When news of the new David Fincher/Brad Pitt film surfaced Tuesday, many people responded to the assumption that it was a joke. Yes, it was April Fool’s Day. It was a suspicious holiday that taught internet readers to take some salt grains until the calendar was safely changed to April 2nd. (Was such healthy skepticism about the rough internet-defined information more extensive in everyday life?) But most April Fools’ Day news takes a tenor of material designed to sigh with peace of mind when they realize that it’s not real. In contrast, this was a fantasy of a dream team. David Fincher plays alongside Pitt, a three-time collaborator. Once upon a time in HollywoodA few years later, following Pitt’s Cliff Booth (the role he won the Oscar), using a script other than Quentin Tarantino. Yes, once titled project Film critic Tarantino had expected it to be his last film as a writer/director before discarding it.
What felt like a joke was that it was all going on at the request of Netflix.
Tarantino has done some strange little kind of projects on the world’s largest streaming service, but there is an expanded miniseries version An Eight full of hatred Just hanging there, he clearly respects television (hell, Once upon a time in Hollywood (As much as obsessed with television production as it is in films), it’s pretty clear that he never makes a film purely for his audience. He wants to get out of the film business because he doesn’t want to make a glorious TV movie. However, Fincher has a deal with Netflix, and if this film is made, Net Tarantino will make a good movie (probably?) on payday. He won’t make Tarantino movies for Netflix, but someone else can.
Most filmmakers aren’t as loud (or loud) as Tarantino in this regard, but Netflix’s roster appears to have declined significantly in recent years. For about five years they appeared to be grabbing everyone and signed checks on dream projects from Fincher, Martin Scorsese, Coen Brothers, Noah Banbach, Jane Campion, Alfonso Quaron, Jeremy Saulnier, Stephen Soderbergh, Richard Linker, Spikeley, Charlie Koofman and others. But whether they feel burned by the streamer’s unmoving indifference in the theatre release (they promised) Irish Wide release; Netflix hasn’t had too many marquee filmmakers on hooks until now, courted by competing streamers (scorsese, Lee and Joel Coen are doing all Apple’s subsequent projects), or less fascinated with the company’s more Blockbusters edics.
Baumbach is still there and that makes sense. His films are (usually) cheap, and (occasionally) include Netflix’s flagship Adam Sandler. But Fincher may be their biggest fame filmmaker at the moment. On the one hand, that makes sense. Fincher has never made a real franchise film. He prefers adult-oriented materials with high production value, darker tones, with big studios about cutting checks. Meanwhile, Fincher also feels like he lost his cache along with the filmzeke crowd in the Netflix era. Despite Oscar nominations and victory, Mank He was fired by many critics. killerFincher’s latest film is his greatest movie ever. I was lucky enough to catch theatrical screening, so I can prove the fact that it is much better on the big screen. Yeah, Fincher can make sharper, more refined films Panic Room or Sevenbut it doesn’t really matter if people experience it… hey, it’s kind of like a TV movie. meanwhile, Seven The IMAX re-release was a successful winter this year, with some people almost certainly not watching one or both of Fincher’s Netflix entries.
There are big differences between Fincher (or Campion, or Bambach, etc.) and Lindsay Lohan Christmas rom-com, but the current Netflix strategy under the film’s chief Danlin distinguishes itself only through your knowledgeable gestures. Anyway, they thrive. Emilia Perez After falling on Netflix, he played a full third of the year at IFC Center in Manhattan. However, the company also appears to require intense negotiations for deals that it finds easy (for example, allowing Greta Gerwig’s upcoming Narnia film to play on IMAX for a few weeks before hitting streamers). Prestige Branding is clearly another tile from the Netflix Content Library. It is also a way to keep interesting movies out of the theater. There you can drive subscribers out of your home. This new project could be a way to save the face after Tarantino puts effort into the script and then surprises himself from the director. But it’s also a major test to see if David Fincher’s film can feel like an event again, even if the cinemas aren’t involved.
Jesse Hassenger (@rockmaroond)) I’m a writer who lives in a podcasting in Brooklyn. www.sportsalcohol.com. He is a regular contributor, especially AV Clubs, Polygons, Weeks and more.
