Biography for
David Fincher

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Geburtstag

28 August 1962, Denver, Colorado, USA

Bürgerlicher Name

David Leo Fincher

Spitzname

Finch
Davey

Körpergröße

5' 11" (1.80 m)

Kurzbiographie

David Fincher was born in 1962 in Denver, Colorado, and was raised in Marin County, California. When he was 18 years old, he went to work for John Korty at Korty Films in Mill Valley. He subsequently worked at ILM (Industrial Light and Magic) from 1981 - 1983. Fincher left ILM to direct TV commercials and music videos after signing with N. Lee Lacy in Hollywood. He went on to found Propaganda in 1987 with fellow directors Dominic Sena, Greg Gold and Nigel Dick. Fincher has directed TV commercials for clients that include: Nike, Coca-Cola, Budweiser, Heinekin, Pepsi, Levi's, Converse, AT & T, and Chanel. He has directed music videos for: Madonna, Sting, The Rolling Stones, Michael Jackson, Aerosmith, George Michael, Iggy Pop, The Wallflowers, Billy Idol, Stevie Winwood, The Motels and, most recently, A Perfect Circle.

As a film director, he has achieved huge success with Se7en (1995), Fight Club (1999) and, most recently, Panic Room (2002).

IMDb Kurz-Biographie von: Anonymous

Verheiratet mit

Donya Fiorentino

(1990 - 1995) (divorced) 1 child

Markenzeichen

[single frame insert] His movies often features several single frames that flash on the screen in the middle of a scene, which is also demonstrated by the main characters of his film Fight Club (1999)

Fluid tracking camera which can access anywhere; a digital age innovation in camera movement pioneered by David Fincher and Kevin Haug along with BUF Paris (perhaps inspired by earlier developments of Max Ophuls and Stanley Kubrick).

Silhouettes. Fincher frequently has characters in the shadows where you cannot make out their face, notably Kevin Spacey in Se7en (1995) and Brad Pitt in Fight Club (1999).

His films often end in a suicide, either attempted or successful.

His films often have low-key lighting, and also green or blue tinted color temperature.

Wide shots.

Frequently casts Brad Pitt

Downbeat endings

Dies und das

Lived for several years in Ashland, Oregon and graduated from Ashland High School.

His video for Madonna's "Express Yourself" voted #1 in Slant Magazines Top 100 Videos. 2 of his other Madonna videos also made the list. "Vogue" at #4 & "Oh, Father" at #11. (19th January 2003)

Has been close friends with Brad Pitt ever since working together on Se7en (1995).

Was originally set to direct The Black Dahlia (2006), but dropped out.

Was originally set to direct Madonna: Truth or Dare (1991), but dropped out.

Was originally set to direct Mission: Impossible III (2006), but dropped out.

Was originally considered to direct Spider-Man (2002).

Was originally considered to direct Confessions of a Dangerous Mind (2002).

Turned down the offer to direct Catch Me If You Can (2002), opting to do Panic Room (2002) instead.

Turned down the offer to direct Batman Begins (2005).

Turned down the offer to direct 8MM (1999), opting to do Fight Club (1999) instead.

A founder member of Propaganda Films in 1986.

Daughter, Phelix Imogen Fincher (b. 25 April 1994), with Donya Fiorentino.

While growing up in Marin County, one of his neighbors was George Lucas. He later worked on the special effects crew of Star Wars: Episode VI - Return of the Jedi (1983), produced and written by Lucas.

He works frequently with screenwriter Andrew Kevin Walker.

It was the 1969 feature film, Butch Cassidy and the Sundance Kid (1969) that inspired him to pursue a career in cinema.

In 2005, he directed the video for 'Nine Inch Nails' (qv "Only". Ten years earlier, he used Coil's version of the Nine Inch Nails' song "Closer" during the opening credits montage of his film Se7en (1995).

Met his partner, Ceán Chaffin, in the early '90s when she produced a Japanese Coca-Cola ad he was directing.

Was originally considered to direct Hannibal (2001).

Good friends with Madonna.

Also sprach...

I don't know how much movies should entertain. To me, I'm always interested in movies that scar. The thing I love about Jaws (1975) is the fact that I've never gone swimming in the ocean again.

I don't want to tell you how to do your job, but somebody has to.

I have demons you can't even imagine.

Directing ain't about drawing a neat little picture and showing it to the cameraman. I didn't want to go to film school. I didn't know what the point was. The fact is, you don't know what directing is until the sun is setting and you've got to get five shots and you're only going to get two.

People will say, 'There are a million ways to shoot a scene,' but I don't think so. I think there're two, maybe. And the other one is wrong.

As a director, film is about how you dole out the information so that the audience stays with you when they're supposed to stay with you, behind you when they're supposed to stay behind you, and ahead of you when they're supposed to stay ahead of you.

"Belligerence certainly helps. And there's a requisite paranoia. There's fear--fear of failure--and an overwhelming urge to be liked." - [about the personality traits that helps in being a director]

I went to a place called the Berkley Film Institute for a summer program with a grade school friend of mine, and we just thought it was a joke. It was very impressionist, very Berkley. There were all these people who were there to communicate and change the world, to do all these lofty things -- and then they made these really shitty, stupid little movies. And we were kind of like, "I'm not here for this, I'm just here to pull cable." We were the youngest people there and we ended up being the grips and electrics on everybody else's movies, and it was pretty good those six or seven weeks, we got to shoot Panaflex cameras and make a married print - it was in black and white and you made these little cheese-ball movies, but at least you were making "something." It was kind of like film school in that way, but those who can't do, teach, and those who couldn't teach, taught there. They tried, they just didn't want to get dirty with it, they didn't want to get in up to their necks. It was all very patrician."

I'm totally anti-commercialism. I would never do commercials where people hold the product by their head and tell you how great it is, I just wouldn't do that stuff. It's all inference ... The Levis commercials I did weren't really about jeans, the Nike commercials weren't about shoes. The 'Instant Karma' spot was some of the better stuff I got offered, and it was never about people going, "Buy this shoe, this shoe will change everything," because I think that's nonsense. Anybody looking outside themselves to make themselves whole is delusional and probably sick.

I do agree you can't just make movies three hours long for no apparent reason. For a romantic comedy to be three hours long, that's longer than most marriages.

I don't know anything about Academy consideration. I don't know what an awards movie is.

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.

Im Moment beschäftigt mit...

(September 2005) Currently filming Zodiac (2007/I) in San Francisco.

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