A Quote by Robert Graysmith

I think David Fincher should probably be an 18th Century Landscape painter because he has this temperament. — © Robert Graysmith
I think David Fincher should probably be an 18th Century Landscape painter because he has this temperament.
Painter after painter, since the beginning of the century, has tended toward abstraction. First, the Impressionists simplified the landscape in terms of color, and then the Fauves simplified it again by adding distortion, which, for some reason, is a characteristic of our century.
I wanted to create a believable feeling for 18th Century reality in the Perfume: The Story Of A Murderer. I didn't want this typical film feel of strange people in strange costumes, not really knowing what to do or how to move. If you put an 18th Century costume on Alan Rickman, it looks like he's been wearing it forever because he inhabits the stuff. He is a character that can really travel in time as an actor and transform into this 18th Century person with seemingly no effort.
The two things that got everyone's attention about the 'House of Cards' deal was the two-season commitment and David Fincher. After David Fincher directs a series for Netflix, no one else can say, 'Well, I'm not going to direct a series for the Internet.'
We were really into what Cliff Martinez did with 'Drive;' we were into what Trent Reznor and Atticus Ross were doing with David Fincher. When I read about how they worked with David Fincher, they're composing hours and hours of music and then he's working and figuring it out.
Only the human figure exists; landscape is, and should be, no more than an accessory; the painter exclusively of landscape is nothing but a bore.
If you go to old houses on Long Island you will see painted Chinese wallpaper, which was big in the 18th century. Throughout history, notable, established families have always tried to link to the 18th century.
I love David Fincher and I think he's a genius.
Although the stories are very present in my book, and very present in my mind, what I was most interested in was the question of why it had attracted such a following in the 18th Century. It's less mysterious that it attracted a following in the Romantic period, and in the 19th Century, but the early 18th Century when the Rationalists fell in love with it...that was mysterious. What I wanted to look at was the forms of enchantment.
When I did 'The Social Network,' David Fincher told me that I managed to make a thankless character pretty awesome. I thought that was really cool because I think he's really cool.
When I did 'The Social Network', David Fincher told me that I managed to make a thankless character pretty awesome. I thought that was really cool because I think he's really cool.
People said that 'Fight Club' would be impossible to turn into a movie, but I think David Fincher loved that challenge.
[David Lean's] images stay with me forever. But what makes them memorable isn't necessarily their beauty. That's just good photography. It's the emotion behind those images that's meant the most to me over the years. It's the way David Lean can put feeling on film. The way he shows a whole landscape of the spirit. For me, that's the real geography of David Lean country. And that's why, in a David Lean movie, there's no such thing as an empty landscape.
One layer was certainly 17th century. The 18th century in him is obvious. There was the 19th century, and a large slice, of course, of the 20th century; and another, curious layer which may possibly have been the 21st.
David Fincher is a genius.
I'm not doing a Mulder, there was no character reference-point. I think Mark Buchman shot it very David Fincher, but we did not know what the [X-Files] show was going to be.
I always say I'm no different than a 19th-century landscape painter, it's just that we have these incredible tools to look at the Earth and look at the world around us differently.
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