Fincher, David

 David_Fincher_(2012)_3 Name: David Fincher

Born: August 28, 1962

Strengths: Innovation, Structure

Weakness: None

Best Movie: The Social Network

Rating:    rating-153609_640 5.0

Review:

One of the few consistently great directors who doesn’t write his own films, David Fincher has made a career out of teasing the hidden quality from various scripts and adding a level of sophistication to the movie’s visual and conceptual profile that is second to none. Beginning as a director of darker, more violent films like Seven and Fight Club, his films began to take on more mature and comprehensive virtues with the making of Zodiac and to a greater extent The Social Network. Through his unparalleled talent for playing with structure to balance drama and tension, his story-telling came to the fore in these works not to mention his ability to hone in on the true virtues of the stories. In this manner, his contribution to his films is every bit as significant as a co-writer’s would be but given the defining role his visual aesthetic plays in each of his films, and given his total ownership of that aesthetic, Fincher is always the undisputed boss. As his profile has grown, he has demanded more and more control over his films and despite the rewards which follow for those studios which have satisfied those demands, it has cost him some interesting projects such as the sequel to The Girl With the Dragon Tattoo. Ever the perfectionist, Fincher’s command over his movies runs down to the last detail with the most subtle but also perhaps most remarkable result being an immaculate use of space and production design. His repeated framing of his scenes around spotlessly polished surfaces seems to accentuate his control of space better than anything else and, in its own way, it reveals more about this masterful director than any other attribute.

Profile:

  • Oversees production down to the minute details.
  • Frequently shoots in specific colour grades and/or uses tinted key lighting.
  • A strong focus on space within his scenes.
  • Likes to frame his shots around polished surfaces such as desks or tables.
  • Often relies on flashback to maintain dramatic tension during expositional acts.
  • Frequent user of wide stationary shots focused in the centre.
  • Uses handheld cameras sparingly and always to change the tone of the movie.
  • Rich production design.

Vision
2
Style
1
Structure
1
Visuals
1
Sound
1
Innovation
1
Discipline
1
Story-telling
1
Production
1
Average
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