The Girl Who Played with Fire won’t be directed by David Fincher
So, Scotty the Cat. Scotty the Cat… he had many, many, many specific things that were written for him to do. There were all these things he was supposed to look at and jump up on and… Scotty was great, but I gave up on that 5 or 7 minutes into the first day. We would have closed rehearsals where we’d bring the cat and we’d say ‘okay, so what would Scotty do here? He’d probably be over here on this chair watching what’s going on’ and we’d put Scotty in his chair and whatever he ended up sort of doing first, that’s what we would rehearse the scene around and… he was great. He was great every time. If you don’t expect cats to do something, they’ll usually give you a very cat-like response.
David Fincher on Scotty the Cat
First trailer lands for David Fincher’s hotly anticipated adaptation of Gillian Flynn’s Gone Girl, starring Ben Affleck and Rosamund Pike.
EU TO TREMENDO, ROSANA
First poster for David Fincher's Gone Girl
Kate Mara in House of Cards
Rooney Mara in The Girl with the Dragon Tattoo
David Fincher and the Mara sisters.
The Girl with the Dragon Tattoo (2011)
“The Social Network will define a generation for a generation that couldn’t care less about its generation, but it’s as entertaining as anything you’ll watch all year.”
The Girl with the Dragon Tattoo : David Fincher’s Commentary
So the title sequence. We had this cover of “Immigrant Song”. I was riding in a van in Sweden and had my iPhone with me…and I was listening to Led Zeppelin, and this song came on and I-I mean, aside from the incredibly, inanely obvious: “I come from the land of the ice and snow”… I just like the idea of an anthemnal, incredibly famous track that could be wailed by a woman. And I called Trent and I said: “What do you think of a cover of ‘Immigrant Song’?” I think at first he thought I was joking [laughing]. And I said, “No, imagine, you know, a woman’s voice singing this.” And he did a version just to the music and I listened to it and I thought it’s evocative of what I think Lisbeth is— Not thinking, but, you know, sort of her marrow. What’s happening down deep inside her bones. And we got Karen O. Ren Klyce gave us Karen’s e-mail address and we asked her to do this. And I think in about three or four days days they had a version of this song that was— To my mind, it was undeniable. It just seemed like such a great sort of kindred spirit to what I thought Lisbeth was about. And then we needed visuals to go with it. I went to Tim Miller at Blur, and I said: “What can you do along the lines of a nightmare? What would Lisbeth’s nightmare be?” And he came back with about 50 different little scene cards and we whittled it down to about 20-25. And I turned to him and said: “That looks great. You got eight weeks. Go.”