David Fincher News

It’s a Gone Girl kind of day. There’s talk of a sequel, the cast and crew are reuniting for another movie and the Blu-ray just hit shelves. Screen Junkies has jumped into the mix too, with a Gone Girl Honest Trailer, jokingly calling the film the best Lifetime movie ever made. David Fincher fans are going to have fun with this one. Check out the Gone Girl Honest Trailer below. Thanks to ScreenJunkets and beware.

OscarWrap: Rosamund Pike and a Part to Die For in David Fincher’s ‘Gone Girl’ It’s 10 p.m. in London, and Rosamund Pike has just roasted a chicken, finished the washing up, folded the laundry and tended to a wee sick one. Now she sits for a moment in her kitchen, spent but happy, her four-day-old baby son snoozing in his basket beside her. The setting may be calm and pastoral, in keeping with Pike’s new life, but it’s sharply at odds with the actor we now know her to be.

OscarWrap: Rosamund Pike and a Part to Die For in David Fincher’s ‘Gone Girl’ It’s 10 p.m. in London, and Rosamund Pike has just roasted a chicken, finished the washing up, folded the laundry and tended to a wee sick one. Now she sits for a moment in her kitchen, spent but happy, her four-day-old baby son snoozing in his basket beside her. The setting may be calm and pastoral, in keeping with Pike’s new life, but it’s sharply at odds with the actor we now know her to be.

It’s 10 p.m. in London, and Rosamund Pike has just roasted a chicken, finished the washing up, folded the laundry and tended to a wee sick one. Now she sits for a moment in her kitchen, spent but happy, her four-day-old baby son snoozing in his basket beside her. The setting may be calm and pastoral, in keeping with Pike’s new life, but it’s sharply at odds with the actor we now know her to be.

Watch A Video Detailing The Post-Production On ‘Gone Girl’ When the cameras turn off, a movie isn’t even close to finished. These days, post-production is just as important, if not more so, than principal photography. Yes, capturing the images and performances are absolutely crucial to a film. But figuring out the pacing, making the story cohesive, adding emotion with music, depth with effects, are what really make a movie a movie. David Fincher‘s Gone Girl is no different.

Weekend Box Office Report: 'Gone Girl' Vanquishes the Competition 'Gone Girl' may have barely won its first weekend at the box office over 'Annabelle,' but in its second week of release, it emerged as the real victor. Fighting off tons of new competition, David Fincher's thriller held onto the number one spot and made it look easy. Continue reading…

Watch David Fincher, Gillian Flynn and the Cast Talk About Making ‘Gone Girl’ David Fincher, author/screenwriter Gillian Flynn and the cast of Gone Girl have been all over the place in the past couple weeks to promote the film. They did a big panel at the New York Film Festival, and Fincher just did a Film Indepenent event in LA, and they’ve done various television press to get word out for the film. Now they’ve done a session at Cinemax for the “Max Final Cut” and the panel talk offers them the chance to talk seriously about the material and to drop some great anecdotes.

Read This: Director Richard Kelly Breaks Down Fincher's 'Gone Girl' "It all started with an Aerosmith video." As we head further into the awards season this year, we start to see the more challenging and thought-provoking films emerge. David Fincher's latest film Gone Girl, which just hit theaters this past weekend, is evoking some of the best writing about filmmaking, and about society, in a long time. It's starting a discussion that we've been afraid to have and yet the commentary so far has been invigorating.

Trent Reznor and Atticus Ross’ Score is as Mysterious as the Plot of ‘Gone Girl’ Twentieth Century Fox Gillian Flynn’s “Gone Girl” opens with a quote from Tony Kushner’s “The Illusion” saying, “Love is the world’s infinite mutability.” David Fincher’s film adaptation also begins with this idea of mutability as he shows us dampened images of the Missouri landscape while Trent Reznor and Atticus Ross’ score whispers against it through moderate instrumentation.

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