Check out God’s Pocket, The Homesman, A Most Wanted Man Trailers in This Month’s Hollywood Trailers.
God’s Pocket Official Trailer – Philip Seymour Hoffman, Christina Hendricks Movie
The Homesman Official International Trailer – Hilary Swank, Meryl Streep, Tommy Lee Jones Movie
A Most Wanted Man Official Trailer – Philip Seymour Hoffman, Willem Dafoe, Rachel McAdams, Robin Wright MovieTags: A Most Wanted Man God's Pocket Hilary Swank Meryl Streep Philip Seymour Hoffman Rachel McAdams Robin Wright The Homesman This Month's Hollywood Trailers Tommy Lee Jones Willem Dafoe
David Fincher’s Gone Girl Official Trailer – Ben Affleck, Rosumund Pike Movie
Interesting trailer but don’t like the song. They should not have used the song in the trailer.
Good trailer .My 2nd most awaited movie of the year . Big fan of Fincher 😀 .
What is your 1st most awaited movie of the year? HNY 😉
LOL. HNY is beyond waiting 😛
Interstellar is my most awaited movie . Then gone girl and transcendence,How to train you dragon 2 .Some other movies I’m looking forward to are Godzila,Birdman,the imitation game , Mostly because of the actors involved .Godzila(Bryan Cranston),Birdman(Edward Norton), Imitation game(benedict cumberbatch) .
Clint Eastwood directed Jersey Boys Official Trailer starring Christopher Walken
The Rover Official Trailer – Robert Pattinson, Guy Pearce Movie
X-Men: Days of Future Past Official Trailer – Hugh Jackman, James McAvoy, Michael Fassbender, Jennifer Lawrence, Halle Berry, Anna Paquin, Ellen Page, Ian McKellen Movie
Third Person Official Trailer – Liam Neeson, James Franco Movie
Richard Linklater’s Boyhood – Official Trailer starring Ethan Hawke and Patricia Arquette
Filmed over 12 years with the same cast, Richard Linklater’s BOYHOOD is a groundbreaking story of growing up as seen through the eyes of a child named Mason (a breakthrough performance by Ellar Coltrane), who literally grows up on screen before our eyes. Starring Ethan Hawke and Patricia Arquette as Mason’s parents and newcomer Lorelei Linklater as his sister Samantha, BOYHOOD charts the rocky terrain of childhood like no other film has before. Snapshots of adolescence from road trips and family dinners to birthdays and graduations and all the moments in between become transcendent, set to a soundtrack spanning the years from Coldplay’s Yellow to Arcade Fire’s Deep Blue. BOYHOOD is both a nostalgic time capsule of the recent past and an ode to growing up and parenting. It’s impossible to watch Mason and his family without thinking about our own journey.
One of my most awaited movies .
Dawn of the Planet of the Apes Theatrical Trailer
David Fincher’s Gone Girl Official Trailer 2 – Ben Affleck, Rosumund Pike Movie
Gods and Kings Trailer
Automata Official Trailer/Antonio Banderas Sci-Fi Movie
Excellent Interview from David Fincher
1. He resented claims that Se7en started the “torture porn” movement.
Asked by interviewer Stephen Rebello if viewers ever confront him for “unlocking their personal Pandora’s box of dark thoughts,” Fincher thought back to the horror trend of the early 2000s: “It was offensive to me on a certain level that when Saw and those other movies came out, people said, ‘Well, torture porn really started with Se7en.’ F**k you.” He went on to explain that Se7en, released in 1995 nine years before the first Saw movie, left so much more to the imagination than the proudly grotesque “torture porn” movies (a label, it should be noted, if often resented in the horror community). “We were extremely conscious of the fact that we were talking about torture, but we never actually showed it.”
2. He’s not proud of The Game.
The Game, Fincher’s 1997 thriller starring Michael Douglas as a man forced into some terrifying role-playing by his shady brother (Sean Penn), is not quite as renowned as the director’s other fare, but it remains a fan favorite. And Fincher regrets it. Explaining his working relationship with his wife, longtime producer Ceán Chaffin, the filmmaker said he picks her brain, and that they’ll often disagree. “She was extremely vociferous, for instance, when she said, ‘Don’t make The Game.’” And just when it seems Fincher might be throwing her under the bus, the twist: “And in hindsight, my wife was right. We didn’t figure out the third act, and it was my fault, because I thought if you could just keep your foot on the throttle it would be liberating and funny.”
3. Fincher got in trouble for “f**king up” a Brad Pitt nude shot.
“Brad f**ks with me all the time,” Fincher said about his leading man from Se7en, Fight Club and The Curious Case of Benjamin Button. He recalled that during the making of the twisty 1999 thriller Fight Club, the film’s distributor, 20th Century Fox, was particularly excited that one scene called for naked a Pitt opening the door. “When it came time to shoot it, being Brad, he said, ‘I should open the door and have a big yellow dishwasher scrub glove on.’ I said, ‘Perfect.’ When the studio executive saw it, she said, ‘You got him with his shirt off and then you f**ked the whole thing up.” Despite the aforementioned f**kery, Fincher later says in the interview that he still offers every role to Pitt, “not because I’m pathetic but because he’s good for so many things.”
4. That “f**king weird” relationship with Rooney Mara was all about marketing and protecting the integrity of Lisbeth Salander.
Rebello didn’t leave any controversy untouched, including Daniel Craig’s 2011 comment that Fincher’s relationship with the 007 actor’s Girl With the Dragon Tattoo co-star Rooney Mara (who starred as hacker Lisbeth Salander) was “f**king weird.” After laying into Vogue writer Jonathan Van Meter a bit for attempting to craft “a Tippi Hedren–Alfred Hitchcock sort of thing,” Fincher explained that he was at odds with the movie’s distributor over Mara’s publicity campaign for the film. “From the beginning I said to the Sony publicity people that the purpose of plucking someone like Rooney from obscurity is that they walk on-screen and you immediately believe who the f**k they are, rather than, ‘You were on Gossip Girl, right?’ Rooney will tell you that I let her do anything she wanted. But it seemed counter to what we were trying to do to see her on the cover of Seventeen or being trotted out on every television show to go, ‘Here she is, cute as a f**king button and not at all this goth Swedish punker.’”
5. Google Images helped convince him Ben Affleck was right for Gone Girl.
David Fincher likes Google Images, just like you and me. In explaining the “affable” appeal of both Pitt and Affleck, the director comments that he casts his movie based on what looks and expressions certain actors can bring to critical scenes. “In Gone Girl there’s a smile [lead character Nick Dunne] has to give when the local press asks him to stand next to a poster of his missing wife. I flipped through Google Images and found about 50 shots of Affleck giving that kind of smile in public situations. You look at them and know he’s trying to make people comfortable in the moment, but by doing that he’s making himself vulnerable to people having other perceptions about him.”
6. He defends accusations that he’s difficult-to-work-with perfectionist.
When Rebello mentions that actors such as Daniel Craig, Robert Downey Jr. and Jake Gyllenhaal have publicly commented about how hard he worked them, Fincher replied, “If you didn’t get hugged enough as a kid, you won’t find what you’re looking for from me. That’s not my gig and I’m not attuned to it.” Asked what the filmmaker might see in Take 11 that he didn’t in Take 5, Fincher explained, “Part of the promise when I work with actors is that we may be on take 11 and I’ll say, ‘We certainly have a version that we can put in the movie that will make us all happy. But I want to do seven more and continue to push this idea. Let’s see where it goes.’ Now, I may go back to them after those seven takes and say, ‘It was a complete f**king waste of effort, but I had to try because I feel there’s something to be mined from this.’”
7. And he’s well aware of his reputation.
“I’m sure there are people who think I bite the heads off puppies,” Fincher said. “There’s nothing I can do about that.”
One more David Fincher Interview
David Fincher Reveals His ‘Life in Pictures,’ from Fighting Studios to Multiple Takes
On when he knew he wanted to be a director
I was fairly convinced at the age of eight that’s that what I wanted to do with my life. And when I was living in Marin [County] my next door neighbor was George Lucas and I was that close to movies that were being made. Then my parents decided to tear us out of there and take us to this place [in Oregon] where there was no cinema except for this little cinema. I worked after school directing plays and doing lighting for plays and at night, from six to midnight, one in the morning, I was a projectionist. At the weekends I would shot E&G footage for a local television station. If a barn was burning down I was the guy out there trying to get a shot of it. So I worked in a movie theatre because I wanted to see movies and I wanted to really watch them over and over again, and I worked at the TV station to learn how to use a camera. I remember I saw “Being There” 160 times, I saw “All That Jazz” 200 times, I saw “1941” 200 times, whatever was there that was interesting I would just watch it. [Watching those movies] I was, “Why are they doing it this way?” Because from the time I was eight I made Super 8 movies and the dominos were starting to fall for me about coverage and over the shoulders shots and how you knit a scene together.
On why he knows everyone’s job better than they do
[In the early days] being on sets and watching how shit went down, I watched a lot of directors get rope-a-doped. I could see that they wanted to be able to execute something and the “experts” who were hired to help and support them would go, “We don’t really have the time for that.” So I watched talented people I liked and I admired get spun and worked, and I vowed never to let that happen. I was like, “I want to know what every muthafucker in the room does. I never wanted to be the guy who was victimized by other people’s laziness. So I haunted the hallways at ILM and would hang out in the optical department and I would go into editorial and I would go into the animation department.
On his days directing music videos
Music videos were a film school in that you had to sign off on budget, you had to deliver it in so many days for X, Y and Z, but the difference is the star of your short film is also the studio, they were paying for it. And you learned pretty quickly how to work with them in order to make them take risks. And you learned to follow the talent, find out what they can do, find out what they’re great at, find out what they’re not so good at. You’re caging an amoeba, you’re trying to make sure that they can do stuff that a) you can do and that you can help them do, but also keep them away from doing anything foolish because there were videos from that period that literally ended recording artists’ careers.
On how he initially wanted Ned Beatty to play John Doe in “Seven”
I wanted and Andy [Kevin Walker, screenwriter] wanted, originally, Ned Beatty. He loved this idea, and I think it was kind of oddly based on the police drawing of “Zodiac,” this guy with a crew cut and horn-rim glasses. That was the vision, that he should look like a postman, so we sent it to Ned Beatty, and Ned Beatty called me and said, “I can’t play this, this is the most evil thing I’ve ever read.” And I went, “Okay.” Then [Kevin] Spacey came in and read and killed it and we were, “He’s the guy” and New Line said, “His quotes are too high.” So we continued to read people and finally we were shooting and Brad said, “What’s going on with Spacey? Are we going to get Spacey?” I said, “They’re running me around the block on his quote.” He said, “Fuck that.” And he got on the phone and said, “You’ve got to get Kevin Spacey!” And they said, “Okay.”… It pays to be blond.
On “Fight Club”’s marketing issues
I don’t make movies in spite of the people who pay for them. I don’t fund my own films and the people who do fund them, they’re not tricked or drugged or kept in the cellar, we report to them on a daily basis, you show them the dallies. “Fight Club” was a movie that half the financing fell out before we shot it. And Bill Mechanic, to his credit, said, “I’m making this movie.” And Laura Ziskin, may she rest in peace, was there every step of the way, saying, “Keep going, we love the dallies, it’s amazing.’’ And the subversive nature of it, they knew what we were doing. I storyboarded the entire movie. I could take them through the entire thing and say, “Here’s where we’re going to feel a little weird, and this is going to be a little bit sickening and this is a tiny bit misogynist.”
We walked them through it and they were, “Okay, okay, we’re ready to take some risks.” When we cut the movie together and showed them the final thing is the first time everybody realized they were going to get fired. “What’s the poster here? How do we get people to see this?” Marketing said: “Men don’t want to see Brad Pitt with his shirt off and women don’t want to see him bloody, so you’re kind of fucked.” They devised a campaign for the film to sell it to people watching the World Wrestling Federation. I wanted to sell it as a satire. Madness. The biggest thing that we had was the exit polls were like “That’s not a fuckin’ fighting movie, that movie’s really homo!” People go to the movies to see what they haven’t seen before. Call me a radical.
On his propensity for shooting multiple takes
Here’s my philosophy. You spend $250,000 on a set, you’re putting on a soundstage that costs $5,000 a day, you put in $8,000 worth of lights, and you’re going to bring in $150,000 crew in. You’re going to bring in actors from all over the world, put them in hotels, and they’re going to come there with the idea to get them out as soon as possible. That doesn’t make sense to me, because we watch movies to see behavior that we can relate to. We watch stories to see the most concise, most layered, most nuanced… If I fly you in from Iceland, I want to make sure we get it. I want it to be about finding those little things. Often times they’re mistakes… There’s a point in time whenever an actor says, “I’m sorry, I’m lost, can we start again…” they were great, right before they pull the pin on the whole thing, they were great.
And there’s another aspect to it. There’s 90 people on a set, there’s boom operators, camera operators, there’s a focus puller, and you do something many, many times, it’s the ballet of it, how people fit together. A dolly grip for me is almost more important that some of the actors because that person can kill you and kill how you proceed somebody [into a room] and when move to somebody and when you land in a room, that, to me, is very, very important, the spatial relationships between the person pushing the dolly and the actors, they have to dance, and so to go in and say, “we’ve got to get out of this in three,” just seems nuts.
On working with your actors
I’m not one of these directors who think, “I could do that [acting].” I could not fucking do that in my life, and to me if you can help them be great, everybody wins, that’s the point, that’s why we’re here, that’s why we’re shooting, we’re shooting to make all of this great. You’ve got to get them on the same page, you got to get in the same world, in the same timbre, meter, the camera is going to trap them in amber for all time. Acting is ultimately about generosity. I want actors to be selfish in their authorship of the character that they’re playing and absolutely a thousand per cent generous to the other person just to their right who is doing the same thing. I have to create an environment where they can do that.
On originally passing on “The Girl With The Dragon Tattoo”
Kathleen Kennedy and Frank Marshall [who produced “The Curious Case Of Benjamin Button”] were this close to buying that book two years before a movie got made — Niels’ movie — longer than that. So they sent it to me, and I read enough of it to say, “This movie’s gonna cost a lot of money, no fucking studio’s gonna make this.” And we’d already pushed this brick up a hill for seven years with “Benjamin Button,” so I was, “Please, let’s not do this.” Then it came back around right as I was finishing “Social Network,” and Amy Pascal and Scott Rudin bought it and said, “Do you want to get on the plane and go to Sweden and make this movie?” And I said, “Yeah.”
On “Gone Girl” and Gillian Flynn’s adaptation
I do think that the movie, in terms of its structure, in terms of what Gillian was able to do, was she took this massive 500 page book and threw 380 pages away and came up with this terrain that I had never seen described in a movie before, which is it begins as a mystery, it becomes an absurdist thriller and then ultimately it becomes satire, and I’d never seen anybody try to juggle those things and do it, so it’s a high wire act and it’s interesting in that respect. She has a real gift. She’s truly special. There’s a thing with screenwriters when they get really good at it, they tend to hold their stories at arm’s length like a petri dish and sort of spin it, and they’re masterful at it. And the thing about Gillian is she can [hold it as arm’s length] but she much prefers being the thirteen-year-old girl with a bucket of popcorn. She has great love of her characters and equal amounts of disdain and she comes down on either side of the fence and rides that plot.
On the differences between film and TV
Television has become the place for characters to evolve. There’s very little time in movies anymore for characterization. [In movies] you’re giving people plot that they put in their backpack and they accrue their way through that narrative, and I think television is a place where characters can be slowly peeled and revealed.
On what makes cinema great
We tell stories. It takes titanium and aluminum and steel and glass and lasers to do one thing, to impart feeling, that’s all we do, to strangers. We want to impart that feeling for everyone in the audience at the exact same time. That’s the magic of cinema. But it takes all of those pieces of technology to deliver this thing and you want it all in service of that moment… I remember being nine years old and watching “Rear Window” with my dad and Raymond Burr walks out in the middle of the night with a suitcase and I’m nine years old and I said, “He killed her and cut her up.” And I look back at that and think, “How the fuck did I get that idea?” That’s cinema. Cinema is when you put an idea in somebody else’s head. Or you put an idea in 700 people’s heads at the same time.