^ seriously great find, Phil! :)
Great indeed, Phil.Somebody has uploaded the archives of the old podcast "Scene Unseen" (currently unavailable), including a half hour interview with Finchy about Zodiac from february 2007. Fincher's voice audio quality is quite bad since he is on a speaker phone from the set of "Benjamin Button". You might want to listen to it with headphones but the interview is worth it. The availability of the link might be limited):https://drive.google.com/folderview?id=0B6vCzY-rbfUedUNvY3VTaVplQXM&usp=sharing#list"Scene Unseen - Interview: David Fincher.mp3"
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Hi there, my name is Jude Zambarakji. I have a movie review blog called www.thedeathofcinema.com.I took Fincher's idea of there being a difference between movies and films and turned it into an entire article: http://www.thedeathofcinema.com/2014/05/20/movies-v-films/In the above article I wrote about Fincher's Zodiac and compared it to a hypothetical movie about the O.J. Simpson case.I'm a huge fan of David Fincher, I like the direction he's taking his career. Fight Club is my favorite Fincher movie and I feel that many Palaniuk and Fincher fans are unaware of the two artists ideological differences which I briefly discussed in the aforementioned article.
Very interesting, Jude. Looking forward to that work on anarchist cinema.Neil Patrick Harris interviewTelegraphhttp://www.telegraph.co.uk/culture/film/film-news/10828877/Neil-Patrick-Harris-interview-Coming-out-No-one-seemed-bothered.html"His character in A Million Ways still falls into the kind of broad comedy he was doing in HIMYM, but he’s also trying his hand at drama in another potentially enormous movie this year, Gone Girl, directed by David Fincher and starring Ben Affleck as a man whose wife (Rosamund Pike) goes missing. Harris plays, he says, a “subtly sadistic” old lover of Pike’s character who may also be involved in her disappearance. Harris signed on mainly because he’s a huge fan of Fincher’s and was fascinated to witness his process. “His attention to detail is unparalleled,” says Harris. “He did many, many takes of every scene, in quick succession. It was like watching a sculptor. I felt like we were making high art. I couldn’t believe how gorgeous everything looked and his ability to know that this oyster platter is more in line with the shot if it’s six inches one way or the other.” He describes what he did as Barney as “baseball acting. You’re cracking balls and trying to be as effective as possible on a large situation comedy scale.” On Gone Girl, he says, Fincher would “call me out if I raised an eyebrow too high. David would say like, 'Great. Cut. We’ll go again. Neil, watch the eyebrow.’ Which was exactly what I needed.”"
Great News Daryl! Thanks for sharing *-* The "Scene Unseen" Podcast was my favorite Movie Podcast.Very Interesting Interview
Morgan Freeman's Unboxing VideosToday: Unboxing Gwyneth Paltrow's Head https://www.youtube.com/watch?v=q5BT_6p4OHA:-D
LOL. This is genius :D Thanks for all the links Daryl & Phil. Good stuff.
:D :D :D
Netflix CEO Reed Hastings:"We’re very artist-centric. If you have great creators and you give them freedom, you can end up with great product.""The data is key on who to promote the content to. Not every show is for every person. It’s not about how to create the show or which characters should live or die.""In the opening season of “House of Cards,” in which Frank Underwood’s character strangles a dog, a lot of people turned the show off. We watched the stat going down. We told David Fincher that. He said don’t ever do that again. I don't want to think about it. I'm building these characters, this reference..."http://recode.net/2014/06/01/netflix-loves-big-data-but-wont-use-it-to-make-tv-shows-video/
Grading House of Cards in 4K: It’s Scary Because It’s Real Colorist Laura Jans-Fazio on Working in 4K in Real Time on the Baselight at EncoreStudio Dailyhttp://www.studiodaily.com/2014/06/grading-house-of-cards-in-4k-its-scary-because-its-real/"Jans-Fazio collaborated remotely with cinematographer Igor Martinovic and executive producer David Fincher using Pix System software. "The production set up David Fincher and the DP with calibrated OLED monitors," she recalls. "I would grade the first half of an episode, upload it to the Pix system, and then do the second half while I waited for notes. After I got the notes, I'd send it back through Pix, get final notes, do a runthrough review, and then we would lock it and load it.""
Thanks, Daryl, for all the great links!