In Contention

Tag: David Fincher

  • ‘The Social Network’ trailer

    The teaser for David Fincher’s upcoming “The Social Network” hit the net at Mashable yesterday.  If you’re somehow unaware, it’s a biopic (weird to say that, no?) on Facebook founder Mark Zuckerberg from a script by Aaron Sorkin, based on Ben Mezrich’s novel “The Accidental Billionaires.”  There is no footage, just a lofty tease that gives the impression the film will be, shall we say, quite sincere.  It’s left to be seen how Columbia flacks and the 42 West component behind producer Scott Rudin (as always) will coalesce during the season, but it’s certainly a sight-unseen favorite for the race.  Check out the trailer by clicking the image below or watch the embed after the jump.

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  • OFF THE CARPET: One for the toys

    Despite a precious few naysayers, Pixar’s “Toy Story 3,” which hit theaters this weekend to an all-time high opening number for the studio, has become an odds-on awards season favorite.  Nominations for Best Picture, Best Adapted Screenplay and, of course, Best Animated Feature seem like no-brainers.

    Additionally, though some might make arguments for this indie title or that, I think the threequel is one of only two films to have already hit multiplexes in 2010 that have a water-holding argument for placement in “the 10.”  The other, ironically enough, is fellow animated endeavor “How to Train Your Dragon.” But as we reach the half-way point of the year, “Toy Story 3” has become the first release that could conceivably take the whole enchilada.

    It’s surprising to note that this, one of the most creatively and financially successful franchises in film history, has not one competitive Oscar to its credit.  John Lasseter received Special Achievement honors for the first installment 15 years ago, but that was it.  Something else was worth noting in 1995, however.  The first film was also the one to break a certain barrier of legitimacy for animated features in the Oscar race.

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  • ‘The Social Network’ poster

    David Fincher’s “The Social Network,” from a script by Aaron Sorkin, could be a big contender in this year’s race.  More often than not, Sony seems to chance into an Oscar competition, but this one, from producer Scott Rudin, might tap into something special.  A new website has launched for the film, featuring artwork that is kinda/sorta a poster.  Check out the full image after the jump.

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  • Fincher and Mulligan for ‘Dragon Tattoo?’

    Noomi Rapace in The Girl With the Dragon TattooAs hard as it is to imagine the button-cute Carey Mulligan festooned with body art and facial piercings, kicking all kinds of corporate ass, it’s an intriguing possibility we must now consider.

    Over the past few days, the newly-minted Oscar nominee’s name, along with that of director David Fincher, has been connected with the much-fancied Hollywood remake of “The Girl With the Dragon Tattoo.” Nothing has been confirmed, but Fincher and Mulligan would be a suitably A-list fit for a project that already boasts Scott Rudin as producer, with a script by Steven Zaillian.

    The original Swedish thriller, based (in case you’ve been living under a rock these past few years) on the first part of Stieg Larsson’s bestselling “Millennium” trilogy, just opened in the UK to sturdy business for a foreign-language title, and lands Stateside on Friday.

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  • David Fincher’s new NFL Nike spot featuring Adrian Peterson

    Not as good as Michael Man’s “Leave Nothing” spot from two years ago, or Fincher’s own spot from last year, but I always look forward to these:

  • The intersection, nay, collision of art and commerce

    (from left) David Fincher and Sigourney Weaver on the set of Alien 3This morning has been quite the disenchanting read on the internet.  Everywhere I turn, it’s all the same content: “Nightmare on Elm Street” set visit reports, ogling nothing images released from “Iron Man 2,” Comic-Con preparations with the requisite trappings, “OMG, Sam Raimi’s gonna direct ‘World of Warcraft,’” etc.  Bleak indeed.  It seems to be an ever-growing symptom of the net as studios, more than ever, understand how to use various outlets as an extended mouthpiece.

    That mini-rant out of the way (apologies for that), I was nevertheless excited to stumble across — shock and awe — some intriguing exclusive content.  Over at Filmonic, the discussion of the economy’s affect on studio decisions has reared its head in the form of a retrospective on David Fincher’s trials and tribulations putting together “Alien 3” at 20th Century Fox.  It’s a nice summation of what went down (for the most part), with particular emphasis on the lingering anxiety over how today’s environment will hinder some of the talented new filmmakers in our midst.

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  • Michael Jackson’s filmmaker collaborations

    Michael Jackson in the music video for Billie JeanTomorrow’s installment of The Lists is going to be Michael Mann-centric, but I was all set to write up something brief in the way of qualifying Michael Jackson’s contributions to the movie world until I came across this Christopher Campbell posting at Spout Blog.  It’d be pretty difficult to go much deeper than he has.

    Campbell ranks Jackson’s “filmmaker collaborations,” including music videos directed by the likes of John Singleton, David Fincher, Bob Giraldi and, of course, John Landis and Martin Scorsese.  As expected, the Francis Ford Coppola-directed, George Lucas-produced “Captain EO” is in the mix, as well as Sidney Lumet’s “The Wiz.”  I had totally forgotten about the Spike Lee production “They Don’t Really Care About Us” until I caught it on MTV or the like yesterday.  Campbell places that at #1.

    It’s a shame room couldn’t be made for the “Billie Jean” production, from visionary music video (and eventual so-so film) director Steve Barron (A-Ha’s “Take On Me”).  Promo News recently caught up with Barron for a brief remembrance of the shoot.

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  • Nolan out for third Batman? Who could step in?

    Christopher NolanBill Ramey over at Batman on Film has posted a rather disconcerting report this morning regarding the status of Christopher Nolan’s involvement with a third film in the lucrative Batman franchise.  The info, which is hardly concrete, comes from one of the numerous Bat-related sources Ramey has acquired over 12 years of focusing his site on the development of these films.

    Ramey hedges his bets and writes what we all know, that “it is far from a given” that Nolan will return for another go.  But he offers a few bullet-pointed reasons from his source that certainly make a lot of sense.  Among them, says Ramey’s guy, “the death of Heath Ledger rocked Mr. Nolan hard,” and the project is back to square one with a virtually non-existent story due to the initial planned inclusion of the Joker in the third film.

    It has been reported that Warner Bros. has a shortlist of preferred directors to step in should Nolan decide to walk away from the director’s chair.  The studio is going forward on this whether he is or not, we can all be sure of that.  “Watchmen” director Zack Snyder was one of those names, but Snyder’s people told Ramey he has no interest in tackling the project (thank God).  But if not Nolan, then who?

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  • Too much, too soon?

    I’m not as outraged as some are by the news that “The Curious Case of Benjamin Button” is to be granted a Criterion Collection DVD release in May — as has been pointed out, if not one but two Michael Bay films have made the cut in the past, the label’s aesthetic standards are a bit of a mystery. And “Button” is, at the very least, an immaculate piece of craftsmanship.

    I am, however, a bit puzzled. Why does “Button” get to jump to the front of the queue while an assortment of  classics have to wait years for this seal of approval?  (For the sake of context, other titles in Criterion’s ‘coming soon’ pile include “Last Year at Marienbad” and “The Last Metro.”) And more importantly, isn’t it bizarre that this is David Fincher’s first title to get the royal Criterion treatment? Whether you like the film or not (and I admit I’m in the “not” camp), I haven’t heard many people suggesting that it’s his most significant work.

    If you ever needed a textbook illustration of the difference an Oscar nomination can make, I think we have one right here. Your thoughts?

  • TECH SUPPORT INTERVIEW: Alexandre Desplat

    Tech Support at In ContentionOver the last several years, Alexandre Desplat has gone from being a relatively unknown (in the United States anyway) French composer to emerging as one of the most acclaimed and sought after commodities in the business today.  Receiving his second Oscar nomination this year for “The Curious Case of Benjamin Button,” Desplat has continued to cement his place at the top of his field.

    Despite the acclaim, however, he remains very close to his home in European cinema.  “I have tried to keep as much of a relationship as I can with my French directors,” he says.  “I always try to go to do two or three French movies a year.  That’s a lot but I don’t want to lose that.”

    While there are certainly exceptions, there is definitely a difference in the manner that French and American filmmakers approach their work, Desplat says.  Being forced to think differently because of different filmmaking styles helps his creative resources.  “It feeds me,” he says.

    David Fincher’s “Button” posed unique challenges for Desplat.  “It doesn’t have a linear storytelling,” he says.  “It’s a complex puzzle and I’d ask myself, ‘How do you deal with this in music and deal with the main character when he is a passive character?’  It’s not easy to capture in music.”

    Describing the film as a “sound epic,” Desplat notes that the music had to be strong without being overly dramatic or imposing.  It was a crucial demand from Fincher that Desplat says he had to struggle with.

    The composer has worked with some of the world’s top directors in recent years – Ang Lee, Stephen Frears, Jacques Audiard — but despite Fincher’s unique perspective in the wake of those talent helmers, Desplat says certain professional similarities smoothed the journey.

    “He has an amazing quality as a collaborator,” Desplat says. “He’s very demanding but so am I so that’s fine.  He’s very detailed but so am I, so that’s also fine.  He wants his people to bring their own world, talents and colors into the film.  I think that’s the sign of a great director.  All the great directors I’ve worked with know that it is crucial that your creative energy is opened and not just restrained.”

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  • Oscar might go for “Button”

    Cate Blanchett in The Curious Case of Benjamin ButtonThere is no good reason for me to think this, of course.  Call it a gut feeling, but I have a sneaking feeling the Academy might ignore “Slumdog Millionaire,” despite its countless awards, and go for homegrown studio product this year.  Let’s face it, the Academy has proven they march to their own drummer over and over again.

    “Slumdog” has already become a pop culture phenomenon around North America and Britain, making far more money than the filmmakers ever thought it would. Hell, before the festival season started the film was doomed, set for direct-to-DVD distribution.  Yes, Danny Boyle has won the DGA award, a solid predictor, but I’m not convinced.  Hollywood loves to congratulate itself, which we saw in 1997 with “Titanic” somehow winning a record 11 awards over the vastly superior “L.A. Confidential.”  David Fincher’s “Button” has been around for years, waiting for the right director, the right effects, the right time.

    So often in the past the Academy has gone for a film that is conservative and offends no one, ignoring the better work.”Driving Miss Daisy” over “Do the Right Thing” (which wasn’t even nominated), “Gandhi” over “E.T.: The Extra-Terrestrial,” “Oliver!” over “2001:A Space Odyssey.”  The list goes on and on.  “Button” is a handsomely mounted project, beautifully shot, meticulously crafted, with strong performances from the cast,and rock solid direction from Fincher.

    “Slumdog” may well prevail, but as a devil’s advocate, I am throwing it out there that “Button” could surprise, taking wins for both Best Picture and Best Director.  Am I crazy?

  • 2/5 Oscarweb Round-up

    New Boy• Patrick Goldstein, in a well-reasoned piece that even I — a dedicated Boss fan — can’t disagree with, says Bruce Springsteen “had to stoop to conquer” Sunday night. [The Big Picture]

    • Jeffrey Wells bizarrely reviews Best Live Action Short nominee “New Boy.”  Beware careless spoilers. [Hollywood Elsewhere]

    • Michael Cieply, reports on the on-going discussion of how to handle the Best Original Song performances, from a cost stand-point, of course. [The Carpetbagger]

    • David Carr, meanwhile, in addressing the Christian Bale situation, takes another swipe at “The Dark Knight.”  But he should really watch the film again and understand that the ending isn’t “unsatisfying,” but merely poorly integrated into the whole. [The Carpetbagger]

    • Speaking of Bale, Tom O’Neil wonders if the actor threw away his Oscar hopes for “Public Enemies” by shooting off at the mouth. [Gold Derby]

    • Dave Karger previews Saturday’s WGA awards.  “Milk” and “Slumdog” have it in the bag, right?  Anyone expecting an upset? [Entertainment Weekly]

    • Three weeks in the life of an Oscar ballot. [Little Gold Men]

    • David Fincher: “‘Benjamin Button’ was a semi-confection that became resonant.” [The Guardian]

    • Treading waters we were swimming through back when the film was set for a 2008 bow, Brad Brevet wonders if Stephen Frears’ “Chéri” is an Oscar contender.  Considering it’s Miramax’s best bet, then yeah, it probably is a contender. [Rope of Silicon]

  • ‘Wrestler’ rules London crix awards

    The London Film Critics’ Circle have just announced their winners, and I have to say they’ve done a pretty terrific job. (I discussed the nominations here.) The really heartening news is that “The Wrestler” finally has another Best Picture award to its credit, five months after taking the Golden Lion at Venice — who would have thought that it’d be left to the Europeans to give this quintessential piece of Americana its due?

    Naturally, Mickey Rourke took the Best Actor award too, while Kate Winslet added yet another trophy (awarded jointly for both her 2008 films) to her crowded mantlepiece. David Fincher was a somewhat surprising winner of the Best Director award, and “Waltz With Bashir” took yet another foreign-language gong.

    If you’re wondering where “Slumdog Millionaire” features in all of this, it ruled the roost in the British Film categories, taking Best British Film and Director, and also landing Screenwriter of the Year for Simon Beaufoy. In the British races, the Londoners like to have their cake and eat it — for example, Kristin Scott Thomas took a richly deserved award for Best British Actress, but beat Best Actress winner Winslet in the process.

    Meanwhile, I’m thrilled to see Michael Fassbender getting some hardware for his staggering work in “Hunger” (which also took the Breakthrough Filmmaker prize), while in the supporting race, Eddie Marsan is another thoroughly deserving victor. Good work all round, London critics.

    Full list of winners below the cut.

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  • SANTA BARBARA: That’s a wrap

    David Fincher at the 24th Annual Santa Barbara International Film FestivalToday is the last day of the Santa Barbara International Film Festival, which I have had an absolute blast covering for the past nine days.  It was a great breather after the build-up to the Oscar nominations (which exhausts us all), but I’m back in Los Angeles and ready to round out the season properly.

    I didn’t catch as many films as I’d have liked, even though Santa Barbara isn’t your typical dusk-till-dawn film-watching festival.  I didn’t even see the majority of the films that won prizes (collected for you from the press release after the jump), but most of what I’ve seen, I’ve commented on.  There were a few I never got around to discussing, however, like the Jeremy Irons-narrated “Eye of the Leopard,” which was hardly the derivative nature doc I expected.  It was, in fact, an exhilarating experience, crafted with all the knowledge of what makes fine drama.  It’s also cool to hear Scar narrating a documentary about leopards.

    Staying in the nature vein, the PBS documentary “Lobo: The Wolf That Changed America” wasn’t exactly a good film, but it really piqued my interest to read more about Ernest Thompson Seaton and the lessons he learned hunting wolves a century ago in New Mexico.

    I briefly mentioned “The Informers” last night.  It’s a mind-bender that might be terrible, but like I said, I couldn’t stop watching.  And I want to see it again.  And “$9.99” is a stunning accomplishment in stop-motion animation that I expect we’ll hear about throughout the year.

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  • Tom O’Neil…here’s your sign

    Really, is there any reason to “jump off a cliff” and predict a DGA victory for David Fincher tomorrow night?  Other than the usual hopes of perceived (but fluke-ish) brilliance, I mean.

  • SANTA BARBARA: Clint Eastwood hailed as a Modern Master

    Clint EastwoodSo Clint Eastwood arrived in town tonight without all the pizazz you might have expected, as I reported from this evening’s Arlington Theatre event.  But inside the place was bananas.  Every single seat in the theater was filled, many of the locals vocalizing their shock on the way down the aisles.  “I’ve never seen it this packed before,” many of them said as they found a place to settle in and behold the career the festival was honoring.

    Moderator Leonard Maltin seemed to bite off a little bit more than he could chew.  Seriously, an hour and a half in and we were just getting to 1971.  I figured the 1980s would be a blur and indeed they were — Who wants to remember “Heartbreak Ridge” and “Firefox?” — but I would have liked some discussion on “Bird,” maybe, or “Pale Rider.”  But Maltin warned at the top that if he didn’t get to your favorite film, please understand.  We’re talking about six decades here.

    Early in the discussion Maltin spent a lot of time picking Eastwood’s brain on his early career — a contract player at Universal, roaming around the lot soaking up what information he could, getting the gig on television’s “Rawhide” and, of course, Sergio Leone’s spaghetti Westerns that didn’t find release in the states until rights were cleared up regarding Akira Kurosawa’s “Yojimbo.”  On the whole it was one of those kiss, kiss sessions, but the crowd was pumped.

    Every film that might be mentioned briefly in passing seemed to find this pocket of applause or that.  The “Dirty Harry” stuff was an obvious favorite (of course we were treated to the infamous “I gots ta know” sequence), but “Gran Torino” really brought the house down, especially the old guy vs. the homies scene that might have been Eastwood’s Oscar clip had the performance been nominated a week ago.

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  • DGA discrepancies with AMPAS are not uncommon

    Frank Darabont on the set of The MistThe announcement of this year’s DGA nominees has left the sense that the races for Best Picture and Best Director are over.  Not so.  While the guild and Academy line up most of the time, and have a decent track record with the directing branch, we must not forget the years that proved otherwise.  This could be such a year.

    Ask yourself how many times the Best Picture category has lined up perfectly with the nominees for Best Director?  Please also be aware that the DGA has awarded their prize sometimes to directors not even nominated for an Oscar: Ron Howard for “Apollo 13” and Steven Spielberg for “The Color Purple” to name a couple.  So while the race is certainly clearer, it is by means over.

    I still believe Woody Allen stands a strong chance for being nominated for “Vicky Christina Barcelona,” just as I believe that Darren Aronofsky could sneak in for “The Wrestler.”  But who gets snubbed?

    Gus Van Sant, Christopher Nolan, Ron Howard, David Fincher and Danny Boyle are worthy nominees all, most deserving of their attention and potential award.  But who of those esteemed five could the Academy allow to slip away?  It’s a tough call.

    I hate to say it, but I think Fincher is the most likely snub.  A stunning film to be sure, and likely the major nominee recipient…just as “The Color Purple” was in 1985.  My gut tells me Fincher might get the shaft only because he’s been on that side of things before, and the others are just too hard to ignore.  That said, let’s not forget that Ron Howard has been a victim of this sort in the past, for his finest work in fact, “Apollo 13.”  And Nolan is in some dicey waters, though I doubt he could be the victim of the blockbuster mentality that haunted Spielberg for “Jaws” (and much of his career).

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  • DGA nominees

    DGAI think we’re locked and loaded, folks…

    David Fincher, “The Curious Case of Benjamin Button”
    Christopher Nolan, “The Dark Knight”
    Ron Howard, “Frost/Nixon”
    Gus Van Sant, “Milk”
    Danny Boyle, “Slumdog Millionaire”

    What more is there to add at this point?  This is where John Shanley needed to show up if there was any more hope for “Doubt.”  This is where Darren Aronofsky needed to stake a claim if there was any Best Picture juice in “The Wrestler.”  Ditto Stephen Daldry and “The Reader,” I guess.  But with this, I think the consensus has become overwhelming and a bit difficult to ignore.