[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:06.34,0:00:09.51,Default,,0000,0000,0000,,Hi, my name is Tony and\Nthis is Every Frame a Painting.
Dialogue: 0,0:00:09.51,0:00:12.34,Default,,0000,0000,0000,,One thing I find interesting about\Nfilmmakers is that the more they direct,
Dialogue: 0,0:00:12.34,0:00:16.11,Default,,0000,0000,0000,,the more they can express themselves in\Nthe smallest details of a scene.
Dialogue: 0,0:00:16.11,0:00:17.56,Default,,0000,0000,0000,,{\i1}--What is it you want?{\i0}
Dialogue: 0,0:00:23.29,0:00:29.22,Default,,0000,0000,0000,,A lot of people think directors are distinguished by how they \Nshoot the big set pieces, the crazy oners, the really stylish stuff.
Dialogue: 0,0:00:29.22,0:00:33.85,Default,,0000,0000,0000,,And yeah, these are the shots that get copied, and they \Ndo give you a strong indication of someone’s vision.
Dialogue: 0,0:00:33.85,0:00:37.56,Default,,0000,0000,0000,,But sooner or later, every filmmaker\Ngoes back to scenes like this:
Dialogue: 0,0:00:37.56,0:00:42.25,Default,,0000,0000,0000,,Two people in a room talking. Just about\Nthe least cinematic thing there is.
Dialogue: 0,0:00:42.25,0:00:45.14,Default,,0000,0000,0000,,And it’s scenes like this that tell\Nyou what they really care about.
Dialogue: 0,0:00:45.14,0:00:49.96,Default,,0000,0000,0000,,{\i1}If I didn't need a medical officer, I would \Nlet you within light years of this operation.{\i0}
Dialogue: 0,0:00:49.96,0:00:53.45,Default,,0000,0000,0000,,{\i1}--I'm eternally grateful.\N--Keep your sarcasm to yourself.{\i0}
Dialogue: 0,0:00:53.45,0:00:56.95,Default,,0000,0000,0000,,And David Fincher?\NHe cares about information.
Dialogue: 0,0:00:56.95,0:01:01.41,Default,,0000,0000,0000,,Unlike many filmmakers,who try to avoid \Nexposition, sometimes Fincher does nothing but.
Dialogue: 0,0:01:01.41,0:01:02.99,Default,,0000,0000,0000,,{\i1}--The salt balance has to be just right,{\i0}
Dialogue: 0,0:01:02.99,0:01:05.63,Default,,0000,0000,0000,,{\i1}so the best fat for making soap\Ncomes from humans.{\i0}
Dialogue: 0,0:01:06.81,0:01:09.37,Default,,0000,0000,0000,,{\i1}--Wait, what is this place?\N--A liposuction clinic.{\i0}
Dialogue: 0,0:01:09.67,0:01:13.86,Default,,0000,0000,0000,,In his world, drama happens when a \Ncharacter learns a new piece of information.
Dialogue: 0,0:01:13.86,0:01:15.35,Default,,0000,0000,0000,,{\i1}--Just down in the basement.{\i0}
Dialogue: 0,0:01:15.35,0:01:17.48,Default,,0000,0000,0000,,How does it fit with everything\Nthey already know?
Dialogue: 0,0:01:17.48,0:01:20.04,Default,,0000,0000,0000,,{\i1}--Not many people have\Nbasements in California.{\i0}
Dialogue: 0,0:01:20.04,0:01:23.06,Default,,0000,0000,0000,,And how do they react to learning\Na little bit more of the truth?
Dialogue: 0,0:01:23.06,0:01:24.06,Default,,0000,0000,0000,,{\i1}--I do.{\i0}
Dialogue: 0,0:01:25.76,0:01:30.06,Default,,0000,0000,0000,,Fincher’s style is an extension of this idea and \Nit's interesting to hear him describe his process.
Dialogue: 0,0:01:30.06,0:01:32.54,Default,,0000,0000,0000,,{\i1} They know you can do \Nanything, so the question is:{\i0}
Dialogue: 0,0:01:32.54,0:01:36.37,Default,,0000,0000,0000,,{\i1}What DON'T you do,\Nnot what do you do.{\i0}
Dialogue: 0,0:01:36.37,0:01:40.21,Default,,0000,0000,0000,,So, what does David Fincher NOT do?
Dialogue: 0,0:01:47.01,0:01:51.22,Default,,0000,0000,0000,,For one thing, handheld. Fincher is a\Nlocked-down put-it-on-a-tripod filmmaker.
Dialogue: 0,0:01:51.22,0:01:53.54,Default,,0000,0000,0000,,He hates handheld and\Ndoes it maybe once per film.
Dialogue: 0,0:01:53.54,0:01:56.07,Default,,0000,0000,0000,,Dragon Tattoo has two scenes,\Nwhile Zodiac has one,
Dialogue: 0,0:01:56.07,0:01:57.96,Default,,0000,0000,0000,,and The Social Network\Nhas only this shot.
Dialogue: 0,0:02:00.84,0:02:03.41,Default,,0000,0000,0000,,Se7en has the most handheld\Nof any Fincher film: five scenes.
Dialogue: 0,0:02:03.41,0:02:05.94,Default,,0000,0000,0000,,{\i1}-- Phone. Phone. Phone? Phone?{\i0}
Dialogue: 0,0:02:05.94,0:02:08.52,Default,,0000,0000,0000,,But even when he uses it, \Nnotice how he designs around it.
Dialogue: 0,0:02:08.52,0:02:11.08,Default,,0000,0000,0000,,The camerawork on the detectives \Nis shaky, while John Doe,
Dialogue: 0,0:02:11.08,0:02:14.05,Default,,0000,0000,0000,,who has all the power in the scene,\Nis shot on a tripod, rock-solid.
Dialogue: 0,0:02:14.05,0:02:16.26,Default,,0000,0000,0000,,{\i1}--WHAT'S IN THE BOOOOOX?\N--Not till you give me the gun.{\i0}
Dialogue: 0,0:02:16.26,0:02:18.39,Default,,0000,0000,0000,,{\i1}--WHAT'S IN THE FUCKING BOX!\N--Give me the gun.{\i0}
Dialogue: 0,0:02:18.39,0:02:19.68,Default,,0000,0000,0000,,{\i1}--He just told you.{\i0}
Dialogue: 0,0:02:19.68,0:02:23.27,Default,,0000,0000,0000,,Another thing Fincher avoids is the sense\Nof a human being operating the camera.
Dialogue: 0,0:02:23.27,0:02:26.12,Default,,0000,0000,0000,,At a time when many filmmakers are\Ndeliberately adding camera shake
Dialogue: 0,0:02:26.12,0:02:29.25,Default,,0000,0000,0000,,or mistakes to their shots to make it\Nseem like there was a person there,
Dialogue: 0,0:02:29.25,0:02:30.76,Default,,0000,0000,0000,,Fincher is doing the opposite.
Dialogue: 0,0:02:30.76,0:02:36.51,Default,,0000,0000,0000,,{\i1}--I just love the idea of omniscience\Nthe camera goes over here perfectly,{\i0}
Dialogue: 0,0:02:36.51,0:02:38.06,Default,,0000,0000,0000,,{\i1}and it goes over there kinda perfectly{\i0}
Dialogue: 0,0:02:38.06,0:02:41.55,Default,,0000,0000,0000,,{\i1}and it doesn’t have any personality \Nto it, it's very much like{\i0}
Dialogue: 0,0:02:41.55,0:02:44.04,Default,,0000,0000,0000,,{\i1}what’s happening was doomed to happen.{\i0}
Dialogue: 0,0:02:47.01,0:02:51.98,Default,,0000,0000,0000,,Sometimes you can't tell whether a shot was \Nhuman-controlled, motion-controlled or CGI.
Dialogue: 0,0:02:51.98,0:02:55.34,Default,,0000,0000,0000,,The final effect is ominous, like something\Nout of the Overlook Hotel.
Dialogue: 0,0:03:01.70,0:03:04.32,Default,,0000,0000,0000,,He also doesn't cut to a \Nclose-up unless he needs to.
Dialogue: 0,0:03:04.32,0:03:06.84,Default,,0000,0000,0000,,Even though Fincher's close-ups and\Ninserts are really distinctive,
Dialogue: 0,0:03:06.84,0:03:10.94,Default,,0000,0000,0000,,he rarely cuts in because...\N{\i1}--Every time you go to a close-up...{\i0}
Dialogue: 0,0:03:11.86,0:03:16.34,Default,,0000,0000,0000,,{\i1}... the audience knows: "Look at this, this\Nis important." You have to be very, very{\i0}
Dialogue: 0,0:03:16.34,0:03:19.70,Default,,0000,0000,0000,,{\i1}cautious and careful about when you\Nchoose to do it.{\i0}
Dialogue: 0,0:03:22.85,0:03:25.69,Default,,0000,0000,0000,,In any given scene, he’ll only go to\Nthe close-up for one or two moments.
Dialogue: 0,0:03:25.69,0:03:28.60,Default,,0000,0000,0000,,And the more he’s directed,\Nthe less often he’s done it.
Dialogue: 0,0:03:28.60,0:03:31.03,Default,,0000,0000,0000,,{\i1}--You'd have made a great\NSecretary of State.{\i0}
Dialogue: 0,0:03:32.25,0:03:35.74,Default,,0000,0000,0000,,These moments gain power precisely\Nbecause he withholds the shot elsewhere.
Dialogue: 0,0:03:38.72,0:03:41.39,Default,,0000,0000,0000,,And lastly, he never moves \Nthe camera if he can help it.
Dialogue: 0,0:03:41.39,0:03:44.77,Default,,0000,0000,0000,,{\i1}--I wanted to present,\Nin as wide a frame,{\i0}
Dialogue: 0,0:03:44.77,0:03:48.80,Default,,0000,0000,0000,,{\i1}and in as unloaded a\Nsituation as possible,{\i0}
Dialogue: 0,0:03:48.80,0:03:51.22,Default,,0000,0000,0000,,{\i1}as much of a kinda\Nsimple proscenium way,{\i0}
Dialogue: 0,0:03:51.22,0:03:53.61,Default,,0000,0000,0000,,{\i1}this is what’s going on,\Nthis is what this guy sees.{\i0}
Dialogue: 0,0:03:53.61,0:03:57.29,Default,,0000,0000,0000,,{\i1}--You don't pay attention.\N--What is this?{\i0}
Dialogue: 0,0:03:57.30,0:03:59.68,Default,,0000,0000,0000,,So consider all these \Nrestrictions he gives himself.
Dialogue: 0,0:03:59.68,0:04:04.46,Default,,0000,0000,0000,,No handheld, no human operating, no unnecessary\Nclose-ups, no unmotivated camera moves.
Dialogue: 0,0:04:04.46,0:04:08.42,Default,,0000,0000,0000,,Now let’s give him a scene of just people\Ntalking. Can he make it cinematic?
Dialogue: 0,0:04:08.42,0:04:11.03,Default,,0000,0000,0000,,{\i1}--Killer put a bucket beneath him,\Nkept on serving.{\i0}
Dialogue: 0,0:04:11.03,0:04:13.89,Default,,0000,0000,0000,,{\i1}Coroner said this could have\Ngone on for more than 12 hours.{\i0}
Dialogue: 0,0:04:13.89,0:04:16.88,Default,,0000,0000,0000,,Oh yeah. Talking isn’t \Ncinematic but drama is.
Dialogue: 0,0:04:16.88,0:04:19.75,Default,,0000,0000,0000,,This scene is about three people,\None standing, two sitting.
Dialogue: 0,0:04:19.75,0:04:22.43,Default,,0000,0000,0000,,The first thing Fincher does is bring us\Nover here to listen to these two.
Dialogue: 0,0:04:22.43,0:04:27.08,Default,,0000,0000,0000,,Just from shot sizes we can tell this is more important \Nto Somerset than to the chief, but neither will budge.
Dialogue: 0,0:04:27.08,0:04:30.99,Default,,0000,0000,0000,,When the detective tries to drop the case...\N{\i1}--I’d like to be reassigned.{\i0}
Dialogue: 0,0:04:30.99,0:04:33.67,Default,,0000,0000,0000,,... we shift to a different angle \Nof the chief and of Somerset.
Dialogue: 0,0:04:33.67,0:04:35.94,Default,,0000,0000,0000,,This is our clue that Mills\Nis trying to work his way in.
Dialogue: 0,0:04:35.94,0:04:39.10,Default,,0000,0000,0000,,But Somerset, who’s looking nowhere\Nnear the eyeline, ignores him.
Dialogue: 0,0:04:39.10,0:04:41.97,Default,,0000,0000,0000,,When the younger detective cuts in:\N{\i1}--Hey man, you know, I'm right here,{\i0}
Dialogue: 0,0:04:41.97,0:04:43.45,Default,,0000,0000,0000,,{\i1}--you can say that shit to my face.{\i0}
Dialogue: 0,0:04:43.45,0:04:46.34,Default,,0000,0000,0000,,We go back to this angle,\Nwith Somerset finally facing him.
Dialogue: 0,0:04:46.34,0:04:48.88,Default,,0000,0000,0000,,This puts the chief in a tough spot,\Nand he has to put his foot down.
Dialogue: 0,0:04:48.88,0:04:51.89,Default,,0000,0000,0000,,{\i1}--Give it to me.\N--No I’m putting you on something else.{\i0}
Dialogue: 0,0:04:51.89,0:04:57.26,Default,,0000,0000,0000,,This is the only close-up of the chief in this scene and \NFincher saves it for the moment Mills gets totally dismissed.
Dialogue: 0,0:04:57.26,0:04:59.98,Default,,0000,0000,0000,,So even without sound, you understand\Nthe purpose of this scene.
Dialogue: 0,0:04:59.98,0:05:03.28,Default,,0000,0000,0000,,Fincher has taken your eyes and brought\Nthem here to see this drama,
Dialogue: 0,0:05:03.28,0:05:06.26,Default,,0000,0000,0000,,here to see this one, and then\Nhere for the final shutdown.
Dialogue: 0,0:05:06.26,0:05:10.36,Default,,0000,0000,0000,,Three characters, three relationships,\Nall staged for the camera to see.
Dialogue: 0,0:05:10.36,0:05:11.89,Default,,0000,0000,0000,,{\i1}--I'm sorry, old buddy.{\i0}
Dialogue: 0,0:05:11.89,0:05:15.16,Default,,0000,0000,0000,,The next time these characters are together, \Nlook how far away Mills is sitting.
Dialogue: 0,0:05:15.16,0:05:17.38,Default,,0000,0000,0000,,But once Somerset starts\Nto explain his theory:
Dialogue: 0,0:05:18.01,0:05:22.36,Default,,0000,0000,0000,,{\i1}--Gluttony, greed{\i0}
Dialogue: 0,0:05:22.36,0:05:25.92,Default,,0000,0000,0000,,Fincher brings us over here to show them\Nlooking at each other in the same frame.
Dialogue: 0,0:05:25.92,0:05:28.02,Default,,0000,0000,0000,,Even though they don’t work \Ntogether for another 10 minutes,
Dialogue: 0,0:05:28.02,0:05:30.32,Default,,0000,0000,0000,,it’s here that they begin\Nto respect each other.
Dialogue: 0,0:05:30.32,0:05:33.27,Default,,0000,0000,0000,,You can actually watch Se7en and see\Nthe progression of this relationship
Dialogue: 0,0:05:33.27,0:05:35.58,Default,,0000,0000,0000,,in any shot that has\Nthe two of them together,
Dialogue: 0,0:05:35.58,0:05:38.68,Default,,0000,0000,0000,,ending with this one.\NTHAT is good directing.
Dialogue: 0,0:05:39.27,0:05:41.90,Default,,0000,0000,0000,,And as Fincher has gotten older, \Nhe’s actually gotten more subtle.
Dialogue: 0,0:05:41.90,0:05:44.80,Default,,0000,0000,0000,,For instance, now he’s really good\Nat using emptiness in the frame.
Dialogue: 0,0:05:44.80,0:05:46.61,Default,,0000,0000,0000,,So he’ll cut to a chair\Nwith no one in it.
Dialogue: 0,0:05:46.61,0:05:51.27,Default,,0000,0000,0000,,{\i1}--Eduardo was the president of the Harvard Investors\NAssociation and he was also my best friend.{\i0}
Dialogue: 0,0:05:51.27,0:05:53.27,Default,,0000,0000,0000,,or an empty space for an absent husband.
Dialogue: 0,0:05:53.27,0:05:55.13,Default,,0000,0000,0000,,{\i1}--That's too bad,\N we're gonna talk about this.{\i0}
Dialogue: 0,0:05:56.51,0:05:57.99,Default,,0000,0000,0000,,{\i1}And when is it gonna be finished?{\i0}
Dialogue: 0,0:05:57.99,0:06:02.30,Default,,0000,0000,0000,,He’ll build an entire scene to a moment\Nwhen someone looks into the lens, happy.
Dialogue: 0,0:06:02.30,0:06:05.34,Default,,0000,0000,0000,,{\i1}--I'm very glad to be here,\Nthank you for having me.{\i0}
Dialogue: 0,0:06:05.34,0:06:08.95,Default,,0000,0000,0000,,or terrified.\N{\i1}--Take care of yourself, Sam.{\i0}
Dialogue: 0,0:06:08.95,0:06:11.07,Default,,0000,0000,0000,,And he'll show us the inside\Nof someone's fridge.
Dialogue: 0,0:06:15.82,0:06:21.60,Default,,0000,0000,0000,,It's true that Fincher has a reputation for being \Nuncompromising, shooting 50 or 60 or 99 takes of a scene.
Dialogue: 0,0:06:21.60,0:06:26.38,Default,,0000,0000,0000,,{\i1}--Double rainbow? Oh my God,\Nwhat does it mean?{\i0}
Dialogue: 0,0:06:26.38,0:06:30.10,Default,,0000,0000,0000,,At the same time, it’s great to watch\Nsomeone who’s actually good at their job.
Dialogue: 0,0:06:30.10,0:06:34.70,Default,,0000,0000,0000,,Someone who can show the power\Nrelationship change with a single cut.
Dialogue: 0,0:06:34.70,0:06:36.45,Default,,0000,0000,0000,,{\i1}--Kill the phones.{\i0}
Dialogue: 0,0:06:36.45,0:06:38.85,Default,,0000,0000,0000,,Someone who’s willing to let\Nthis moment play in full...
Dialogue: 0,0:06:44.64,0:06:48.29,Default,,0000,0000,0000,,... or just let us watch the characters \Nwalk from point A to point B.
Dialogue: 0,0:06:48.29,0:06:53.62,Default,,0000,0000,0000,,Even if you don't like Fincher, this is someof the best craft \Nin directing right now and it is absolutely worth studying.
Dialogue: 0,0:06:54.73,0:07:00.53,Default,,0000,0000,0000,,{\i1}--I'm not the Zodiac, and if I was,\NI certainly wouldn't tell you.{\i0}
Dialogue: 0,0:07:00.53,0:07:03.39,Default,,0000,0000,0000,,And if you do like him,\Nhere is what he thinks of you.
Dialogue: 0,0:07:03.39,0:07:06.68,Default,,0000,0000,0000,,{\i1}--I think people are perverts.{\i0}
Dialogue: 0,0:07:06.68,0:07:08.77,Default,,0000,0000,0000,,{\i1}I've maintained that,\Nthat's been..{\i0}
Dialogue: 0,0:07:08.77,0:07:11.03,Default,,0000,0000,0000,,{\i1}that's the foundation of my career.{\i0}