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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.

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
Whatever
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Titles
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Perfume is pretty good because nobody has to hold the product by their face or use it.
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You can do something that walks a line, and invariably, whatever that line is, it will be crossed by people who don't know any better and want to ape the success.
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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.
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I always say everyone was lucky enough to be in a Cate Blanchett movie.
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If you read the good reviews you gotta read the bad reviews. I kind of think of it as like being a quarterback: you get way too much blame when it's bad and way too much credit when it's good.
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Awards movies are normally sort of... life-affirming and noble. It's probably too much of an intellectual conceit and, you know, people don't like it when you don't lead the bad guy off in cuffs.
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And I love shooting football.
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When you go and you tell a studio and that it's an ensemble, that doesn't mean a lot to them. But, my hats off to Paramount and Warner Brothers, because when we told them that these were the kinds of people that we want to get, across the board, they were unbelieveably enthusiastic about it.
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I was always interested in films that scar.
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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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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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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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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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For a number of years, I'd been around the kind of people who financed movies and the kind of people who are there to make the deals for movies. But I'd always had this naive idea that everybody wants to make movies as good as they can be, which is stupid.
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People go to the movies to see things they haven’t seen before. Call me a radical.
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I learn the most from making my own mistakes.
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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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I want people to flourish. I want them to walk away from the experience going, That's what it should be like.
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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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It's based not only on what it played like in the theater, but it's also knowing that certain things play differently in a home theater environment. You have different expectations when you're sitting with 700 people than when you're sitting with your friends or family. It's just a different world.
David Fincher