It’s been some time since we’ve had any updates on the David Fincher-Charlize Theron Netflix investigative drama Mindhunter, but all that changes today. The new Fincher-directed series starring Jonathan Groff and Fringe alum Anna Torv has a first teaser, along with an October premiere.
On Monday, Paramount did a little housecleaning. The studio removed two major movies, Friday the 13th and World War Z 2, from its schedule, and both are currently in limbo. The World War Z sequel didn’t even have a director, so it looked like the project was being abandoned for good, or at least put on the way back burner while the studio focused on something else. But director David Fincher, who has expressed a lot of interest in the project, is reportedly still down. It’s up to the studio now.
21 years ago, audiences were floored by David Fincher’s Se7en, the compelling psychological crime thriller which became an instant classic thanks, in part, to a particularly twisted ending. But that ending, box and all, almost didn’t happen. In a new interview, screenwriter Andrew Kevin Walker reveals some interesting trivia about Fincher’s classic, which never would have achieved that status had he received the correct draft of Walker’s script.
Hollywood’s troubling pay gap problem doesn’t only apply to gender; it also applies to people of color. And when you’re both a woman and a person of color, that salary discrepancy can be twice as offensive. Just ask Empire star Taraji P. Henson, who detailed her egregious experiences with Hollywood’s pay gap in her new memoir, which reveals that she was paid about two percent of what Brad Pitt made on The Curious Case of Benjamin Button — and that’s just the start.
How many times will you be afforded the opportunity, in this lifetime, to look at Brad Pitt and say, “In your dreams”? Probably never to his face, unless your name is David Fincher, and your old pal Brad Pitt comes to ask you for a favor, and that favor happens to be directing a sequel to World War Z. Can you even imagine David Fincher directing a sequel to someone else’s movie — especially one that was just OK?
Its goofy title aside, Netflix’s Mindhunter is officially pulling off the fringe. The David Fincher-Charlize Theron Netflix investigative drama has its second lead hunting minds, as Fringe alum Anna Torv joins the series.
HBO’s loss was Netflix’s gain, or rather re-gain, as former House of Cards director David Fincher previously set his streaming return with Charlize Theron’s Mindhunter. Now, Looking and Glee alum Jonathan Groff has booked the lead role, with Fincher set to direct the pilot.
Netflix’s Making a Murderer is well on its way to some hearty true crime buzz to rival The Jinx and Serial, so why not its own True Detective as well? The streaming service has picked up a new Mindhunter series from the likes of Charlize Theron and David Fincher, going inside the FBI’s serial crime unit.
Director interviews are often quite interesting, but as it turns out, it takes a director to really get his (or her) fellow directors to open up. Spectre director Sam Mendes chatted with Steven Spielberg, David Fincher, Edgar Wright and more of your favorites, asking some of the best questions — and getting some of the most revealing and delightful answers.
In 1962, Alfred Hitchcock and Francois Truffaut spent a week in a room at Universal Studios talking about movies. That interview became the book Hitchcock/Truffaut, which proceeds systematically as the two explore Hitchcock’s career, analyzing each of his films one by one. The discussion wasn’t filmed, but the audio was recorded, and now that audio forms the spine of Kent Jones’ Hitchcock/Truffaut documentary, which doesn’t so much adapt the book as it does bring it to life onscreen. Hearing Hitchcock and Truffaut makes clear something that’s easy to forget reading words on a page: That this conversation — maybe the greatest ever on the subject of films and filmmaking — was conducted through a translator. Hitchcock didn’t know French; Truffaut couldn’t understand English. But both spoke the language of cinema, which transcends communicative limitations.