{"id":173,"date":"2019-05-08T12:49:33","date_gmt":"2019-05-08T12:49:33","guid":{"rendered":"http:\/\/widezine.net\/teste\/?p=173"},"modified":"2026-05-30T10:23:30","modified_gmt":"2026-05-30T02:23:30","slug":"david-fincher-wants-to-destroy-the-concept-of-the-half-hour-and-hour-long-show","status":"publish","type":"post","link":"https:\/\/widezine.net\/zh\/news\/david-fincher-wants-to-destroy-the-concept-of-the-half-hour-and-hour-long-show\/","title":{"rendered":"David Fincher Wants to Destroy two Concepts"},"content":{"rendered":"<p class=\"wp-block-paragraph\">Fincher and Tim Miller talk about their decade-long journey to making the new Netflix animation anthology \u201cDeath, Love and Robots.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The concept of an anthology animated short series, made by different artists from around the world, was a near-impossible pitch for executive producers David Fincher and Tim Miller to sell. Following the SXSW premiere of six of their 18 shorts \u2014 which will air on Netflix under the \u201cLove, Death and Robots\u201d banner \u2014 the duo revealed they had received countless rejections (though one unnamed studio said yes, before, as Miller described it, \u201cthey chickened out\u201d) until the show eventually landed at Netflix.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cIt was a very difficult thing to pitch a movie studio because it\u2019s not often we\u2019ll see it with all the credits in the middle,\u201d said Fincher, referring to the fact that the 90-minute program the SXSW audience had just watched included end credits following each of the six shorts. \u201cYou want to move on to the next. For a streaming service it\u2019s perfect.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The idea that the shorts could be different lengths and have no narrative connective tissue was perfect for the on-demand nature of a subscription streaming service. According to Fincher, dating back to \u201cHouse of Cards\u201d and \u201cMindhunter,\u201d his conversations with Netflix, including Chief Content Officer Ted Sarandos, have been centered around the need to break free of the half-hour and hour-long format.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"LOVE DEATH + ROBOTS | Official Trailer | Netflix\" width=\"1290\" height=\"726\" src=\"https:\/\/www.youtube.com\/embed\/wUFwunMKa4E?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWe have to get rid of the 22-minute [length of a half-hour show with commercials] and 48-minute [length of an hour-long show with commercials] because there\u2019s this Pavlovian response to this segmentation that to me seems anathema to storytelling,\u201d said Fincher. \u201cYou want the story to be as long as it needs to be to be at maximum impact or entertainment value proposition.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fincher said the reason \u201cHouse of Cards\u201d called each episode a \u201cchapter\u201d was because he loved the concept of setting the remote down on the bedside table being the same as setting a book down. He also loved the fact that the first season of his series \u201cMindhunter\u201d contained a 34-minute chapter, which was significantly shorter than the others.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201c[That 34-minute chapter] tells a story and no one complained,\u201d said Fincher. \u201cI don\u2019t think the value proposition should be, \u2018Are you going to distract me for 22 minutes, because if not I\u2019m going to go to network TV.\u2019 It should be, \u2018How long do you need?\u2019 And if you need three minutes, great.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Miller, the director of \u201cDeadpool\u201d and founder of the animation\/visual-effects company Blur, said the idea behind \u201cLove, Death and Robots\u201d was hatched 10 years ago, when he first met Fincher.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cDavid said I\u2019ll help you with something if you want to do it,\u201d said Miller. \u201cAnd I laid out a bunch of projects, one of them was an animated anthology and he said, \u2018That\u2019s the one you should do, because we can try shit, we can get crazy, we can get a lot of other directors in the mix, and do some really wild visual stuff.\u2019 He was drawn to it immediately.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Added Fincher, \u201cI try to get involved with things I want to see. I try to get involved with things that may or may not actually exist, or that we may not know that there is an audience for this yet.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fincher and Miller, who joked that they often have very different taste in stories and even genres, drew from a wide variety of short stories. After acquiring the story rights, Miller would do a first pass on the script adaptations just to get an understanding of the scope and scale of each short. They would then approach their favorite small animation companies from around the globe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cThere are a lot of artists working at small companies that can\u2019t do feature length [films],\u201d said Miller. \u201cThat\u2019s a huge weight to carry around, but they do short work of very high quality and so we knew these people, many of them were [Blur\u2019s] competitors and they\u2019re just filled with people that don\u2019t want to do talking-animal films. We knew who they were, we knew that they did great work.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The animation companies and artists that really took to a particular story, and came back with storyboards and concept designs, were often given the the freedom to run with a project. Fincher and Miller fully expected the stories to change and for the artists to make each their own.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cWe treat people the way we want to be treated,\u201d said Fincher. \u201cWhich is tell us how it\u2019s going to work and tell us why you made these decisions, and then you let people do what they do.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>The SXSW Film Festival takes place March 8\u201317. \u201cLove, Death and Robots\u201d airs on Netflix March 15.&nbsp;<\/em><\/p>","protected":false},"excerpt":{"rendered":"<p>Fincher and Tim Miller talk about their decade-long journey to making the new Netflix animation anthology \u201cDeath, Love and Robots.\u201d The concept of an anthology animated short series, made by different artists from around the world, was a near-impossible pitch for executive producers David Fincher and Tim Miller to sell. Following the SXSW premiere of [&hellip;]<\/p>","protected":false},"author":2,"featured_media":5770,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[178,182,263,286,376],"class_list":["post-173","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-david-fincher","tag-death","tag-love-and-robots","tag-netflix","tag-tim-miller"],"blocksy_meta":{"styles_descriptor":{"styles":{"desktop":"","tablet":"","mobile":""},"google_fonts":[],"version":6}},"_links":{"self":[{"href":"https:\/\/widezine.net\/zh\/wp-json\/wp\/v2\/posts\/173","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/widezine.net\/zh\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/widezine.net\/zh\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/widezine.net\/zh\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/widezine.net\/zh\/wp-json\/wp\/v2\/comments?post=173"}],"version-history":[{"count":1,"href":"https:\/\/widezine.net\/zh\/wp-json\/wp\/v2\/posts\/173\/revisions"}],"predecessor-version":[{"id":5771,"href":"https:\/\/widezine.net\/zh\/wp-json\/wp\/v2\/posts\/173\/revisions\/5771"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/widezine.net\/zh\/wp-json\/wp\/v2\/media\/5770"}],"wp:attachment":[{"href":"https:\/\/widezine.net\/zh\/wp-json\/wp\/v2\/media?parent=173"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/widezine.net\/zh\/wp-json\/wp\/v2\/categories?post=173"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/widezine.net\/zh\/wp-json\/wp\/v2\/tags?post=173"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}