TRANSCRIPTION OF
DAVID FINCHER INTERVIEW FOR FINAL CUT
David Fincher, the director
When you setup to make a movie, it doesn't happen exactly the way you have it in your head. There is this exploration, there is this evolution of this unfolding or revealing of the material.
Peter Mavromates, the post-production supervisor.
We're working on a feature film, about the Zodiac Killer and the media circus that surrounded that in the late 60's and early 70's, in San Francisco area.
David had wanted to shoot a movie digitally so he's shooting Zodiac with a Viper-cam. And then, we are converting the files to DVDC Pro HD for editing in Final Cut pro.
David Fincher
But in this movie, the attitude that we've taken is: “Okay, we’ve shot this setup, we have the coverage, we have the pieces that we feel that we need. And now, we need to kind of sift through and find the humanity of it.
Angus Wall, the editor.
My old mission with this movie was to think about the post-production aspect in a completely new way. Be creative, use the tools there're out there that you can just buy on a website. Or go the store, get, and use those.
Why do you have to have all the specialize equipment ? You don't !
David Fincher
I love the fact that an editor CAN come to me and say : “I have to leave now, we'll work on this tonight”, and take it on his laptop.
And by 9 o'clock of the morning, I can see it on a 65 Inch Plasma. It's a whole new world.
Angus Wall
The really tipping point for me, using Final Cut Studio was multicam. Because instead of having usually shoot one to three cameras on each setup, we're actually running 6 streams of 10-80 simultaneously which is just incredible to me !
David Fincher
You want be able to put all the screen depth and go : “Oh, he is great here and he is great here. So let's cut from these two. Oh, this is not the best place ! So you do want sort of a like a live switch. It's just a really fast way to work.
It's an interesting time in post-production. Because just like desktop publishing, we're now seeing this kind of revolution happening in film making. And I think that's what final cut studio has done very successfully.
Peter Mavromates
Ultimitally, our long term goal would be to do the all movie in how. I mean, as it is right now, if we add a couple more g- files we check, we can even do a part of our effect just here. And Angus is already previsualising a lot of the effects on Final Cut Studio in motion.
This indicative of where media, where visual story-telling, where pictures, where communication is edit.
I started collecting resumes from all of these young people production who wanted to work in post-production. Virtually, every one of them have Final Cut on their resume. So, that's clearly an indication of where the flow is.
David Fincher
What this kind of tool allows you to do is to experiment and you know... kind of quiet those questions that you might have. That makes me sleep easier, makes me go : “Okay... I’m telling the story that I wanna tell. And that, I take great words from making movies.
Sigourney Weaver Interview for “The Tale of Despereaux”
I thought it was a very good match because Gary often writes about people who don't fit in and people go their own way in “Pleasantville”, and “Big” and “Dave” and so I thought it was a really good match of talents with this adorable little mouse and this rat who is, you know, missunderstood with all the humour and the heart that Gary brings to this work. I thought it was great to bring that to Despereaux.
The narrator really takes you by the hand and brings you into all these different worlds. The world of door and the kingdom of door and the whole story about the king and his daughter which is sort of heartbreaking. And then, the whole story of the mouse called and Roscuro which is a whole other story. The narrator has to pull all these strings together and I think you have to feel like she‘s going to take care of you no matter how dark or dangerous this story gets.
DAVID FINCHER INTERVIEW FOR FINAL CUT
David Fincher, the director
When you setup to make a movie, it doesn't happen exactly the way you have it in your head. There is this exploration, there is this evolution of this unfolding or revealing of the material.
Peter Mavromates, the post-production supervisor.
We're working on a feature film, about the Zodiac Killer and the media circus that surrounded that in the late 60's and early 70's, in San Francisco area.
David had wanted to shoot a movie digitally so he's shooting Zodiac with a Viper-cam. And then, we are converting the files to DVDC Pro HD for editing in Final Cut pro.
David Fincher
But in this movie, the attitude that we've taken is: “Okay, we’ve shot this setup, we have the coverage, we have the pieces that we feel that we need. And now, we need to kind of sift through and find the humanity of it.
Angus Wall, the editor.
My old mission with this movie was to think about the post-production aspect in a completely new way. Be creative, use the tools there're out there that you can just buy on a website. Or go the store, get, and use those.
Why do you have to have all the specialize equipment ? You don't !
David Fincher
I love the fact that an editor CAN come to me and say : “I have to leave now, we'll work on this tonight”, and take it on his laptop.
And by 9 o'clock of the morning, I can see it on a 65 Inch Plasma. It's a whole new world.
Angus Wall
The really tipping point for me, using Final Cut Studio was multicam. Because instead of having usually shoot one to three cameras on each setup, we're actually running 6 streams of 10-80 simultaneously which is just incredible to me !
David Fincher
You want be able to put all the screen depth and go : “Oh, he is great here and he is great here. So let's cut from these two. Oh, this is not the best place ! So you do want sort of a like a live switch. It's just a really fast way to work.
It's an interesting time in post-production. Because just like desktop publishing, we're now seeing this kind of revolution happening in film making. And I think that's what final cut studio has done very successfully.
Peter Mavromates
Ultimitally, our long term goal would be to do the all movie in how. I mean, as it is right now, if we add a couple more g- files we check, we can even do a part of our effect just here. And Angus is already previsualising a lot of the effects on Final Cut Studio in motion.
This indicative of where media, where visual story-telling, where pictures, where communication is edit.
I started collecting resumes from all of these young people production who wanted to work in post-production. Virtually, every one of them have Final Cut on their resume. So, that's clearly an indication of where the flow is.
David Fincher
What this kind of tool allows you to do is to experiment and you know... kind of quiet those questions that you might have. That makes me sleep easier, makes me go : “Okay... I’m telling the story that I wanna tell. And that, I take great words from making movies.
Sigourney Weaver Interview for “The Tale of Despereaux”
I thought it was a very good match because Gary often writes about people who don't fit in and people go their own way in “Pleasantville”, and “Big” and “Dave” and so I thought it was a really good match of talents with this adorable little mouse and this rat who is, you know, missunderstood with all the humour and the heart that Gary brings to this work. I thought it was great to bring that to Despereaux.
The narrator really takes you by the hand and brings you into all these different worlds. The world of door and the kingdom of door and the whole story about the king and his daughter which is sort of heartbreaking. And then, the whole story of the mouse called and Roscuro which is a whole other story. The narrator has to pull all these strings together and I think you have to feel like she‘s going to take care of you no matter how dark or dangerous this story gets.
