Atreyub
En busca y captura
Te ha faltado The Game y Panic Room para completar la crítica, Tonirocker, jejeej.
(de los cuales soy muy fan, de las dos).
(de los cuales soy muy fan, de las dos).
David FINCHER
- Autor sikander
- Fecha de inicio
tonirocker
Miembro habitual
es cierto,si, The Game es muy divertida, me lo paso genial cada vez que la veo, no s epuede comparar a las otras pero es un buen film. Panic Room es mas flojita, excesivamente alargada la historia, parece un thriller mas, lo podia haber rodado Fincher u otro cualquiera pero tampoco esta mal, entretiene un rato.
dfcjedi
Telarero
Tiene algunas virguerías visuales muy Fincher. Amén de ese uso tan imperceptible de los FX marca de la casa.
nogales
Miembro habitual
Dijo Orsoncito en su día que El club de la lucha fallaba porque no le iba bien la música, que si él la hubiera rodado le hubiera puesto una clásica...
De que es mas inteligente, sugestiva, original y ácida que todo su cine junto no dijo ni mu, eso si.
De que es mas inteligente, sugestiva, original y ácida que todo su cine junto no dijo ni mu, eso si.
Max Renn
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Presentación de SEVEN. LOS PECADOS DE DAVID FINCHER en Gigamesh.
Atención a lo que dice Bayona en referencia a su concepto de "convencional" (
) y a las coñas marineras de Fausto "comediante" Fernández, que se monta su propio Club de la Comedia en la presentación. Entrañable todo...Los más centrados, Casas y De Fez. El resto...
Última edición:
Dr_X
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David Fincher visto por Aaron Sorkin, vía twitter de LHP: Why Aaron Sorkin Won't Dish on Leonardo DiCaprio and Ben Affleck in His Real-Life Gambling Drama 'Molly's Game'
GALLOWAY: So working with David Fincher, a happy experience or not?
SORKIN: Happiest experience. David Fincher and Scott Rudin are very, very good at what they do. I believe that Scott Rudin is the best producer of plays and movies alive. I think he gives a lot of the dead producers a run for their money. But he is a demanding person, an exacting person. He may not speak to you the way you'd like to be spoken to. He's a tough, tough man. So is David. David is a truly phenomenal artist, with no affect, no pretention at all, but with a great eye, and uncompromising. At the beginning of the process of making a movie, the first battle you're going to have is over the budget, right? The director is going to sit down with, it's called a line producer, and they're going to figure out as close as they can what the budget of the movie is going to be, by going through scene by scene, I'm going to need 100 extras here, I'm going to need a helicopter there, I need this kind of camera for this, this I don't-you know, I want to shoot on the exact location. I don't want to shoot in Pasadena, pretending it's this place, that kind of thing. And they'll come up with a budget for the movie, and the studio is doing the exact same thing with their in-house line producer. Those two numbers are going to be far apart, and there is a negotiation to find your way in the middle, unless you're David Fincher, OK, who comes in and says $41 million. And the studio will say $30 million, and he'll say, no, $41 million, and the studio is, like, $35 million. And he said listen, you think I'm negotiating with you. I'm telling you, the price of this movie is $41 million. That's what it costs to make this movie. I don't want to make the $40.5 million version of the movie. Now, some people might think you're being a jerk. Find your way, figure out a way to make the movie you want to make for what's somewhere in the middle. I don't think that David is being a jerk. I absolutely loved working with him. An average screenplay is about 120 pages long. My screenplays have higher page counts because there's more dialogue and less action and just, by the rules of screenplay format, dialogue takes up more room on the page and less time on the screen than action, which takes up more room on the page-I'm sorry, which takes up less room on the page and more time on the screen. So the average screenplay is about 120 pages. A Few Good Men was about 140 pages. The Social Network was 178 pages, and the studio said, OK, the first thing you've got to do is figure out a way to cut 30 pages from this. And David said, I don't think so. I think this is a two hour movie, and he came over to my house with his iPhone set on stopwatch mode, and he said, "I want you to read the entire script out loud for me, at the pace you heard it in your head when you were writing it, and I'm going to write down the timing of each scene." So that opening scene that you've been very complimentary about, with Jesse Eisenberg and Rooney Mara. If I read it and it was seven minutes and 22 seconds, then in rehearsal, and David demanded part of what was baked into the budget was rehearsal time, and part of what wasn't baked into the budget, I remember David saying to them, "Well, I can cut $125,000 out of your budget right away, because we're not doing any test screenings." That's the kind of thing. And I just thought David, Scott, these are the bullies I want to be with. You know, they're great when they're on your team. And anyway, in rehearsal, Jesse and Rooney would rehearse the scene, David would say great, and he would give them a couple of notes, and always end with, "But this scene is seven minutes and 22 seconds long, and you're doing it at seven minutes and 40 seconds. So I don't care how, but you're going to have to talk faster somewhere, because I promise you, this scene plays best at seven minutes and 22 seconds."
GALLOWAY: So working with David Fincher, a happy experience or not?
SORKIN: Happiest experience. David Fincher and Scott Rudin are very, very good at what they do. I believe that Scott Rudin is the best producer of plays and movies alive. I think he gives a lot of the dead producers a run for their money. But he is a demanding person, an exacting person. He may not speak to you the way you'd like to be spoken to. He's a tough, tough man. So is David. David is a truly phenomenal artist, with no affect, no pretention at all, but with a great eye, and uncompromising. At the beginning of the process of making a movie, the first battle you're going to have is over the budget, right? The director is going to sit down with, it's called a line producer, and they're going to figure out as close as they can what the budget of the movie is going to be, by going through scene by scene, I'm going to need 100 extras here, I'm going to need a helicopter there, I need this kind of camera for this, this I don't-you know, I want to shoot on the exact location. I don't want to shoot in Pasadena, pretending it's this place, that kind of thing. And they'll come up with a budget for the movie, and the studio is doing the exact same thing with their in-house line producer. Those two numbers are going to be far apart, and there is a negotiation to find your way in the middle, unless you're David Fincher, OK, who comes in and says $41 million. And the studio will say $30 million, and he'll say, no, $41 million, and the studio is, like, $35 million. And he said listen, you think I'm negotiating with you. I'm telling you, the price of this movie is $41 million. That's what it costs to make this movie. I don't want to make the $40.5 million version of the movie. Now, some people might think you're being a jerk. Find your way, figure out a way to make the movie you want to make for what's somewhere in the middle. I don't think that David is being a jerk. I absolutely loved working with him. An average screenplay is about 120 pages long. My screenplays have higher page counts because there's more dialogue and less action and just, by the rules of screenplay format, dialogue takes up more room on the page and less time on the screen than action, which takes up more room on the page-I'm sorry, which takes up less room on the page and more time on the screen. So the average screenplay is about 120 pages. A Few Good Men was about 140 pages. The Social Network was 178 pages, and the studio said, OK, the first thing you've got to do is figure out a way to cut 30 pages from this. And David said, I don't think so. I think this is a two hour movie, and he came over to my house with his iPhone set on stopwatch mode, and he said, "I want you to read the entire script out loud for me, at the pace you heard it in your head when you were writing it, and I'm going to write down the timing of each scene." So that opening scene that you've been very complimentary about, with Jesse Eisenberg and Rooney Mara. If I read it and it was seven minutes and 22 seconds, then in rehearsal, and David demanded part of what was baked into the budget was rehearsal time, and part of what wasn't baked into the budget, I remember David saying to them, "Well, I can cut $125,000 out of your budget right away, because we're not doing any test screenings." That's the kind of thing. And I just thought David, Scott, these are the bullies I want to be with. You know, they're great when they're on your team. And anyway, in rehearsal, Jesse and Rooney would rehearse the scene, David would say great, and he would give them a couple of notes, and always end with, "But this scene is seven minutes and 22 seconds long, and you're doing it at seven minutes and 40 seconds. So I don't care how, but you're going to have to talk faster somewhere, because I promise you, this scene plays best at seven minutes and 22 seconds."
Es esperable. La impresión de monstruosa minuciosidad de sus pelis sólo se consigue... con una monstruosa minuciosidad.
Preocupante.
Preocupante.
Discord Pie
iOS Developer
nogales
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pasamos de J.Bayona a Fincher???
Ultrasonica
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Una de zombis con Fincher puede molar. Pero ESTO en concreto....no se yo
Discord Pie
iOS Developer
En Twitter leí: "si Fincher dirigiera un anuncio de papel higiénico estaría emocionado". La noticia no es WWZ sino que puede que tengamos una nueva película de Fincher más pronto que tarde. Es como cuando se anunció que iba a dirigir Milenium y mira después lo que salió. <3
Elliott
Desconozco
Guerra Mundial en Alba-Z? Klop?
A Garci "Seven" le parece una obra maestra, pero "Zodiac" no le acaba de convencer porque no deja del todo claro quien es el asesino (sic).
De Fincher dice en su libro "Noir" que es uno de los mejores directores surgidos tras los ochenta, y lo califica de " cazador de imágenes" al estilo de Ridley muérete Scott.
De Fincher dice en su libro "Noir" que es uno de los mejores directores surgidos tras los ochenta, y lo califica de " cazador de imágenes" al estilo de Ridley muérete Scott.
El único problema que veo al futuro de Fincher, es que me parece imposible que vaya a hacer algo mejor que Zodiac. Por muy buenos proyectos que le den, con ésta ya ha dejado un legado que no se puede mejorar.
Creo que la pasión que metió en esta película, como dice él, con una proyección autobiográfica entorno a la paranoia que vivió en Cisco, la dota de una intensidad inhabitual (en el cine en general).
Parafraseando a Malcolm, ¿qué le queda a un director, después de haber hecho Zodiac?
Creo que la pasión que metió en esta película, como dice él, con una proyección autobiográfica entorno a la paranoia que vivió en Cisco, la dota de una intensidad inhabitual (en el cine en general).
Parafraseando a Malcolm, ¿qué le queda a un director, después de haber hecho Zodiac?
Ropit
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Mira que Ruffalo es el peor actor de los 3 de Zodiac, pero si hay poner a alguien por encima en Zodiac es él, le va clavado ese cruce enérgico, chulesco, profesional, después resignado y, finalmente, ese momento en que reaviva la chispa de la obsesión.
Después está el juego de contrastes con Harry el Sucio, algunas líneas memorables ("Nos conocimos el cine ..." "Debió ser mágico") o cuando la prisionera le dice a Graysmith algo como "Zodiac? Claro, das el perfil".
Seven es un animal completamente distinto, si Zodiac juega al asesino en serie desde la realidad y el ensayo con toques peliculeros, Seven lo hace desde la pura novela, con toques realistas. Lo que me encantó es ver lo bien escrita que está también, con lo fácil que se ha demostrado caer en lo grotesco y lo gratuito en sus sucedáneos, Seven aguanta el artificio no sólo desde la puesta en escena sino también desde la pluma, la incuestionable superioridad moral e intelectual de Somerset con Mills se ve subvertida cuando éste le espeta una línea maravillosa "tú no te retiras porque crees que todo es una mierda, tú quieres creer que todo es una mierda porque te retiras" y le deja muy tocado. Curiosa la similitud temática con No Country de los Coen y Tommy Lee Jones a punto de retirarse, aunque en Seven Somerset está más cerca de John Doe que de Mills, su visión del mundo es la misma, sólo les diferencia cómo lo afrontan, por eso a Somerset le cabrea cada vez que Mills llama a loco a Doe.
Después está el juego de contrastes con Harry el Sucio, algunas líneas memorables ("Nos conocimos el cine ..." "Debió ser mágico") o cuando la prisionera le dice a Graysmith algo como "Zodiac? Claro, das el perfil".
Seven es un animal completamente distinto, si Zodiac juega al asesino en serie desde la realidad y el ensayo con toques peliculeros, Seven lo hace desde la pura novela, con toques realistas. Lo que me encantó es ver lo bien escrita que está también, con lo fácil que se ha demostrado caer en lo grotesco y lo gratuito en sus sucedáneos, Seven aguanta el artificio no sólo desde la puesta en escena sino también desde la pluma, la incuestionable superioridad moral e intelectual de Somerset con Mills se ve subvertida cuando éste le espeta una línea maravillosa "tú no te retiras porque crees que todo es una mierda, tú quieres creer que todo es una mierda porque te retiras" y le deja muy tocado. Curiosa la similitud temática con No Country de los Coen y Tommy Lee Jones a punto de retirarse, aunque en Seven Somerset está más cerca de John Doe que de Mills, su visión del mundo es la misma, sólo les diferencia cómo lo afrontan, por eso a Somerset le cabrea cada vez que Mills llama a loco a Doe.
A diferencia de Ridley, Fincher también caza guiones.
tonirocker
Miembro habitual
que doble programa mas bestial te has hecho, y lo feliz que despues se siente uno despues?
Lo próximo.
Porque a lo tonto va para su periodo más largo sin pelis desde los cinco años PANIC ROOM - ZODIAC.
Porque a lo tonto va para su periodo más largo sin pelis desde los cinco años PANIC ROOM - ZODIAC.
