Fincher on Fincher - How David Fincher Directs a Movie [The Director’s Chair]

Director David Fincher explains his personal approach to film directing.
David Fincher on His Filmmaking Process ►► bit.ly/dfin-dc
SPECIAL THANKS TO:
Variety's David Fincher Interview ►► bit.ly/va-dod
Escuela Universitaria de Artes TAI ►► bit.ly/eu-dat
BAFTA Guru ►► bit.ly/bfta-gu
FilmIsNow Movie Bloopers & Extras ►► bit.ly/gdt-vfx
Moog Music Inc ►► bit.ly/mo-og
Akai Pro Video ►► bit.ly/ak-pv
CHAPTERS:
00:00 Intro - How David Fincher became a Filmmaker
02:01 Early Career & Return of the Jedi
03:18 Shot Composition and Blocking
06:19 "Relentless" Number of Takes
11:02 Directing with Precision
13:43 Color Theory & Creating the Look
15:48 Create a Feeling (Production Design & Music)
19:35 Final Takeaways
David Fincher is a director’s director. His reputation for having complete control over his work is well-known but many directors have had similar power. So, what makes his approach to film directing so captivating? In this David Fincher video essay, we’ll let the man speak for himself. Through a collection of interviews from throughout his career, Fincher guides us through some of the strongest characteristics of his directing style.
To date, over the past four decades, David Fincher has directed a plethora of music videos, commercials, and 11 feature films. Along the way, he has refined his directing style which can be summed up in two words: precise and purposeful. When watching any David Fincher movies, you would be hard-pressed to find an out-of-place camera movement, or a lazy frame composition. One lesson we learned from Fincher is how he balanced and imbalanced the frame during Nick and Amy’s first meeting in Gone Girl to show the “push and pull” of their flirting.
Another well-known staple of the David Fincher directing style is his predilection for shooting multiple takes. He famously shot 99 takes of the opening scene in The Social Network, for example. But there’s a method to his madness - he wants the actors to move “beyond muscle memory” especially in their domestic environments. In Fincher’s logic, when the actor sits on their couch, they need to have sat in it a hundred times to make it look like they’ve sat in it a hundred times.
Fincher also explains how he creates mood and tone with lighting, color, and music. With a darker frame, desaturated color, and the brooding tones of Atticus Ross and Trent Reznor, there certainly is a distinct experience watching David Fincher films. While all of this sounds extreme, the proof that he’s doing something right is visible on-screen.
#FilmTheory #VideoEssay #Filmmaking
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♬ SONGS USED:
"Father / Son" - Makeup and Vanity Set
"Subdivide" - Stanley Gurvich
"Switchback" - Nu Alkemi$t
"Battle in the Forest" - Charles Gerhardt - National Philharmonic Orchestra"
"Chasing Time" - David A. Molina
"Sugar Storm" - Trent Reznor & Atticus Ross
"Soul Sacrifice" - Santana
"Graysmith Obsessed" - David Shire
"Intriguing Possibilities" - Trent Reznor & Atticus Ross
"Wendy Suite" - Jason Hill
"Under the Midnight Sun" - Trent Reznor & Atticus Ross
"14 - Ghosts II" - Nine Inch Nails
"Corporate World" - The Dust Brothers
"Appearances" - Trent Reznor & Atticus Ross
"With Suspicion" - Trent Reznor & Atticus Ross
"What Have We Done to Each Other" - Trent Reznor & Atticus Ross
"Cowboys and Indians" - Trent Reznor & Atticus Ross
"San Simeon Waltz" - Trent Reznor & Atticus Ross
"Fool" - Ryan Taubert
"Where Is My Mind" - The Pixies
Music by Artlist ► utm.io/umJx
Music by Artgrid ► utm.io/umJy
Music by Soundstripe ► bit.ly/2IXwomF
Music by MusicBed ► bit.ly/2Fnz9Zq
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