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I don't think that digital technology will ever take away the humanity of storytelling, because storytelling is entirely, in and of itself, a wholly human concern.

David Fincher

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David Fincher
Age: 62
Born: 1962
Born: May 10
Actor
Executive Producer
Film Director
Film Producer
Television Producer
Denver
Colorado
David Andrew Leo Fincher
Thinking
Technology
Humanity
Away
Ever
Human
Wholly
Humans
Digital
Take
Entirely
Think
Concern

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I have great appreciation for people who do anything well. I think that it's very difficult to do what you do well.
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Sometimes people freak out when you shoot 40 takes of something. They start looking at you like, What did I do wrong?, and its like No. It's not wrong. It's just that we are going to try something different.
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I thought that the behavioral and some of the profiling stuff was interesting. The thing that I was most interested in, and the thing that we were really adament about, was let's get these guys who were there on tape, or in some kind of way, telling what happened. No one has really talked to them all.
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My idea of professionalism is probably a lot of people's idea of obsessive.
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How do you shoot a 150-day movie? You shoot it one day at a time.
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You’ll find that the movie business is paid for by those mega movies. The movie business is paid for by Big Macs. By movies as product. Movie studios use that term “product” all the time. Product? You mean you have a lot of stories? No, we have a lot of product. You have stories.
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Human beings are amazing at finding ways to waste their own time.
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I'm totally anti-commercialism.
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Take ownership of every decision you make because you will be hold responsible for the film, whether good or bad.
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Look, it's nice. I like the fact that critics liked this movie, but most of the movies that I've made, you'll find a handful of people that love it and more than a few other handfuls of people hate it. If I was invested in that, I would've given up long ago.
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People will say, 'There are a million ways to shoot a scene,' but I don't think so. I think there are two, maybe. And the other one is wrong.
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In film, we sculpt time, we sculpt behavior and we sculpt light.
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I learned just to be a belligerent asshole, which was really: You have to get what you need to get out of it. You have to fight for things you believe in, and you have to be smart about how you position it so that you don't just become white noise.
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I have demons you can't even imagine.
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It's a bad day when you don't get the work done that you need to get done or you don't get it done to the satisfaction.
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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 is that I've never gone swimming in the ocean again.
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I think title sequences are an opportunity to sort of set the stage or to get people thinking in different terms than maybe whatever they understand the movie to be going in.
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And I love shooting football.
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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.
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You can’t take everything on. That’s why when people ask how does this film fit into my oeuvre. I say 'I don’t know. I don’t think in those terms’. If I did, I might become incapacitated by fear . . . How do you eat a whale? One bite at a time. How do you shoot a 150-day movie? You shoot it one day at a time.
David Fincher