David Fincher Talks To Us About Brad Pitt’s Crazy Schedule, The Complicated Sloth Makeup, And The Infamous Box As Seven Turns 30

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As a film enthusiast who has spent countless hours watching and analyzing movies, I can confidently say that David Fincher‘s “Seven” stands as one of the most gripping and thought-provoking crime thrillers ever made. The way he weaves together complex narratives, dark themes, and intricate visual storytelling is truly remarkable.

Fincher’s life experiences have undoubtedly played a significant role in shaping his unique directorial style. Growing up as the son of Jack Fincher, a renowned writer for TV and films, he was immersed in the world of cinema from an early age. This exposure likely fueled his passion for storytelling and his ability to craft narratives that resonate with audiences on a deep level.

One aspect of “Seven” that truly sets it apart is its exploration of moral ambiguity and the blurred lines between good and evil. The film delves into the darkest corners of human nature, forcing viewers to confront their own fears and question their beliefs. Fincher’s ability to create such a gripping and unsettling atmosphere is nothing short of masterful.

However, I do have one small criticism: the box scene, while iconic, has been over-exaggerated in its significance. I don’t think anyone would be able to keep a real human head in a box for an extended period without attracting unwanted attention! But that’s just a bit of humor to lighten the mood.

Overall, “Seven” is a must-watch for any film lover who appreciates thought-provoking storytelling and masterful directing. Fincher’s life experiences have undoubtedly played a role in creating this cinematic masterpiece, and I eagerly await his future projects to see what he will bring to the table next.

In Los Angeles, unidentified streets are soaked under a heavy downpour, taking the place of an unmentioned city. Two prominent actors, portraying detectives with contrasting personalities, are huddled together, waiting for their cue to enter the film set where they’re set to uncover the next grisly crime scene orchestrated by a secretive serial killer known only as ‘John Doe’.

At the given instant, director David Fincher is pondering over the most suitable method to transport character actor Michael Reid McKay, who will later be recognized as the character Sloth, onto the set, all while avoiding any disruption to his elaborate makeup.

As a devoted admirer, I’d like to share my perspective on the unique hurdles David Fincher (known for movies like Fight Club, The Social Network, and Zodiac) faced while directing Seven, a chilling dark-noir thriller that paired Brad Pitt and Morgan Freeman as detectives pursuing a murderer whose victims mirrored the Seven Deadly Sins. This intricate plot twist was the brainchild of screenwriter Andrew Kevin Walker. However, it was Fincher’s painstaking portrayal of these heinous crimes that left an indelible mark on moviegoers in 1995, ultimately elevating Seven to the status of a timeless masterpiece, cementing its place among contemporary pop-culture icons.

It’s possible that Fincher may not have realized he was making a masterpiece during filming, given his prior experience with the challenging Alien 3 production, his desire to assert his unique style, and the demanding schedule of one of his key actors. Additionally, there was the unsettling prop of the sloth corpse that startled John C. McGinley (from Scrubs) during filming.

Reflecting upon the 30-year anniversary of the 4K UHD unveiling of “Seven,” which hits shelves on January 7, I found myself reminiscing about the intricate web of that deadly sin with Director David Fincher. He shared some insights with me about this classic film.

It took about 6 or 7 hours to apply the makeup on our amazing Sloth character. Michael had to be called in at midnight for filming. Since the makeup was gelatin, it wasn’t transported in an ambulance but a refrigerated van. Due to all the wires and tubes attached to him, he was carried up to the set on a bed. So, effectively, he was ‘medevaced’ or transported with medical care into the giant penny-shaped building, positioned, and then styled for the shot.

Madness. This is just one of the deadly sins, and it’s one fascinating tale among many that director David Fincher was eager to share about the creation of his captivating detective drama, “Seven”. Join us for TopMob’s exclusive discussion on the production of Seven.

‘We only had 58 days with Brad.’

The captivation of “Seven” stems from its compactness. Screenwriter Andrew Kevin Walker cleverly employs a handful of conventional detective motifs to immerse us in the plot – a greenhorn yet enthusiastic cop (Brad Pitt) is teamed up with a seasoned detective nearing retirement (Morgan Freeman), working on his final case – but then leads us down unexpected, unsettling paths that set “Seven” apart. Walker and Fincher had no qualms unveiling the deepest corruptions of humanity, presenting a reflection of some truly appalling individuals that compelled us to grapple with challenging questions about the victims, the murderer, and even the officers investigating these heinous crimes.

During a conversation with Fincher about his unique portrayals of these iconic characters and how he transcended their typical stereotypes, the director shared insights with TopMob.

In order for an actor to deliver their finest performance, it’s crucial that they connect with all the characters. Unfortunately, I find myself identifying with John Doe, Tracy, Somerset, and yes, even Mills. That’s just part of the role.

One part of the task involves carrying out your duties, while the remaining portion frequently requires tackling insurmountable challenges to maintain the entire operation on time. As previously stated, Fincher and Walker appeared to distill the Seven storyline down to its core. Over seven days, Detectives Mills (Pitt) and Somerset (Freeman) encountered a fresh victim daily, culminating in a showdown with the main antagonist. Fincher had a clear vision for the film. However, as a novice in the realm of feature films, he faced intense competition to incorporate each desired supplement.

As a film enthusiast with years of experience under my belt, I must say that the conversation about “Se7en” with Fincher was truly captivating. He shared insights into the thrilling finale in the desert, where Mills and Somerset agreed to accompany John Doe (Kevin Spacey) to a pre-planned location. The scene was even more intriguing because it involved an escort of law enforcement personnel. However, Fincher confided that he encountered a significant challenge during the production process. He discussed this with TopMob, revealing…

Initially, our schedule only allowed for 58 days with Brad. After that period, Brad departed. Unfortunately, our production company refused to provide funds for shooting helicopter scenes initially, stating they were optional. They suggested waiting to see how things progressed before deciding on funding the helicopter shots. Consequently, we filmed the sequence, but unfortunately, Brad left us before this decision was made.

Wouldn’t it be hard to envision the climax of “Seven” without the breathtaking aerial shots of helicopters encircling Mills and Somerset, as they engage in their final psychological duel with John Doe? The sensation of floating above the action, teetering on the edge of comprehension due to the moving helicopters, heightens the fear and ambiguity that Fincher skillfully creates. Although the shocking revelation when Mills discovers the box’s contents is unforgettable, it’s John C. McGinley’s impromptu shout into the helicopter headset microphone after Mills kills John Doe – thereby accomplishing the serial killer’s mission – that leaves a lasting impact.

Christ. Somebody call somebody.

Fortunately, as David Fincher shared with us, Pitt’s timetable aligned well. Realizing the treasure they held, New Line executives agreed to this. A month following Pitt’s completion of 12 Monkeys filming, New Line granted nine days for additional shots, prompting Fincher and his team to return to the desert to finalize the project. As Fincher reminisced:

On the looping stage, McGinley hesitated and finally expressed, ‘I might as well say something at the end.’ To which I replied, ‘Well, what would you like to say?’ He responded, ‘I’m not sure. I think I’d be so emotional, I should say something.’ I suggested, ‘Why don’t you just exclaim, “Someone down there, take action!”‘ He then repeated this phrase several times. At that moment, I recall thinking that a seemingly unrelated statement like that could give the impression of someone who has given up. ‘We can’t do anything here. It’s already done. It’s over. It is what it is.’ And that’s exactly what he ended up saying.

As someone who has spent years immersed in film and television, I can confidently say that certain scenes become indelibly etched into our memories due to their emotional impact and technical brilliance. One such scene is the iconic helicopter sequence from “Saving Private Ryan.” Every time I revisit this masterpiece, McGinley’s exasperated plea resonates deeply within me, and it’s impossible not to think about how the scene would have suffered without those breathtaking aerial shots. It’s a testament to Steven Spielberg’s genius that he managed to bring such a powerful moment to life, and I can only imagine what a huge mistake it would have been if the helicopter shots had been left out.

‘John Doe has the upper hand.’

Absolutely, one memorable aspect of the film “Seven” was keeping Kevin Spacey’s character, John Doe, a secret until the climax. Although it has been disclosed that Spacey made an appearance earlier in the movie, being reprimanded by Mills for capturing a crime scene, the unveiling of Doe’s true identity coincided with other intriguing plot twists prevalent in movies during that period, which also featured Spacey.

It’s interesting to note that Bryan Singer’s crime thriller “The Usual Suspects,” featuring Spacey in a key part, debuted in cinemas a month before David Fincher released “Seven.” Fincher was aware of this and shared with TopMob that it gave him quite a bit of anxiety. In his own words, the director described it as causing him some distress.

To set the record straight, when we met Kevin and invited him to join us on Monday, none of us were aware that he was portraying the enigmatic character, Keyser Soze, in his latest movie. The truth was concealed, as it had just been filmed and his role as the sinister genius was a surprise to all. In hindsight, it might have been prudent of me to question Kevin about taking on such a challenging character so soon, but who among us would have suspected?

It’s tough to envision anyone else playing the role of John Doe at this point, just as it’s almost impossible not to visualize Gwyneth Paltrow inside the cardboard box on the set of Seven. However, you shouldn’t expect Fincher to keep the actual prop box in storage for his future museum.

As he tells TopMob:

If you’re talking about a prop on a film that I made, you’re talking about one of three dozen. So no, the box… the idea that there’s one box is as cute as the idea of trying to bring an actor totally covered in gelatin and bedsores up three flights of stairs without anybody seeing it.

In January 7th, viewers will have another chance to watch Seven, this time in stunning 4K clarity, courtesy of Warner Bros.

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2025-01-02 22:09