One of DiC‘s husbands (whom both DivaJulia and I agree on) is celebrating a birthday. Director David Fincher is turning the big 5-0 and I thought we’d highlight some of his impressive work.
Known for being behind the camera for films like ‘Seven,’ ‘Fight Club‘ and ‘The Social Network,’ which earned him a Golden Globe and Bafta for Best Director, he started out his career doing music videos. His first was Jermane Stewart‘s “We Don’t Have To Take Our Clothes Off” all the way back in 1986.
A couple of years later, David would work with Madonna for the first time with “Express Yourself,” inspired by Fritz Lang‘s 1927 silent epic ‘Metropolis.’
The two would work together again for “Vogue” and “Oh Father.” I wonder if he would ever put her in one of his movies.
It seems 1990 was possibly his biggest video year ever, with “Vogue,” Aerosmith‘s “Janie’s Got A Gun, ” Billy Idol‘s “Cradle Of Love” and Don Henley‘s “End of the Innocence” dominating that year’s MTV Video Music Awards in nominations and wins.
George Michael‘s “Freedom! ’90” featuring Cindy Crawford, Naomi Campbell and a number of other Supermodels was nominated for Best Direction, Cinematography and Editing at the 1991 VMAs. Oh, yeah.
As the 90s went on and Fincher focused more on movies and commercials; he directed fewer videos, but there were some standout clips like The Rolling Stone‘s “Love Is Strong” featuring the band and some gigantic models stomping all over NYC. His last was Nine Inch Nails‘ “Only“, and of course he and Trent Reznor would later work together again when Finchy asked El Rez to score ‘The Social Network’ and ‘The Girl With The Dragon Tattoo.’
How about some Bonus Brad Pitt, because we all know Brad is David’s favorite!
Lest we forget, the epically creepy and dank opening and closing sequences in the brilliant film Se7en with Nine Inch Nails AND David Bowie. This film is like a warm blanket on a cold night…that may just electrocute us if we’re not careful. Oh, but the prickly fun of it all…Closer Remixed and The Heart’s Filthy Lesson, respectively set the tone, and then leave us in a heap on the basement floor. Begging. For. More.
Oh, and one more thing…
What’s in the BOX?