Monday, December 17, 2018 Text is available under the CC BY-SA 3.0 licence.

David Fincher

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I do like movies that take a toll on the audience. I want to work the subconscious. I want to involve you in ways in which you might not necessarily want to get involved. I want to play off those things that you're expecting to get when the lights go down and the 20th Century Fox logo comes up. There's an audience expectation and I'm interested in how movies play with--and off--that expectation. That's what I'm interested in.

 
David Fincher

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Hereís something you donít hear said about many movie critics: people love Roger Ebert. ... Thereís a good reason for this: Ebert doesnít stand between moviegoers and the audience. Rather, his regular readers are serious movie-lovers who see him as their rep, the guy out there fighting to make movies less stupid, more entertaining, more intelligent, more everything. You donít have to agree with him ó and I certainly didnít in this book, when he ragged on Team America and Jesus is Magic, two movies where I laughed myself sick ó to know that heís on your side. He sees the bad movies so you donít have to, and heís seen the same ones over and over. ... Mere bile, though, isnít his game; heís as interested in why movies fail as why they work. A lot of the time, itís obvious: because itís made by morons for morons. In these cases, Ebert drags us through the plot in as entertaining a fashion as possible. ... Forty years on, heís still a moviegoerís best friend.

 
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If we make any kind of decent, useful life for ourselves we have less need to run from it to those diminishing pleasures of the movies. When we go to the movies we want something good, something sustained, we donít want to settle for just a bit of something, because we have other things to do. If life at home is more interesting, why go to the movies? And the theatres frequented by true moviegoers ó those perennial displaced persons in each city, the loners and the losers ó depress us. Listening to them ó and they are often more audible than the sound track ó as they cheer the cons and jeer the cops, we may still share their disaffection, but itís not enough to keep us interested in cops and robbers. A little nose-thumbing isnít enough. If weíve grown up at the movies we know that good work is continuous not with the academic, respectable tradition but with the glimpses of something good in trash, but we want the subversive gesture carried to the domain of discovery. Trash has given us an appetite for art.

 
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