“The screen is a magic medium. It has such power that it can retain interest as it conveys emotions and moods that no other art form can hope to tackle.” –Stanley Kubrick.
Film director David Fincher is a masterful director, he really is one of the best working today, and his work resume and skills include award winning music videos, with the likes of The Rolling Stones, Madonna, Michael Jackson, Aerosmith, George Michael, Roy Orbison, Iggy Pop and Nine Inch Nails. He also is the best when it comes to using CGI,(Computer Generated Images) in a imperceptable yet very effective way.
PLUS HE IS FREE AT THE MOMENT!!!!!! AS IS JEREMY KAPONE,
THE GENIUS PICTURED ON MY BANNER ABOVE.
Previously I had expressed my opposition to CGI use in this film, yet after seeing what David Fincher has done with films like The Zodiac, and the fact that he personally started out working with George Lucas at ILM and was hands on with making the SFX for films in the Star Wars and Indiana Jones series, and so was not just picking the best teams as a director, but actually knows about SFX himself, I have changed my mind.
Plus I now realise there is the need for CGI.
Contrary to my idealism in wanting everything to be filmed without CGI, i now see that if the film is going to have the spectacle and scope it needs to compliment the majesty of Queen as a live act, the use of CGI, to recreate certain stadiums Such as the old WEMBLEY at Live Aid and the various massive arenas all over the world from USA to EASTERN EUROPE AND JAPAN, AND SOUTH AMERICA- all having to reflect accurate period detail of the 1970′s and 1980s, not to mention accurate period detail of the various countries and cities Queen toured and played these arenas and stadiums in, The use of CGI is going to be inevitable to achieve all this.
To accurately portray the life that Freddie lived, his constant touring life, which took him all over the globe in a never ending series of massive stadium performances, the use of CGI to recreate accurate depictions that are correctly reflecting the 1970′s and 1980 period detail of the cities and venues, is going to be essential.
Here are just some of the historic world record breaking tour venues that were a great victory in Freddie and Queen’s career, that will have to be recreated by the use of CGI in many cases.
The Free Hyde Park concert in 1976 (pictured left) was organised by a young Richard Branson ( see freddie Fox in cast)
So then the question is which director can do this well, who is renowned for their brilliance in this department, using the tool of CGI so it is literally imperceptible unobtrusive and effective?
The Answer to that question is Director David Fincher.
Here is an excerpt from article that describes what Fincher does with CGI
Perhaps the most disturbing thing about Fincher is his proven ability to buy artistry at $7000 a second. The idea that a film can cost $50 million-plus inspires nausea in most critics and it is tempting to bury our heads in the sand and pretend that all that cash doesn’t really make a film any better. But, while many directors with fat studio wallets are falling over themselves to get the biggest bang for their bucks, Fincher is lacing his films with effects that are subdued, moody, and often transparent. He is mapping out impossible camera movements with CGI, commissioning intricate sets that would make Dario Argento drool, tweaking every last detail in postproduction, and re-shooting copious amounts of footage after the principal photography has wrapped. He appears to have the studios figured out and is able to make films the way he wants, with or without the final cut.
Fincher cultivated a healthy respect for big-budget filmmaking as a teenager when he landed a dream job at Industrial Light and Magic. He worked on special effects cinematography for films like Return of the Jedi (1983) and Indiana Jones and the Temple of Doom (1984). As if this experience didn’t already place him at the chewy centre of his generation’s pop culture, he then went on to direct music videos for, among others, Madonna, Michael Jackson and the Rolling Stones. Fincher also found a place directing lavish commercials for corporations like Nike, Levi’s, Pepsi, and Coca-Cola; this profession has since sheltered Fincher from the whims of the studios, giving him time to choose his projects and negotiate a decent amount of control over them. It has also provided those who disapprove of Fincher’s films with a convenient justification. There are dissenters who simply object to all “films of quality” and Fincher’s work with commercials and music videos leads him to produce films with extremely precise lighting, editing, and décor.
Fincher is the best of the group of music video directors who moved on to feature films in the ’90s. He outshines collegues Michael Bay (Bad Boys and Bad Boys II), David Kellogg (Cool as Ice and Inspector Gadget), Neil LaBute (In the Company of Men and Your Friends & Neighbors) and others. In fact the only other director this writer can put as an equal of his group would be Antoine Fuqua.
Fincher uses CGI to great effect usually when he wants a shot too difficult for a camera. You would be hard pressed to notice the difference between live action and CGI unless you were looking intensely for it.
“For a long time, I held out for this idea that we were going to find two 6-foot-5, 220-pound scullers who were going to be able to act,” he told the news outlet. “So we looked and we looked and we looked and finally…I just said, this is crazy….We need one person to play two people.”
Fincher Created this technique!
Fluid tracking camera which can access anywhere; a digital age innovation in camera movement pioneered by David Fincher and Kevin Tod Haug along with BUF Paris (perhaps inspired by earlier developments of Max Ophüls and Stanley Kubrick).
He knows about filming rock acts on stage and lighting them,
and he knows about shooting music videos, this is obviously going to be essential experience when creating recreations of iconic Queen shows and The Iconic Queen music videos, from 1975′s shooting of Bohemian Rhapsody, a real period piece, to the DeMille-like Radio Ga Ga , and other 80′s epics and soap operas.
Oh, and i nearly forgot.. he knows how to make Movies.
At the 1990 MTV Video Music Awards, three out of four nominees for Best Direction in a Video – “The End of the Innocence” by Don Henley, “Janie’s Got a Gun” by Aerosmith, and “Vogue” by Madonna – were directed by him (“Vogue” won.).
David Fincher on making a marathon 13 Hours of tv FOR Netflix’s 26 hour U.S.A version of The British series”House of Cards”
This needs re-creating;
1977 The Queen’s Silver Jubilee London.
For this occasion, Queen designed a lighting rig in the shape of a giant replica Royal Crown that rose over their stage during their 1977 European and U.S.A Tour, in celebration of Queen Elizabeth II Jubilee of that year.
a specially modified Crown lighting rig that was first unveiled at the Earls Court gigs in June.
King Kong as Fred Astaire in Biopic Rumour , sensationally Squashed by the films Producer.
Tagged: 20000 Leagues Under The Sea, Ben Affleck, Cleopatra 2013, David Fincher, Girl With The Dragon Tattoo, Gone Girl, House Of Cards, Jeremy Kapone, Leith Hall, Live Aid, Locations, The Freddie Mercury Biopic, The Freddie Mercury biopic script