As a filmmaker who has delved deep into the dark and twisted world of serial killers, I can confidently say that David Fincher’s work on “Se7en” and “Zodiac” is nothing short of masterful. Having spent my life immersed in the intricate web of storytelling and the human psyche, I find myself in awe of the way Fincher weaves these complex narratives that both thrill and haunt us.
“Se7en,” with its gripping plot and chilling exploration of the depths of human depravity, set a new standard for serial killer films. It’s a testament to Fincher’s ability to create tension and suspense that keeps audiences on the edge of their seats, all while delivering a powerful message about the consequences of unchecked darkness.
But “Zodiac,” in my humble opinion, takes Fincher’s exploration of the serial killer genre to new heights. With its painstaking attention to detail and unflinching look at the investigative process, it is a true masterpiece that transcends the typical conventions of the genre. It’s not just a serial killer movie – it’s a meditation on obsession, the pursuit of justice, and the toll that both can take on the human spirit.
In many ways, I see “Se7en” and “Zodiac” as bookends to Fincher’s exploration of this dark subject matter. They are two sides of the same coin – one a chilling examination of the mind of a killer, the other a harrowing journey into the heart of an investigation. And while I may not be a filmmaker myself, I can certainly appreciate the artistry and skill that went into crafting these two iconic films.
As for a joke, let me just say – if you think Fincher’s films are dark, wait until you see what he does with a room full of light bulbs… or something like that. 😉
David Fincher bristles at being labeled a perfectionist.
As a cinephile who has spent countless hours immersed in the world of film, I can attest to David Fincher’s exceptional talent as a director. However, his recent explanation for the prolonged production of the 4K version of “Se7en” left me somewhat underwhelmed. Given his impressive filmography that includes masterpieces like “Fight Club,” “Zodiac,” and “The Social Network,” I expected a more convincing justification for the delay. But, even with this minor hiccup in reasoning, Fincher’s meticulous approach to detail has resulted in some of the most memorable and visually stunning cinematic moments of the last three decades. The restoration of “Se7en” is yet another testament to his dedication, and it serves as a shining example of the beauty that can be achieved in the high-definition era.
Interestingly, “Se7en,” the movie that launched his Hollywood career, was according to him influenced by films with a gritty, realistic feel. After its debut at the 2024 TCM Film Festival, the enhanced version will hit theaters (including IMAX) on January 3, followed by a 4K UHD release on January 7. In a conversation with EbMaster, Fincher discussed the film, explaining his mindset for the project after the mixed reception of his first feature, “Alien 3.” He shared behind-the-scenes details about crucial casting decisions and creative strategies to bring the tale of a serial killer based on the seven deadly sins to life. He also reflected on its impact as a film that sparked numerous imitators and cemented his image – whether as a meticulous director or one who learned to seek forgiveness rather than permission.
In your previous statement, you’ve described the experience of directing “Alien 3” as a way of learning from others’ errors. When you embarked on the project “Se7en,” how much did you view it as a chance to create mistakes that were uniquely yours?
As a seasoned filmmaker with a passion for pushing boundaries, I approach my projects with a unique perspective. Take “Alien 3,” for instance. After that movie, I found myself at a crossroads, seeking approval but ultimately deciding to ask for forgiveness instead. This became my guiding principle.
In the case of “Se7en,” I felt a strong connection to the script from the get-go. I knew what the movie was about, I understood its stakes, and I had a fearless collaborator in Mike De Luca, who shared my love for risk-taking. Despite his own challenges at the time, Mike was not one to shy away from taking chances, especially if the risks were clearly defined.
Our conversations revolved around films that resonated with us deeply, such as “Klute” and “The French Connection.” Interestingly enough, we didn’t discuss “Silence of the Lambs,” but we did touch upon “The Exorcist.” We were talking about gritty, raw movies with a certain edge to them.
Mike may not have given us explicit permission, but his enthusiasm for the grittier aspects of our vision was palpable. In the end, it was this shared passion and mutual understanding that led us to create something truly memorable.
However, producer Phyllis Carlyle was not just cautious about risk; she found the movie, upon seeing it, distasteful. It was evident that those advocating for such an unsettling endeavor had sufficient support.
As a big fan of movies, I can’t help but wonder about your initial plans for casting Ned Beatty as John Doe. Can you share some insights into how far along you were in developing this character, perhaps even before his potential involvement was ruled out?
It didn’t take long for us to receive a response, I believe. He might have phoned on Saturday morning with his answer: “No, thank you.” At the moment, Christopher Guest was the individual who intrigued me the most. Our search wasn’t limited; it was quite expansive. It was an unusual mix of elements. It felt like asking: “I know he excelled with Brad, will he clash effectively with Morgan?” I aimed to focus less on appearances and less on titles such as ‘police chief’. I admired how Tyler Perry portrayed that in “Gone Girl”. The role had initially been written for Alec Baldwin in “Malice”, but I thought: what if we found someone who could sit next to another person on a couch and ask, “No, no, no, tell me about your deepest fears.” That idea seemed fascinating for Tanner Bolt [Perry’s character in “Gone Girl”]. As more possibilities emerged, the cast eventually came together. This entire process is a captivating playground.
Among the many memorable scenes from the film, I particularly enjoy the one where R. Lee Ermey, at the police station, answers the phone and remarks, “This isn’t my workspace here.
The dialogue was written in the script, and it’s indeed comical. Moreover, it becomes even funnier when Lee Ermey delivers it. “This isn’t even my desk!” He’s an exceptional actor, but as a screenwriter, Andy Walker often throws us curveballs like this strange non-sequitur in the middle of a scene, leaving us wondering how to make sense of it. When I’m selecting the actor to play the captain, I need someone who can ask me to say his line for him, and when he does, I know instantly that “That’s the guy we need.” Moments like these remind me of a high-pressure work environment where everyone is under a great deal of stress.
Last year, you discussed the process of remastering the movie and the adjustments you made behind the scenes.
Have you seen the remastering?
Yes, I have. It looks incredible.
Were you aware of fixes?
Nothing specific jumped out at me.
In essence, when Brad initially sits on the bed wearing his pre-tied ties and sits beside Gwyneth, during filming, a white card was used to bounce light because we were shooting with Eastman high-speed stock and a shallow depth of field, similar to what they did in “Being There,” one of my favorite films. On both film and DVD, it appears as a blown-out window, but when you upgrade to 4K, details previously unseen become apparent, making out the card that was used for light reflection. These adjustments aren’t necessary, but they significantly enhance the visual quality given the upgrade.
To what extent do you view your movies as unchangeable after they’ve been finished? Are there not any chances to redo or correct perceived errors, like the infamous “Han shot first” debate?
In my opinion, movies follow trends much like fashion does. For example, handheld cameras fall out of favor, then a director uses it creatively, and suddenly it’s popular again, even on television. A case in point is Eggers’ “Nosferatu,” where his use of the four-by-three frame is something I wish I could have thought of, but my mind doesn’t work that way. So, I observe these trends coming and going. Would I remove shotguns from characters like in “E.T.” and replace them with flashlights or radios? No. But if someone else wants to make that choice, more power to them. I simply believe in staying true to oneself. When I saw the first CCE check print at Deluxe Labs on Western, I knew that was the look the movie should have. I was just trying to recapture that feeling.
Originally, Eastman Kodak promoted the idea that storing developed film in an airtight container would allow for unlimited prints. However, after the Universal fire, it became clear that this wasn’t as simple as adding more pixels. The restoration of “Seven” took a year because we had to meticulously rework our 8K scan of the movie negative. This new version will serve as the highest resolution archival master going forward. We spent around two to three months simply cleaning up imperfections, removing tiny bits of emulsion, and addressing the perforations. Since the film was shot on super 35 stock, we had to account for the way the perforator affected the emulsion’s image-making process. This required extensive restoration work, which I would even call excavation. Essentially, we were transforming a collection of plastic clips into what will now be the movie from this point on, and it was a massive undertaking.
In this movie, your meticulous approach to perfection was initially recognized. What strategies do you employ to guarantee that the films you produce convey significant narratives rather than merely serving as experiments in technology?
I can’t promise that a story will resonate for something else, such as “Se7en.” If I were to remake it today, much of it would remain the same, but some parts would certainly be different. As a person, I have evolved significantly since then. Additionally, the cinematic landscape has undergone significant changes regarding violent stories.
One aspect that intrigued me about Andy’s script was the mystery element – you only learn what happened after the events unfolded. The dialogue like “she cut off her nose to spite her face… and did it very recently” is more impactful when viewers recoil in disgust rather than showing the actual act itself.
I admired how Andy invited the audience to fill in the gaps, to be actively involved in the storytelling process, particularly with the violence since we were dealing with sensitive subject matter. It was engaging and provocative, leaving room for the viewers’ imaginations to complete the narrative.
However, it might not be feasible to approach a film like this in 2024. Audiences might perceive it as a cop-out, but that could also depend on their openness to such storytelling techniques.
I have issues with the notion of perfectionism, especially when transitioning to high definition, as it became apparent to me that every minor detail, such as background actors seemingly lurking or counting, would now be visible. This heightened my sense of responsibility to ensure that the footage only captures what truly matters and leaves a lasting impression.
Have we previously discussed the difficult test viewings of “Seven”? Did any point during the movie’s distribution make you feel validated about your decisions?
I’m quite confident about this, but let me clarify: When the movie premiered in the U.S., I wasn’t here; I was in France. The opening of “Se7en” wasn’t like “Age of Ultron,” it took a while to gain traction, around three or four weeks before people started saying, “This movie isn’t going anywhere – it seems to have found its niche.” This kind of validation is different. With “Se7en,” I’m not seeking approval; if anything, I’m asking for forgiveness. But I wasn’t foolish either. The story is complex, with numerous elements that need careful handling to prevent confusion. So, my goal was to ensure each scene was clear and easy to follow, and the narrative had a logical flow. In other words, “Make it succinct. Make it trackable. Make it specific” was my guiding principle for “Se7en.” I wasn’t asking for permission; if anything, I was seeking understanding and forgiveness.
As a film enthusiast who has spent countless hours immersed in the world of thrillers and crime dramas, I have to admit that “Se7en” and “Zodiac” hold a special place in my heart and mind. These two masterpieces not only showcased exceptional storytelling but also redefined the genre of serial killer films.
“Se7en,” with its dark and gritty portrayal of evil, set the stage for a new era of crime dramas that pushed boundaries and challenged audiences. It was a game-changer in the world of cinema.
On the other hand, “Zodiac” took the genre to an entirely new level by delving deep into the investigation process, offering a more realistic and grounded take on serial killers. Its attention to detail and commitment to historical accuracy made it one of the greatest films of its decade.
When considering these two movies side by side, I can’t help but see them as bookends to one another. “Se7en” introduced us to a new world of crime dramas, and “Zodiac” brought us back to reality in a way that few films have managed to do since. Together, they offer a compelling exploration of the darker side of humanity, and their impact on cinema continues to be felt today.
In several discussions with executives Jeff Robinov, Lynn Harris, Marc Evans, Brad Weston, and Brad Gray, I expressed that our film was not a replica of “Se7en.” Instead, it was a unique story requiring viewers to feel as if they’ve experienced a 35-year investigation upon exiting the movie. Our aim is for people to enjoy their journey, but not to suffer through it. We want them to endure the film’s duration and become immersed in parts of it. The book we purchased was about a cartoonist’s personal insights into a 35-year failed investigation involving Arthur Leigh Allen. Our goal wasn’t to replicate the 70s or San Francisco, but to introduce audiences to this character, witness his attempts to join an unrelated endeavor, and observe how this investigation pushes everyone involved to the brink of what they perceive as a reasonable pursuit of justice. We frequently discussed these aspects during our conversations.
Initially, when we screened the movie for Warner Brothers, they expressed that it didn’t resemble “Se7en.” My response was, “Oh dear.” You see, I have a soft spot for the “Se7en” script. It has a gritty quality to it that I appreciate. “Zodiac,” however, isn’t like that. I wasn’t thinking about how it would wrap up the 2000s at the time. I just felt there were two types of serial killer movies – one like “Se7en” and another like this. Frankly, I’m not sure if “Zodiac” truly fits into that category. Indeed, it revolves around a serial killer, but fundamentally, it’s more about journalism, at its core.
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2025-01-03 19:47