#jeff cronenweth

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Gone Girl (David Fincher, 2014).

[dainpo]

[finchers-ipad]

THESE ARE MY FAVOURITE SHOTS BY JEFF CRONENWETH IN FINCHER’S FILMS, HIS CINEMATOGRAPHY IS SO GORGEOUS I WANT TO EAT IT

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Down With Love (2003)

Directed by Peyton Reed

Cinematography by Jeff Cronenweth

[moviemosaics]

We Make Movies Better

directed by Jeff Cronenweth and Tim Cronenweth, 2021

[astolfocinema]

Gone Girl (2014) ------------------ dir. David Fincher cin. Jeff Cronenweth cs. USA

[omnivorouscinephilia]

The Killer: Fincher's Further Descent into Hitchcockian Thrillers

David Fincher's latest thriller is finally out on Netflix! It's good, but feels like a disappointment considering the directors esteemed recent work. Consider watching the film and then reading my review!

A nameless assassin (Micheal Fassbinder) waits in an abandoned building, day and night, to kill an unnamed target. He narrates to us, or perhaps to himself, that it is exhausting doing nothing, maintaining a routine of surveillance and existence before a killing. He listens to playlists based on his mood, each likely populated exclusively by The Smiths songs, while stating mantras to himself…

[the-cineblr-guy]

Gone girl (2014) dir. David Fincher

[plasticfangth]

why is fight club so green

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GONE GIRL (2014)

Director: David Fincher Cinematographer: Jeff Cronenweth

[theersatzcowboy]

Down with Love (2003)

This tongue-in-cheek parody of the early 60s films of Rock Hudson and Doris Day went under-appreciated on release, despite the delightful chemistry and gumption of era stars Renée Zellweger and Ewan McGregor (both never better) AND the comedic stylings of Gay Icons David Hyde Pierce and Sarah Paulson. It’s aged like a fine wine.

Director: Peyton Reed

Starring: Renée Zellweger, Ewan McGregor, Sarah Paulson, and David Hyde Pierce

Cinematographer: Jeff Cronenweth

Costume Designer: Daniel Orlandi

[vibe-stash]

The Girl with the Dragon Tattoo (2011) Director: David Fincher Cinematography: Jeff Cronenweth Production Design: Donald Graham Burt

[byneddiedingo]

One Hour Photo (Mark Romanek, 2002)

Cast: Robin Williams, Connie Nielsen, Michael Vartan, Dylan Smith, Gary Cole, Evie Daniels, Paul Kim Jr., Eriq La Salle, Clark Gregg. Screenplay: Mark Romanek. Cinematography: Jeff Cronenweth. Production design: Tom Foden. Film editing: Jeffrey Ford. Music: Reinhold Heil, Johnny Klimek. 

Robin Williams gives a fine performance in One Hour Photo, but it remains just that: a performance, a tamping down of his familiar manic presence into the persona of the repressed, furtive Sy Parrish. He works in the photo processing department of SavMart, a vast and impersonal big box store. He lives alone, and his chief human contact is with his customers, who bring him their rolls of film to be developed. Their snapshots give him a glimpse into the lives of people who have families and children and celebrate events like weddings and birthdays. He also gets a glimpse of the secret lives of people, who bring in shots revealing their sexual proclivities, but he chooses to concentrate on the happy families, especially the Yorkins: the beautiful Nina (Connie Nielsen), her handsome husband, Will (Michael Vartan), and their cute 9-year-old son, Jakob (Dylan Smith). His admiration for the Yorkins grows into an obsession, and from that writer-director Mark Romanek spins the plot. One Hour Photo is supposed to be a thriller, in which we watch uneasily as Sy's obsession curdles into something malevolent. But by showing us Sy talking to the police at the start of the film, he deprives us of that surprise. There's a slackness in the narrative that works against the suspense, and Sy's breakdown and eruption into violence feels less like an integral part of the character than a plot device. Romanek also gets distracted into making a satiric point about the soullessness of the megacorporate entities embodied by SavMart, turning the store manager (Gary Cole) into the villain who pushes Sy over the edge. For many people, however, watching Williams perform is enough to overcome the movie's flaws. 

[finchers-ipad]

does David fincher have any upcoming movies?

the latest news that’s come out is he’s working on a ‘Strangers on a Train’ remake that he’s been working on since 2015. with Gillian Flynn adapting the novel, Ben Affleck starring (maybe producing?) and maybe Jeff Cronenweth as DP but i don’t think that’s confirmed.

there’s also a rumour that he’s working on a ‘Squid Game’ remake and i don’t even want to believe that is true.

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A Million Little Pieces (2019)

Directed by Sam Taylor-Johnson

Cinematography by Jeff Cronenweth

[vini-monteiro]

★★★★☆

In "Fight Club", David Fincher didn't just cement his status as one of the most groundbreaking directors of his time, he also dropped a cinematic bomb that's still exploding. Adapting Chuck Palahniuk's novel with Jim Uhls' razor-sharp script and Jeff Cronenweth's stunning visuals, Fincher created a masterpiece that keeps us hooked.

The film centers around the Narrator, a high-powered executive trapped in a life of chronic insomnia and profound unhappiness. Seeking solace in a support group for the terminally ill, he encounters the equally troubled Marla Singer. His life is irrevocably altered when he meets Tyler Durden, a charismatic soap salesman with a penchant for anarchy. Together, they establish a secret fight club, a haven for men to unleash their repressed anger and find a sense of purpose through violence. As the club evolves into a subversive movement challenging societal norms, the Narrator finds himself losing grip on reality. The lines between himself and Tyler begin to blur, ultimately revealing a shocking truth about his own identity.

David Fincher's directorial career hit a major turning point with the release of "Fight Club". A meeting with Fox executives Laura Ziskin and Bill Mechanic, and the discovery of Chuck Palahniuk's novel, marked the beginning of a new era in his filmmaking. While "Se7en" had already breathed new life into the psychological thriller genre, "Fight Club" cemented Fincher's reputation as a visionary director. Initially met with resistance, the film became a cultural sensation and a milestone in cinematic history.

Jim Uhls (Jumper) crafted a meticulously precise adaptation of Chuck Palahniuk's "Fight Club", with input from "Se7en" screenwriter Andrew Kevin Walker and the film's leads, Brad Pitt and Edward Norton. The script's non-linear structure mirrors the Narrator's fractured mind, a device intensified by David Fincher's rapid cuts and other cinematic techniques, creating a disorienting yet immersive experience. While the non-linear narrative, with its time jumps and surreal elements, can be confusing, I believe these elements could have been handled more clearly or used more sparingly.

Edward Norton's portrayal of the Narrator is a masterclass in nervous energy and vacant-eyed despair. He expertly conveys the character's desperate longing for change, delivering a performance that is both compelling and nuanced.

Helena Bonham Carter shines as the enigmatic Marla Singer. Her portrayal of this uninhibited and vulnerable woman is both captivating and complex. She shares a palpable chemistry with Edward Norton, and her character serves as a powerful catalyst for the protagonist's transformation.

Brad Pitt's Tyler Durden is a magnetic and enigmatic figure. The actor perfectly captures the character's duality, balancing his charisma with a sinister undercurrent. Tyler Durden is undoubtedly one of Pitt's most iconic roles.

David Fincher and cinematographer Jeff Cronenweth crafted a brutal visual style characterized by muted, saturated colors and stark contrasts, predominantly in shades of gray and brown. This aesthetic mirrors the characters' alienation and discontent. The camera's intimate perspective follows the protagonists, delving into their claustrophobic environments and capturing the raw intensity of their violent confrontations. The often low-key, high-contrast lighting underscores the characters' duality and the film's tense atmosphere.

Rather than relying heavily on visual effects, "Fight Club" opts for a more grounded, gritty aesthetic to reflect the psychological turmoil of its characters. The elaborate fight makeup, emphasizing blood and brutality, heightens the sense of chaos and violence. Moreover, subtle image manipulation, including the insertion of subliminal elements, contributes to the film's unsettling atmosphere and its deliberate blurring of the lines between the film and the audience.

The brutally realistic fight scenes are punctuated by surreal, hallucinogenic sequences that blur the lines between fantasy and reality. The claustrophobic, decaying sets amplify the feelings of isolation and despair.

The soundtrack, by The Dust Brothers and others, perfectly captures the film's atmosphere of angst and rebellion. The music, ranging from alternative rock to electronic, creates a frenetic and intense soundscape.

The combination of David Fincher's direction, Jim Uhls' clever script, and standout performances by Edward Norton, Brad Pitt, and Helena Bonham Carter, coupled with a striking visual style, results in a truly unique and unsettling cinematic experience. "Fight Club" non-linear narrative, graphic violence, and exploration of the male psyche make it a complex and thought-provoking film. In our increasingly individualistic and alienated world, the questions posed by this film remain pertinent, challenging us to find our own way and create a more just and compassionate society.

This text is translated with artificial intelligence, for better understanding, check the original language of the text in Portuguese.