, which were arranged to simulate the constellations. The Saenger also

1985. It was not until the summer of 2002 that the Saenger brought back its true purpose.

implemented special effect machines that projected images of sunrises, moving clouds

The Saenger started by showing three classic movies (Some Like It Hot, The Wizard of Oz,

and sunsets that moved about its interior. The Theatre was sold in 1929 by Julian

and Gone with the Wind) to celebrate its 75th anniversary. The Summer Classic Movie

Saenger for 10 million dollars to Paramount Publix, the theatre was able to operate well

Series became a mainstay for the next three years.

during the great depression under this new regime. Paramount converted the theatre,

In September of 2005, Hurricane Katrina hit the Gulf Coast, more specifically New Orleans.

in 1933, into “talking pictures” only. It was in 1964 that ABC Interstate Theatres bought

The Saenger Theatre suffered extensive amounts of water damage. The water level rose

the Saenger and converted the one into two. ABC, turned the upper seats into, Saenger

to a foot over the stage, filling the lower lying areas of the theatre. The administrative

Orleans Theatre. September 29, 1977 dubbed a historic landmark by the New Orleans

offices of the building and the theatre’s box office suffered extensive water damage.

Landmark Commission. The National Register of Historic Places added the theatre

Photos of the theatre were immediately taken after the storm made it seem as though

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A DAVID FINCHER FILM FESTIVAL

the Canal Street Marquee was damaged. However, during the storm the acrylic glass had been removed, in the fear that it would become flying debris. In 2009 it was announced by New Orleans officials that the Canal Street Development Corp., a city agency, who in turn leased the theatre to the Saenger Theatre Partnership, Ltd. for the next 52 years. Certain stipulations were made with the deal. The Partnership must show 80 show and sell 100,000 tickets a year. The bond between the two organizations brought about $15 million in federal grants, credits at both state and federal levels, and private financing of a $38.8 million restoration. The primary focus of restoring the theatre is to return it to its original state. This includes stripping away the new paint and revealing the original color scheme, using historical photography to complement the hardware such as the doors, the light fixtures, and windows. The original floor plan is in the works and that means removing any and all new added pieces. In addition to the restoration project, certain upgrades will be made to the building. The adjacent building 1101 Canal St. will become a restaurant, equipped with restrooms and the box office. The theatre stage will be enlarged by forty percent and central air conditioning is to be added. All and any modern updates will adhere to a strict set of guidelines placed down by the various groups one being the National Park Service. In October of 2009 the marquee was relighted to emphasize the Saengers rebirth. The marquee will remain on till the grand opening in the fall of 2011.

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HEAD CASE

[

BLUE PRINT

N

ew Orleans is quickly on the rise to becoming a mainstay in

the film industry today. It came as no surprise then, when the HEAD CASE: A DAVID FINCHER FILM FESTIVAL, was announced and that it would be held in the great and upcoming

DECEMBER 29TH: OPENING EVENING 4:30 PM

DAVID FINCHER AND BRAD PITT EVENT PRESENTATION.

city. What was even more spectacular was the location that

took on the responsibility of hosting it. The Saenger Theatre is a New Orleans treasure, which is currently going through a

transformation as a part of the rebirth of the city, due to Katrina. The festival will be a three day event held at the historic Saenger Theatre at 801 N. Rampart St. Participants can expect to see David Fincher films as this is a celebration of his work. The festival will also contain several Q&A sessions with the stars of the films, such as, Brad Pitt, Morgan Freeman, Kevin Spacey and many more. As the festival will not be happening feel free to explore the many amazing attractions the city has to offer. There is a great deal of history to be absorbed from the local area. Also you will find no short supply of food seasoned and cooked to perfection. The most important thing is to explore and have a great time here in the city and at the festival!

5:00 PM SUSHI DINNER. 6:00 PM SHOWING OF “THE GAME.” 8:30 PM Q&A WITH DAVID FINCHER & MICHAEL DOUGLAS.

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A DAVID FINCHER FILM FESTIVAL

DECEMBER 30TH: ONWARD 6:00 PM SEAFOOD DINNER. 6:30 PM Q&A WITH ANDREW KEVIN WALKER (SCREEN WRITER). 7:00 PM SHOWING OF “SEVEN.” 9:00 PM Q&A WITH DAVID FINCHER, BRAD PITT, MORGAN FREEMAN & KEVIN SPACEY.

DECEMBER 31: WRAPPING UP 8:30 PM Q&A WITH TRENT RESNOR. 9:00 PM TRENT RESNOR PERFORMANCE. 9:45 PM FINGER FOODS & DESSERTS. 10:00 PM SHOWING OF “FIGHT CLUB.” 12:00 AM Q&A WITH DAVID FINCHER, BRAD PITT, EDWARD NORTON & HELENA BONHAM CARTER.

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HEAD CASE

[ EATERIES

W

hile in town for the festival you will be challenged to find bad food. The truth is that you will not find it. The festival will be serving you food, however you would be mistaken not to venture around and try the local grub. New Orleans puts perfection into seafood with its large servings and great seasoning they are second to none. As many of you will be staying

in the downtown or French Quarter all one needs to do is step down the street to find what they need.

The following restaurants we have listed are some of the best and oldest in the city. However, these are only the tip of the iceberg. We had to start you off in the right direction. Make sure to get to as many as you can while in the city on or off the list. Try any of these any I can say with assurance you will not be disappointed. Do not fill up too much as there will be food at the festival served each night!

GALATOIRE'S 209 Bourbon St. New Orleans, LA 70130 504.525.2021

IRENE'S CAFE 539 St. Phillip St. New Orleans, LA 70130 504.529.8811

G.W. FINS 808 Bienville St. New Orleans, LA 70112 504.581.3467

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ANTOINE'S RESTAURANT 713 Saint Louis St. New Orleans, LA 70112 504.581.4422

MOTHERS 401 Poydras St. New Orleans, LA 70112 504.523.9656

PORT OF CALL 838 Esplanade Ave. New Orleans, LA 70116 504.523.0120

OCEANAS 739 Conti St. New Orleans, LA 70130 504.525.6002

BRENNANS 417 Royal St. New Orleans, LA 70130 504.525.9711

THE NAPOLEAN HOUSE 500 Chartres St. New Orleans, LA 70130 504.524.9752

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A DAVID FINCHER FILM FESTIVAL

FIND YOUR WAY TO THE FESTIVAL


HEAD CASE

[ CRASH PADS

A

s the Head Case David Fincher Film Festival is a three day event you will be needeing sleeping accomodations. New Orleans comes equipped with a number of beautiful and historic hotels that are laced through the CBD into the French Quarter and over to the Marigny. Many of the hotels in the city are quite old and have there own stories to be told. Each one has a restaraunt in or attached to it and right outside the door is a great city to explore. The following list of Hotels I have put together are primarily located in or are around the French Quarter area. You can find the information for each below the name. Contact these hotels night or day to make your reservations for the days you will be in town. As this is the city that never sleeps, stops eating, or celebrating so its a safe assumption that you will spend more time outside your room than in it. Make sure to book well in advance as the festival is nearing. Rooms have already started to fill for other such events, Christmas, New Year’s etc.

MAISON DUPUY 1001 Toulouse St. New Orleans, LA 70112 504.586.8000

BOURBON ORLEANS 717 Orleans St. New Orleans, LA 70116 504.584.5399

ROYAL SONESTA 300 Bourbon St. New Orleans, LA 70130 504.586.0300

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THE FRENCHMAN HOTEL 417 Frenchman St. New Orleans, LA 70116 504.581.4422

LE PAVILLON 833 Poydras St. New Orleans, LA 70112 504.581.3111

PLACE D'ARMES 625 Saint Ann St New Orleans, LA 70116-3287 (504) 524-4531

HOTEL PROVINCIAL 1024 Chartres St. New Orleans, LA 70116 504.585.4995

OMNI ROYAL ORLEANS 621 Saint Louis St. New Orleans, LA 70140 504.529.5333

HOTEL MONTELEONE 214 Royal St. New Orleans, LA 70130 504.523.3341

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[

ATTRACTIONS

N

ew Orleans is one of the oldest cities in the country and with

age comes history. During the day time make sure to explore the area. New Orleans has a great number of attractions that

MUSEE CONTI WAX MUSEUM

are interspersed through out the downtown and french quarter

917 Conti St.

area. One very interesting place to visit is the Cabildo museum.

New Orleans, LA 70112

It was here that the Louisiana Purchase was signed. It is a

504.581.1993

beautiful building that lies in Jackson Square next to the St

Louis Cathedral. However, this is only one of many places you must see while in town. The list to the right is only a few hotspots to check. Also at night sleeping does not usually take place till the sun begins to rise so make sure to explore all the night life has to offer. There are plenty of bars and clubs that host live entertainment. The famous Bourrbon Street plays host to some of the most popular bars in the city.

OLD U.S. MINT 400 Esplanade St. New Orleans, LA 70116 504.568.6965

STEAMBOAT NATCHEZ 400 N. Peters St., Suite 203 New Orleans, LA 70130 (504) 586-8777

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VOODOO MUSEUM 724 Dumaine St. New Orleans, LA 70116 504.680.0128

THE 1850'S HOUSE 523 Saint Ann St. New Orleans, LA 70116 504.524.9118

THE CABILDO 701 Chartres St. New Orleans, LA 70116 504.568.6968

FRENCH MARKET 1008 N Peters St. # 3 New Orleans, LA 70116 (504) 522-2621

JACKSON SQUARE 751 Decatur St. New Orleans, LA 70181

THE NEW ORLEANS JAZZ NATIONAL HISTORIC PARK 916 N Peters St. New Orleans, LA 70116 (504) 589-4841

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THE GOODS


A DAVID FINCHER FILM FESTIVAL


HEAD CASE

[ FINCHER TALKS

D

avid Fincher sometimes slips into theaters for early screenings

see as much as you remember.

of his movies and listens for the gasps and laughs. He

Maybe he’s a bit misunderstood because of it, this guy who makes movies about a

sometimes stands outside on opening night and watches the

killer carving up people for a Bible lesson on the deadly sins or frustrated men beating

expressions of those coming out. And sometimes the critiques

the crap out of one another for fun. But while he doesn’t mind filming a good, blood-

come to him. “I don’t have the Tom Hanks fans,” he says.

spattering punch to the face, the question for Fincher is not one of quantity, but of intent.

“When you make the kind of movies I make, you get weird

“You can do something that walks a line, and invariably, whatever that line is, it will be

letters from people.” They say, Seven was my idea. That sort

crossed by people who don’t know any better and want to ape the success,” he says.

of thing. And all the noncrazy types have comments, too, when talk at a cocktail

“People say, ‘Wow, Seven’s about degradation, and it made some money.’ I don’t mean

party turns to work, to his movies, and a Beverly Hills wife wants to tell him what

this as high-minded or artistic, but it does, I think, walk a fairly tasteful line.”

she really thinks. You have no right. It’s not good to show Gwyneth Paltrow’s head

He’s still walking that line, this time with the story of the Zodiac killer, who shot and

in a box, she’ll say. It’s unnecessary.

stabbed several people around the San Francisco Bay Area in the late 1960s. Like Seven,

I didn’t do that.

the movie downplays the killer’s “wet work,” as Fincher calls it. “I want to make a movie

No, I saw it.

that has enough impact that it’s going to do what it needs to do,” he says. “But I don’t

Uh, no. You’re wrong.

want to make a film that serial killers masturbate to.”

Those conversations heat up because Fincher, known for directing dark,

Slashing and screams can be scary. But far more disturbing for Fincher is the aftermath,

hyperstylized movies, has little patience for the ignorant. But such comments also

seeing a killer take stock of his work, wash his hands, mop the floor, plan the rest of his

tell him he’s getting through, making his audience work for him and fill in the gaps,

day. And more disturbing still is the unknown. Think of Jeffrey Dahmer eating people

imagining what isn’t there. Watch Seven again, look for the violence, and you won’t

in his apartment, with his neighbors none the wiser. “For me, the scariest thing about

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A DAVID FINCHER FILM FESTIVAL

a serial killer is that there’s somebody who lives next door to you,” Fincher says, “running power tools late into the night, and you don’t know he has a refrigerator full of penises.” Okay, but still, it must be said: David Fincher’s are vastly entertaining. He is a reluctant standard-bearer for the darkness of our inner lives, but he has become a standard-bearer nonetheless. This is notable because he has made but six movies, including two about serial killers (Seven, Zodiac), two portraits of abject paranoia (The Game, Panic Room), and one genuine work of art, Fight Club, for which he was called a sadist. His reputation, then, is much larger than his resume. And for making the kinds of movies that he makes, he seems like a very happy man. Untortured, unbothered, unguarded, socially adept. Friendly. Kind. Nice guy. Doesn’t seem to have an inflated sense of his own importance. Of course, the very fact of David Fincher’s own normalcy tends to support his basic theory of life and alienation and art: “As much as people pretend ‘I fit in, I understand, I get the rules,’ there are always times spent away from that where you go, ‘I thought I knew. It seemed so clear to me, and then . . .’ That sense of loneliness, or the sense of not fitting in or being out of depth,

is probably the most common denominator,” he says.

tweaking and trimming, and next week he’ll be in New Orleans shooting

Behind his desk in his Hollywood office hangs a seventies-style oil

his next movie, but right now he’s just chilling. He seems too laid-back for

painting of waves crashing on a beach with the words pitiless purity dude

the Teutonic minimalist chic of his office, with its cement floors and bare

superimposed across the scene in huge white letters that shrink toward

walls and skylight twenty feet above casting pale light through the room.

the horizon. It seems like a declaration of principles. And you might expect

His massive wooden slab of a desk, three feet wide and ten feet long, is

Fincher to be cynical, brooding. He laughs at this, then responds rather

clutter free, save for a pile of scripts and binders marked confidential. Of

seriously that he’s not cynical; he’s just realistic. “Entertainment has to

course, he has stacks of coffee-table film books—Hitchcock, Kubrick,

come hand in hand with a little bit of medicine,” he says. “Some people

European cinema. On the back wall hang several small photographs of his

go to the movies to be reminded that everything’s okay. I don’t make those

teenage daughter. Parked next to the Zodiac poster is his Segway scooter,

kinds of movies. That, to me, is a lie. Everything’s not okay.”

and parked under the TV are his Xbox and PlayStation. He has several

He says this with a smile on his face, not wry or ironic but sweet. He

games, some driving, some shooting, but he plays just one: Madden 2007.

pauses, closes his eyes, and tilts his head back. Fincher is deliberate and

The only reading material in his bathroom is Madden NFL 07: The Official

specific in speech. He measures his words. He works his fingers into his

Guide. “I like the idea of football as chess,” he says. “I love the strategery.”

temples, then presses his thumbs over his eyes, building thoughts the way

But playing Madden is fun, and directing movies isn’t. He says his job is

he constructs his mental scenes, laying out his plans. He opens his eyes.

like four- dimensional chess, and he finds it painful and frustrating and

“You have a responsibility for the way you make the audience feel,” he says,

too wrought with compromise. “I do films because I love films, because

“and I want them to feel uncomfortable.”

otherwise it would just be too damn hard, too painful. It’s just too awful,”

It’s not easy to reconcile the guy who says that with this dude who

he says.

makes movies, wearing a T-shirt and corduroys, feet kicked up on a table,

At forty-four, he is a middle-aged dad with a longtime girlfriend who is also

letting the unreturned calls pile up, answering an e-mail an hour, pecking

his line producer. He watches football on weekends, a little indulgence,

the letters with index fingers, easygoing, unpretentious, happy. Well,

and doesn’t exercise as much as he’d like. Gray is spreading through his

not totally happy. He didn’t sleep last night. He’s still finishing Zodiac,

goatee. His hair’s thinner and his body thicker. But his eyes counter those

43


HEAD CASE

“I HAVE MANY, MANY FRIENDS WHO ARE VICE-PRESIDENTS AND PRESIDENTS OF PRODUCTION AT MOVIE STUDIOS, AND THEY NEVER UNDERSTAND THIS VERY SIMPLE THING: MY NAME'S GOING TO BE ON IT. YOUR NAME'S NOT ON IT.” benchmarks of age. They are the eyes of the young, the curious, and the questioning.

Fincher dispatches the victims quickly and without melodrama, the violence stark

His creative interests run wide, same as when he was a boy, making fake blood,

but brief, which clears the way to explore the Zodiac’s other victims, the people who

building models and blowing them up. Now he wants to make video games and

wrecked their lives trying to catch him, which they never do. Absent is Fincher’s hallmark

an opera, turn Fight Club into a musical, and make an adult cartoon. Not that kind.

darkness, the constant rain or dripping water, the impossible roller-coaster camera

A computer-generated animated movie for grown-ups. This town is the place for

movements with shots that move through floors or keyholes. He puts away the tricks

that, with all its quirkiness and artistic energy. “Hollywood is great. I also think it’s

and makes way for the actors, building a world that supports their work. This, a talking

stupid and small-minded and shortsighted,” he says. “I’m sure there are people who

movie, is new territory for a man who says he doesn’t much care what people have

get into movies so they can get nice tables at restaurants.” Do you get nice tables? No. Do you ask for nice tables? No.

to say. “If you want to see what someone is about, you look at what people do,” he says. “What they say is how they want to be seen.”

For his eighth birthday he told his parents he’d like a BB gun or an 8mm camera,

Fincher wants truth, or as near as he can get. “There is no truth after thirty-five years.

knowing he’d never get the gun. So he got the camera, which led to backyard movies,

There are only varying degrees of falsehoods,” he says. “So how do we make it true

which led to movie grunt work, which led to dozens of music videos for the biggest

to an experience?” Many scenes were shot around San Francisco, at the original

names, back when people still watched music videos and talked about them as

locations. Four actors play the Zodiac in various attacks, based on widely varying

something special, which led here, where he wanted to be all along, making his

descriptions from witnesses. Fincher and his crew met with many of the people involved

movies his way.

in the case, including the two surviving victims and many of the cops who investigated

And while Fincher says he wants to expose truths, he’s not overly concerned with

the crimes. “This is a real story. Real people really got hurt,” he says. “There are terrible

deeper messages. He readily acknowledges the absence of the profound in movies

fallouts from these murders, and it didn’t seem right to turn it into a video game and put

like The Game, with Michael Douglas running for his life in what turns out to be an

the audience in the stalker’s head. We’re responsible to the people.”

elaborate birthday present, or Jodie Foster spending a night holed up in a room in a

Fincher was a kid then, in the Bay Area. He and the other first graders talked about the

house under assault by a gang of thieves in Panic Room. “You can either look at your

Zodiac on the playground. The stories grew and grew. “It was really scary,” he says. “He

career as the things that you’re going to leave behind, and they have to be extremely

was the ultimate bogeyman.” Fincher saw sheriff’s cars tailing his school bus. Some

precious and they have to be executed flawlessly and you have to know exactly what

parents started driving their kids to school. You know, police cars are following our

it is that you’re doing,” he says. “Or you can be realistic about the fact that you’re

buses, Fincher told his father. Well, his father said, you should know that a man who

going to learn as you practice what you do.”

has murdered a handful of people has sent a letter to the Chronicle saying he plans next

He looks back now on some of his work and winces, embarrassed, and maybe he’ll

to take a high-power rifle and shoot out the tires of a school bus and kill the children.

feel the same about this movie. “Who knows?” he says. “Zodiac might be a Dubious

Uh-huh. Fincher stared at his father. “And I kept thinking, You know, you have a car, you

Achievement next year. It might be better to call it in advance. Does it hurt less if you

could give us a ride to school. You’re a freelance magazine writer. There’s really nothing

predict it?”Of course, this is the self-deprecation of the successful. He knows what

to stop you,” he says. “I remember being kind of appalled. My parents didn’t seem that

he can do, he says, and doesn’t much care about critics. And besides, in the end, his

concerned about my well-being.”

explanations, interpretations, and justifications matter little. “The movie will speak

So he’s been at this for thirty-six years, since he asked for the camera, which came after

for me whether I want it to or not,” he says. And with a movie like Seven to his credit,

watching a behind-the-scenes of Butch Cassidy and the Sundance Kid. “Prior to seeing

another serial-killer film brings certain expectations.

that, I just assumed that movies took place in real time,” he says. But they were filming

As a killer, Fincher calls the Zodiac an underachiever. He’s credited with five victims,

train robberies and shoot-outs and blowing up balsa-wood trains at locations across the

though he may have many more. But what made him special was his marketing

West. “It never occurred to me that you could infer this whole world, putting together

campaign: He named himself, announced his crimes, and taunted police with notes

the pieces. It was just revelatory,” he says. “And that’s pretty much when I made

masked by complex cryptograms. Several local newspapers printed the letters, and

up my mind. If you want to be happy, you’ve got to direct movies.”

the people fell into fits of paranoia, waiting for the Zodiac to kill again.

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A DAVID FINCHER FILM FESTIVAL

In Fincher’s version of the early-seventies San Francisco Bay Area, movies are king. Coppola’s making The Godfather, with Michael Corleone standing there talking to his girlfriend. Fincher can’t get enough. He and his friends hang out on Fourth Street in San Rafael and watch Lucas shoot American Graffiti, and they make movies based on shows like The Six Million Dollar Man. Kids are always working in movies as extras and reading Super 8 Filmmaker magazine. “In my neighborhood, none of my friends ever looked at the film industry as this thing you couldn’t do, couldn’t dream of, because that was Hollywood, and you had to have all these different skill sets. It was like, There’s this guy with a beard who comes down in his bathrobe every morning to pick up his Independent Journal. So why not?” The bearded man was George Lucas, two doors down. By eighteen, Fincher was doing visual effects on an animated movie called Twice Upon a Time. During lunch he’d find a way to eat with the producers, pitching them ideas. “He’d use his hands and tell a story, and everyone at the table would be completely silent listening to him describe this movie idea he had floating around in his head,” says Ren Klyce, who

met Fincher on the movie and has done frequent sound work for him since,

Cameron’s Aliens, the studio expected big returns, and, as Fincher says,

including for Zodiac. “He had this knack at eighteen to hold court in a very

money makes people fucking crazy. Long before he showed up, the project

creative manner and suck people in.”

was in trouble. Directors and writers had come and gone. No one could

Fincher worked for Lucas at Industrial Light & Magic on special effects for

agree on a story line. Space? Earth? A planet made of wood inhabited

Return of the Jedi and Indiana Jones and the Temple of Doom. In the early

by monks? (Seriously.) They settled on a maximum-security prison on a

eighties he directed his first commercial, an American Cancer Society ad

desolate planet. Sigourney Weaver’s Lieutenant Ellen Ripley crash-lands

warning about the dangers of smoking during pregnancy. Fincher showed

there with an alien baby in her belly. Fincher was a twenty-seven-year-

a fetus smoking in the womb. The commercial created huge buzz for its

old music-video director, taking over a $60 million movie with a crew of

shock value, and that led to music videos, more elaborate versions of the

hundreds and no script. It was the biggest budget ever given to a first-time

short movies he’d set to songs in junior high. “Then all the sudden there’s

director. “They probably hired me because they wanted someone to push

this thing called MTV, and I’m going, Fuck, I know how to do that,” Fincher

around,” he says. “That was a bad situation. I don’t respond well to that.”

says. “That’s actually all I know how to do.”

He shot the movie, arguments were had, and feelings were hurt. Fifteen

Through the eighties and nineties he directed dozens of videos for Rick

years later, the debate continues. Internet message boards overflow with

Springfield, the Outfield, Loverboy, Paula Abdul, Sting, and Michael

praise and vitriol: those who say he turned a disaster into a decent movie

Jackson. He’s best known for his videos for Madonna’s “Vogue” and

and those who say he single-handedly ruined the Alien franchise. Fincher

“Express Yourself” and the Rolling Stones’ “Love Is Strong,” which won him a Grammy in 1994. But Fincher loves film, and he directed commercials and videos because no one said come make a movie for us. He learned

calls it a clusterfuck. But he learned from it. Why does he micromanage, why is he combative? Alien 3. “I have many, many friends who are vice-presidents and presidents

technique and style and how to manage a crew. When the movie bigwigs

of production at movie studios, and they never understand this very simple

did call, Fincher thought he was ready. What followed was utter misery.

thing: My name’s going to be on it. Your name’s not on it,” he says. “Your

When people talk about Fincher’s movies, they usually start with Seven

point of view is as valid as any member of the audience. But it’s a different

and skip right over Alien 3. Following Ridley Scott’s Alien and James

thing when your name’s on it, when you have to wear it for the rest of your

45


HEAD CASE

“WHAT I'M REALLY ALWAYS TRYING TO DO IS GET RID OF THE THINGS THAT ARE TAKING ME OUT OF FEELING A CERTAIN WAY OR CAUSING ME TO THINK IN ANOTHER DIRECTION.” life, when it’s on a DVD and it’s hung around your fucking neck. It’s your albatross.”

the scenes and actors. “When you make trailers, you constantly have to do this to the

Fincher gets along well enough with the studios. They give him handsome

audience,” Fincher says, and starts jabbing a finger into my shoulder. “You watching?

budgets— $70 million for Zodiac and $150 million for the film he’s shooting now—

You still watching?” “Have you seen the Shining trailer?” he asks. No.

and he’s widely respected. “He’s just scary smart, sort of smarter than everyone

“Dude, you gotta see this.”

else in the room,” says producer Laura Ziskin. “There’s just a handful of those people

He pulls up a video on his computer screen, a farcical trailer for The Shining. Instead of

who know absolutely everything about the process. They could do everyone’s job

pitching a psychological thriller, the trailer twists it into a popcorn flick, anchored by a

brilliantly. Every aspect is under their control.”

feel-good-movie voice-over: “Meet Jack Torrance. He’s a writer looking for inspiration.

He can be a brutish ascetic, denying himself the extravagance of letting stories

Meet Danny. He’s a kid looking for a dad.” So they come together, the new family. Peter

unfold, approaching them as intricate mathematical problems: one method, one

Gabriel’s “Solsbury Hill” starts in, and the once ominous drive up the mountain to the

answer. “Editing David’s film is like putting together a Swiss watch,” says Angus

hotel becomes the beginning of a happy life together.

Wall, the editor on Zodiac. “All the pieces are so beautifully machined. He’s incredibly

They should have made a trailer like that for Fight Club, Fincher says, should have used

specific. He never settles. And there’s a purity that shows in his work.”

“Solsbury Hill.” At least that would have captured more of what he saw as the point of the

“There’s what he thinks is right, and there’s little else,” Ziskin says. “If you have

movie, summed up by Edward Norton’s character in the film’s last line: “You met me at a

a difference of opinion, he’ll listen politely, then tell you in no uncertain terms

very strange time in my life.” Instead, the trailer pushes the idea of expressing yourself

how completely wrong you are.”

through the catharsis of violence. “We don’t have confidence in people understanding

Ziskin first worked with Fincher on Fight Club, where they sometimes sparred over

what this is, and we certainly don’t have confidence in our ability to lay it out there in

the budget. Then came the abortion argument. In an early cut of the film screened for

three words or less. So here’s what we’re going to sell. We’re going to take Fight Club

test audiences, Brad Pitt’s Tyler Durden rolls off Helena Bonham Carter’s Marla, who

and we’re going to turn it into: ‘It’s a movie about people who hit people.’

says, postcoital, “I want to have your abortion.” The audience laughed, but Ziskin,

“Well, it’s a movie about people who hit themselves. They’re looking for ways

hard to offend, was aghast. The studio was already nervous about spending more

to feel again,” he says. “There was a malaise and frustration and sadness that that

than $60 million on such an unconventional movie. You have to change the line, she

movie had at its core. And they say, Oh, no, no, no, whoa, whoa, whoa. People. People

told Fincher. That’s too much. He agreed, so long as the new line stayed. He wouldn’t

who hit people. That’s what this is. And I can’t help you there. I don’t think like that.

shoot a third time. Fine, she said. Anything else. Now Marla flops off Tyler and says,

Do people like ambiguity? I guess not anymore. Do I like ambiguity? Yeah, I guess I

“I haven’t been fucked like that since grade school.”

do. Is that going to come into conflict? Probably.”

He has learned which fights are worthwhile and which ones are wasted breath,

To minimize these annoyances, Fincher still makes commercials, earning money that

like arguing with the movie marketers. Invited to a test screening of Seven, guests

brings freedom to be extra picky in his movie choices. The commercials also serve as

were told the movie starred Brad Pitt—Legends of the Fal—and Morgan Freeman—

his sandbox time to work out new techniques. After Panic Room in 2002, he did four

Driving Miss Daisy. Recounting this on Seven’s director’s commentary, Fincher

commercials digitally, including a Hewlett-Packard ad shot against green screens in

giggles. “They couldn’t have been more offended,” he says. “You couldn’t molest

which the scene changes every seven frames as a man walks through an office. By

the audience more than to promise Legends of the Fall and Driving Miss Daisy then

Zodiac, he was ready to shoot without film, which streamlines the process and trims

to unleash this on them. They’d just been gang-raped.”

fixed costs. Most directors shoot about seven hundred thousand feet for a movie. Fincher

“There’s this fear of being punished for selling something in any way other than

shot the equivalent of 1.3 million for Zodiac, all of it stored in a six-foot Apple tower—a

how things are sold,” he says. “The problem with that is you’re saying to the

virtual warehouse accessible to the picture and sound editors and the visual-effects crew.

audience, ‘Don’t worry, this is one of those. It’s not something other than what

His new movie draws heavily on his new techniques. People have talked for years about

you’ve experienced before. It’s a Quarter Pounder with cheese, medium fries, and a

making The Curious Case of Benjamin Button, an adaptation of the F. Scott Fitzgerald

vanilla shake. That’s what it is.’ And then when it isn’t that, people come out of the

story about a man who’s born as a seventy-year-old baby and ages backward. But

theater and say, Screw that, they told me it was going to be x.” Movie trailers really

technology lagged behind the demands of the story line. Fincher thinks he’s got it now.

piss him off, with every trailer urgently pitching the same movie, just switching

Instead of using different actors for Benjamin Button and asking the audience to make

46


A DAVID FINCHER FILM FESTIVAL

“I HAVEN'T BEEN FUCKED LIKE THAT SINCE GRADE SCHOOL” the mental leap, he will be played at almost every age by Brad Pitt, with his head put onto other actors’ bodies. Fincher plays a demo scene, and it’s a little freaky and utterly believable. A man sits at a table tapping a spoon, and then the head changes. Same scene, same body, but a new head, flawlessly switched. When Benjamin is aged and decrepit—or young and decrepit, in this case—the role will be played by a smaller actor. The same scene will be reshot with Pitt playing Benjamin. The movements of both actors’ faces will be tracked, with Pitt’s replacing the original. That’s the plan at least. “I sure hope we’re right,” he says. “Or it’s going to be terrible.” After a morning spent laying out the geometry of every shot for Benjamin Button, Fincher’s picking minor rolls and body doubles, watching audition tapes, and flipping through a pile of head shots, checking resumes on the backs. “This girl played Giggling Coed?” he says. “I can’t believe this is Giggling Coed.”

“I know,” Laray Mayfield says. “Amazing, right?” She’s worked for Fincher for twenty years, since starting as his assistant. “Is he too handsome?” Fincher says, holding up another glossy photo. “I’m just worried that he’s a little modelly. We’ll just scruff him up and make

You’re going to play this part, and it’s my job to make sure that everything around you and everything you’re going to come in contact with and every person you’re going to be speaking with supports what you’re doing.” Some actors appreciate this and say so. Others no doubt feel confined but

him look as bad as he’s ever looked.”

stay quiet because they need to keep working. And then there’s R. Lee

The last one was too cute, this one too well fed. “He needs to be gaunt,”

Ermey, who played the police captain in Seven and the drill instructor in

Fincher says. “He’s gotta get gaunt.” “I told him that, and he’s lost thirty

Stanley Kubrick’s Full Metal Jacket, where he helped create much of the

pounds,” Mayfield says. “But I told him to keep going.”

role. He calls Fincher a chickenshit. “He’s afraid to take chances. He’s

In the hallway, Fincher eyes a wall of head shots, many of them elderly

afraid to let anybody change one word in the script,” he told UnderGround-

actors for the nursing-home scenes. “Are these people robust and

Online. “He wants puppets. He doesn’t want actors that are creative. If

healthy?” he says. “I just don’t want to get into any tragic continuity issues.”

you’re not worth a shit at acting and you’re not creative, then I would

“Well, it’s a possibility. God is certainly going to be on our side if we make it

recommend that you go work with David Fincher, because he won’t let

without that happening,” Mayfield says. “We’re dealing with these people

you act, even if you are a fucking good actor.”

at the most vulnerable time of their lives. But this guy’s a firecracker. And

Fincher smiles at that. “You cast them for this certain thing that they

he drives. All these people still drive and travel.”

bring to it and maybe not for another thing that they would like to bring to

He nods, satisfied that his actors won’t be dying on set. On the way back to

it. And I think it’s difficult for actors,” he says. “My rule is simple: Come

his office, Bob Wagner, his assistant director, intercepts him with pictures

having memorized the text. I don’t mind having discussions about what

of blind people circa 1900, answering an earlier query about when the

the intent of something is or what the dramatic structure of a scene is with

blind started wearing dark glasses. “It doesn’t matter how much you do

somebody who’s done their homework. But I won’t have this discussion

your homework,” says Max Daly, the researcher who fields these requests.

with somebody who’s just hung- over. Because that’s just disrespectful to

“He’s really good at finding the one detail that was missed. He knows more than anybody.”

everybody else.” He pauses to say he’s not referring to anybody specific. “You earn the right to help write or reorder a scene when you prove that you

Fincher knows people call him a perfectionist. They’re just wrong, that’s

understand why everything is there and not when you decide on a whim

all. “What I’m really always trying to do is get rid of the things that are

that something doesn’t work for you personally.”

taking me out of feeling a certain way or causing me to think in another

He’ll take the bad reviews and the snide comments. Fight Club is a cult hit

direction,” he says. “So it’s more about limiting distractions. My gig is,

now, but it opened in 1999 to $11 million and tepid reviews. Roger Ebert

47


HEAD CASE

“WORK AS HARD AS YOU CAN ON ANY GIVEN DAY AND TRY TO LIVE IT DOWN.” said it was macho porn, and The Hollywood Reporter called it morally repulsive and socially irresponsible. And that brought out the smugness in Hollywood. Look at Fincher. Look at Fincher fail. Serves him right for coloring outside the lines. “It was amazing how many people, unsolicited, went out of their way to say, I’m really sorry about your movie,” he says. “And it wasn’t a ‘Good on you, fuck them’ kind of thing. It was like a ‘Welcome back. Now you’ll understand what we’re in for—we keep trying to tell you.’ “ Fincher has no time for that. He’ll stumble and struggle, so long as he’s not complacent. “Do your best work,” he says. “Work as hard as you can on any given day and try to live it down.” Which brings Fincher, at the end of this very long week, after stopping to see his daughter’s volleyball game, to a darkened screening room in Burbank to make color corrections on Zodiac. He plops into a plush black leather chair. He yawns and rubs his face and looks as if he’s about to fall asleep. He settles his chin onto his palm and looks at his newest work, in freeze-frame before him, through heavy eyes. “That’s a little pink. Take it down a couple points,” he says. The audience would never notice, but Fincher does, so he keeps on like this, making tiny adjustments. “And a little more warmth,” he says. “Add some yellow.” Next. “Just give me a little fog back in here.” Next. “Tone down the neon sign.” “Good.” Next. He slumps further into his chair, flops his arm across the table, and lays his head across his bicep. He looks at the screen sideways, with his laser pointer dancing across the images, and ponders the minutiae. The images change, ever so slightly, finally matching the story he has told in his head, again and again all these months, and the corners of David Fincher’s eyes crinkle into a smile.

­—By Brian Mockenhaupt

[

]

“I BELIEVE YOU’RE LOOKING FOR ME.”

48


A DAVID FINCHER FILM FESTIVAL

“YOU EARN THE RIGHT TO HELP WRITE OR REORDER A SCENE WHEN YOU PROVE THAT YOU UNDERSTAND WHY EVERYTHING IS THERE AND NOT WHEN YOU DECIDE ON A WHIM THAT SOMETHING DOESN'T WORK FOR YOU PERSONALLY.” —DAVID FINCHER

49


[

HEAD CASE

SE7EN ANALYSIS

D

avid Fincher’s Se7en is a crime thriller that has become one of

in terms of dialogue and character development and we spend a lot of time getting to

my favorite film of all-time. It initially appears as your typical

know the 4 main characters. Finally, one of the first thing you will notice is the oppressive

run-of-the-mill serial killer movie but manages to go against

atmosphere. The interior scenes are almost unequivocally extremely dark, damp, and

all the viewer’s expectations. Fincher crafted an incredibly

cramped. You can almost smell the stench of putrefaction. This was achieved thanks

dark and bleak movie and the absolutely shocking final twist

to the cinematography by Darius Khondji and the sets design by Arthur Max. They set a

takes you aback like very few movies I have seen have ever

dark and gloomy atmosphere for most of the movie and the omnipresent rain on outdoor

managed to do. Since this movie has been released nearly

scenes only adds to that effect.

15 years ago, this review will contain important spoilers, I STRONGLY advise against

Fincher repeatedly plays with the viewer’s expectations. Somerset states at one point that

reading beyond this point if you plan on seeing this movie.

John Doe is eventually going to make a mistake and that’s our expectation after having

As the film begins, we meet Detective William R. Somerset (Morgan Freeman), a

been conditioned by dozens of crime movies where the criminal ends up making a stupid

disillusioned and burnt-out homicide detective who is set to retire within a week

mistake that leads to his own demise. However, in Se7en, John Doe is always in control

and only wants to get as far away as possible from this gloomy and decaying city.

from beginning to end. He surrenders himself to law enforcement but everything is still

Alongside Detective David Mills (Brad Pitt), a brash and cocky young police officer

under his terms. He is given substantial amount of dialogue and we discover that he is

who is set to replace him, Somerset investigates a series of murders inspired by the

not only a cunning and extremely intelligent individual but also extremely articulate and

seven deadly sins.

almost too convincing when trying to explain his”work”.

Structurally, Se7en is unlike most movies of its genre. We never witness the acts of

Morgan Freeman gives an outstanding subtle performance which elevates the

violence, only their aftermaths. There is also only one single action scene, a thrilling

performance of his co-stars. This is exactly the type of acting I’m talking about when

chase sequence mid-way through the movie. On the other hand, Se7en is very heavy

I speak about conveying a character’s background without the viewer actually having

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A DAVID FINCHER FILM FESTIVAL

to be told. We get to know Somerset’s life with very little dialogue and this is what makes Freeman a superb actor. We can see his personality evolve as he takes Mills under his wing after a relatively cold beginning to their relationship. He begins as this cynic and tired cop who has seen too much over the years but the layers start to peel away as he interacts with the young Mills and more importantly Tracy, who reminds him of innocence he hadn’t witnessed in so long. Beautiful Gwyneth Paltrow, as Mills’ wife Tracy, provides the few rays of brightness and hopes amid the oppressively gloomy settings and I would have liked to see more of her character. Brad Pitt gives a somewhat uneven and uni-dimensional performance (I’m harping here, he is fine). His character would have been more likable, had he been infused with another layer of complexity beyond the all-brawn personality he displays for most of the movie. Finally, Kevin Spacey embodies the personality of the most dangerous people on Earth, fanatical individuals with nothing to lose and nothing to gain. Here, he is simply pitch-perfect, giving John Doe an aura of mellow and collected detachment that is incredibly creepy. A masterpiece of the 90’s, Se7en is an oppressively dark and grisly crime thriller that has aged very well, so far.

—Reviews by Castor

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HEAD CASE

THE GAME ANALYSIS

D

avid Fincher has once been quoted as saying “I don’t know

always deemed offensive and unimportant. It is a well known story cliché. He will then

how much movies should entertain. I’m interested in

become a better person as a result of his journey which will be expressed through his

movies that scar”. Whether he is referring to the scarring

change in character and his thoughts and actions towards others. However, Fincher

of the characters within his films or of the audience

beautifully makes this simple story his own. Fincher is a master of brooding and

voyeuristically partaking in his dark and twisted tales

depressing atmospheres. There is no life in his films. Oh, there are people alive but

is unclear. What is definitely accurate about Fincher’s

his focus seems to be on reanimating the dead that exists within the body. Nicolas Van

films is that they leave an undeniable mark on each and

Orton is a character who lives alone. He is rich, powerful and most of all, successful.

everyone involved.

But yet, he is dead within. He rarely smiles and seems to have become who he is now

It is hard to mistake a Fincher film. They usually contain very little natural light and

as a result of witnessing his father’s suicide at a young age. Other than talking to his

the atmosphere will be extremely unsettling. This will then force the audience to

housekeeper and his lawyer (which he still does to a limited degree), he is a man who

share the protagonists’ feelings of unease and paranoia. As well, by the end of the

keeps to himself. He does not want to be bothered and will only bother another if there

film, Fincher’s “hero” has usually undergone some sort of life-changing trauma.

is progress to be made. He is sort of a 90’s version of Gordon Gekko from Wall Street

The Game is a film that may be the least known of Fincher’s. It arrived in between

(who Douglas played as well) who is more in touch with control and intimidation then

Seven (1995) and Fight Club (1999) and has seemed to have been overlooked

he is with emotional contact.

as a great film. This is a great film. The manipulative control Fincher seems to

The idea that Nicolas was unable to prevent his father’s suicide left him in a state

possess over his audience is mastery in its calculation and concoction.

of shock. He was unable to control the situation and thus he felt pain for the very

The story is simple. A man is given a present that will eventually drive him

first time. The film starts off with images of Nicolas as a child and his father and it

to the depths of depravity and despair by turning him into the character he has

is clear that this event was crucial in the shaping of Nicolas as a man. He lost a very

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important person in his life and as a result, he became a closed off and emotionally detached human being. He feels that being in control will prevent him from ever feeling pain again but yet (unaware to him until after the “game” begins) he yearns for closure in regards to his father’s death. It is only when the “game” begins that he slowly begins to exist once again and to reemerge as a living entity. Douglas is masterful in his performance. He refuses to break character at any moment until it is deemed necessary by the script. Even when this “game” begins, Douglas portrays Nicolas as a character who still believes he is in control of the situation. He believes he has it all figured out until, of course, he doesn’t. When things do not go as planned, he panics as a result. He does not know how to control the situation which leaves him vulnerable and confused (feelings he has cut himself off from). He has never had to cope with change because he has never attempted to change himself. He must rediscover his inner self before there is any chance of redemption or rebirth. Within moments of the films’ commencement, we come to identify with Nicolas. He may not be the most friendly and admirable protagonist in film history but yet we still attempt to identify with him. As a result, we form some sort of control over the narrative. We believe that we understand the simple structure of the story and will not be undermined by it in any manner (as Nicolas feels when the “game” begins). However, as this film progresses, we, the audience, become lost and confused. We, as Nicolas, are unaware of our surroundings and have become paranoid and fearful of the people within the narrative. Who do we trust? Where do we go from here? It is now the blind leading the blind. This film may not be noted as one of Fincher’s more important pieces of work but yet it is a beautifully crafted piece of entertainment. The writing is taut and the acting is superb. Yes, many of the events are implausible and rely heavily on coincidence and chance but it is told and shot in such a high octane sort of way that the audience is quick to forgive the filmmakers for these insignificant and basically pointless quibbles.

—Review by Mike Peters

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HEAD CASE

FIGHT CLUB ANALYSIS

F

ight Club” is the most frankly and cheerfully fascist big-star movie

in the kind of voice Nathanael West used in Miss Lonelyhearts. He’s known only as the

since “Death Wish,” a celebration of violence in which the heroes

Narrator, for reasons later made clear. The meetings are working as a sedative, and his

write themselves a license to drink, smoke, screw and beat one

life is marginally manageable when tragedy strikes: He begins to notice Marla (Helena

another up.

Bonham Carter) at meetings. She’s a “tourist” like himself--someone not addicted to

Sometimes, for variety, they beat up themselves. It’s macho porn

anything but meetings. She spoils it for him. He knows he’s a faker, but wants to believe

-- the sex movie Hollywood has been moving toward for years, in

everyone else’s pain is real.

which eroticism between the sexes is replaced by all-guy locker-

On an airplane, he has another key encounter, with Tyler Durden (Brad Pitt), a man whose

room fights. Women, who have had a lifetime of practice at dealing with little-boy

manner cuts through the fog. He seems able to see right into the Narrator’s soul, and

posturing, will instinctively see through it; men may get off on the testosterone rush.

shortly after, when the Narrator’s high-rise apartment turns into a fireball, he turns to

The fact that it is very well made and has a great first act certainly clouds the issue.

Tyler for shelter. He gets more than that. He gets in on the ground floor of Fight Club,

Edward Norton stars as a depressed urban loner filled up to here with angst. He

a secret society of men who meet in order to find freedom and self-realization through

describes his world in dialogue of sardonic social satire. His life and job are driving

beating one another into pulp.

him crazy. As a means of dealing with his pain, he seeks out 12-step meetings, where

It’s at about this point that the movie stops being smart and savage and witty, and turns

he can hug those less fortunate than himself and find catharsis in their suffering. It

to some of the most brutal, unremitting, nonstop violence ever filmed. Although sensible

is not without irony that the first meeting he attends is for post-surgical victims of

people know that if you hit someone with an ungloved hand hard enough, you’re going to

testicular cancer, since the whole movie is about guys afraid of losing their cojones.

end up with broken bones, the guys in “Fight Club” have fists of steel, and hammer one

These early scenes have a nice sly tone; they’re narrated by the Norton character

another while the sound effects guys beat the hell out of Naugahyde sofas with Ping-Pong

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argument against the behavior it shows, my guess is that audience will like the behavior but not the argument. Certainly they’ll buy tickets because they can see Pitt and Norton pounding on each other; a lot more people will leave this movie and get in fights than will leave it discussing Tyler Durden’s moral philosophy. The images in movies like this argue for themselves, and it takes a lot of narration (or Narration) to argue against them. Lord knows the actors work hard enough. Norton and Pitt go through almost paddles. Later, the movie takes still another turn. A lot of recent films seem

as much physical suffering in this movie as Demi Moore endured in “G.I.

unsatisfied unless they can add final scenes that redefine the reality of

Jane,” and Helena Bonham Carter creates a feisty chain-smoking hellcat

everything that has gone before; call it the Keyser Soze syndrome.

who is probably so angry because none of the guys thinks having sex with

What is all this about? According to Durden, it is about freeing yourself from

her is as much fun as a broken nose. When you see good actors in a project

the shackles of modern life, which imprisons and emasculates men. By

like this, you wonder if they signed up as an alternative to canyoneering.

being willing to give and receive pain and risk death, Fight Club members

The movie was directed by David Fincher and written by Jim Uhls, who

find freedom. Movies like “Crash” must play like cartoons for Durden. He’s

adapted the novel by Chuck Palahniuk. In many ways, it’s like Fincher’s

a shadowy, charismatic figure, able to inspire a legion of men in big cities

movie “The Game” (1997), with the violence cranked up for teenage boys of

to descend into the secret cellars of a Fight Club and beat one another up.

all ages. That film was also about a testing process in which a man drowning

Only gradually are the final outlines of his master plan revealed. Is Tyler

in capitalism (Michael Douglas) has the rug of his life pulled out from under

Durden in fact a leader of men with a useful philosophy? “It’s only after

him and has to learn to fight for survival. I admired “The Game” much more

we’ve lost everything that we’re free to do anything,” he says, sounding

than “Fight Club” because it was really about its theme, while the message

like a man who tripped over the Nietzsche display on his way to the coffee

in “Fight Club” is like bleeding scraps of Socially Redeeming Content thrown

bar in Borders. In my opinion, he has no useful truths. He’s a bully--Werner

to the howling mob.

Erhard plus S & M, a leather club operator without the decor. None of the

Fincher is a good director (his work includes “Alien 3,” one of the best-

Fight Club members grows stronger or freer because of their membership;

looking bad movies I have ever seen, and “Seven,” the grisly and intelligent

they’re reduced to pathetic cultists. Issue them black shirts and sign them

thriller). With “Fight Club” he seems to be setting himself some kind of a

up as skinheads. Whether Durden represents hidden aspects of the male

test--how far over the top can he go? The movie is visceral and hard-edged,

psyche is a question the movie uses as a loophole--but is not able to escape

with levels of irony and commentary above and below the action. If it had all

through, because “Fight Club” is not about its ending but about its action.

continued in the vein explored in the first act, it might have become a great

Of course, “Fight Club” itself does not advocate Durden’s philosophy. It is

film. But the second act is pandering and the third is trickery, and whatever

a warning against it, I guess; one critic I like says it makes “a telling point

Fincher thinks the message is, that’s not what most audience members will

about the bestial nature of man and what can happen when the numbing

get. “Fight Club” is a thrill ride masquerading as philosophy--the kind of ride

effects of day-to-day drudgery cause people to go a little crazy.” I think

where some people puke and others can’t wait to get on again.

it’s the numbing effects of movies like this that cause people go to a little crazy. Although sophisticates will be able to rationalize the movie as an

—Review by James Berardinelli

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HEAD CASE

Written, compiled and designed by Harry Graham. GR. 612 INTEGRATED COMMUNICATIONS, taught by Marc Enlgish ©2010 by Harry Graham All Rights Reserved.

INTERVIEWS AND REVIEWS BY —Reviews by Castor —Review by Mike Peters —Review by James Berardinelli

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