The director is one of Hollywood’s most unpredictable film-makers. He discusses making a shamelessly pulpy ‘B-movie’, the misogynistic legacy of Fight Club – and the urge to film 100 takes
or anyone who thought David Fincher’s last film, Mank, was the beginning of a new highbrow phase for the director, his latest offering will be something of a jolt. Whereas Mank – on the writing of Orson Welles’ Citizen Kane – was a sumptuous, substantial, awards-friendly hymn to old Hollywood , his new film, The Killer, is a pulpy, violent, almost wilfully two-dimensional hitman thriller adapted from a comic book. “I will never be a more mature film-maker.
Did he relax his multiple-take ethic a little on this film? “Nope,” he replies. “Listen: I don’t slum. I can’t really work another way. I just feel like time in front of the camera with the actors is what we’re here to do. Everything else is nonsense.”He is especially full of praise for Tilda Swinton, who has a challenging-looking night-time scene in the snow. “Oh,” he sighs. “We shot probably 26 takes of that. It was really complicated. But she’s so game. It was probably 15 degrees below zero.
Fincher’s career has always wavered between highbrow and pulpy. He didn’t go to film school, instead cutting his teeth in music videos, for Madonna , George Michael and Nine Inch Nails . It gave Fincher his technical knowhow and eye for an arresting image. But there are some recurring themes in his work, such as troubled, outsider white males. They are often violent , or at least wilfully anti-establishment , and sometimes serial killers ; avowed misogynists and male supremacists in the
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