An interview with Gone Girl cinematographer Jeff Cronenweth

 

“Why would you even want this? Yes, I loved you, and then all we did was resent each other and try to control each other and cause each other pain.” – Nick Dunne in Gone Girl

“That’s marriage.” – Amy Dunne

Even by David Fincher’s misanthropic standards, the jaundiced view of marriage in the director’s latest film Gone Girl is bleak. Based on the best-selling novel by Gillian Flynn, the twisting murder mystery centers on a couple (played by Rosamund Pike as the titular missing wife and Ben Affleck as her possibly homicidal husband) whose union is so festeringly rancorous that by the time the quote above is uttered it draws a laugh from audiences.

Fincher may be a misanthrope, but he hasn’t lost his sense of humor when it comes to human foibles. In Gone Girl, he swells the matrimonial acrimony until it reaches the absurd heights of pitch black comedy.

“That’s David’s sense of humor,” said Gone Girl cinematographer Jeff Cronenweth. “(He wants) laughs that, after you’ve made them, you have to ask yourself, ‘Was that appropriate for me to laugh at?'” Continue Reading ›

The Special Effects of Gone Girl

(Above left) The set-up for a “Dry-for-Wet” shot from David Fincher’s Gone Girl (2014) depicting the imaginary watery grave of a sociopathic femme fatale (played by Rosamund Pike). (Above right) The final images from the film. The behind the scenes pic comes courtesy of the November issue of American Cinematographer magazine. Read the mag’s feature on the film here.

An early adopter of digital camera technology, director David Fincher continued to push the pixel boundaries by making Gone Girl (2014) the first major film to use the Epic Red Dragon as its main production camera. The Dragon sensor allowed Fincher to capture footage in 6K resolution. Though most audiences will experience the film in either a 4K or 2K version, that extra information gives additional leeway in post-production to create the type of invisible computer generated effects shown below. Continue Reading ›

Behind the Scenes: Exodus – Gods and Kings (2014)

As much as I loved hunting for plastic eggs and stuffing wads of Peeps into my mouth, my favorite Easter tradition as a kid was watching the network TV broadcast of The Ten Commandments (1956), which took roughly 14 hours with commercials. In keeping with that tradition of consuming Old Testament tales close to Jesus-centric holidays, Ridley Scott’s 150-minute, $140-million version of Moses’ biopic hits theaters tomorrow.

Continue Reading ›