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Daniel Craig & Rachel Weisz: 'Dream House' First Look!

Daniel Craig & Rachel Weisz: 'Dream House' First Look!

Check out this first look shot of Daniel Craig and Rachel Weisz together in their upcoming film Dream House!

Synopsis: A couple (Craig and Weisz) relocates their family to a quaint New England town. But as they settle into their new life, they discover their perfect home was the murder scene of a mother and her children. And the entire city believes it was at the hands of the husband who survived. When Will investigates the tragedy, his only lead comes from Ann Paterson (Naomi Watts), a neighbor who was close to the family that died. As Will and Ann piece together the disturbing puzzle, they discover that the story of the last man to leave Will’s dream house will be just as horrifying to the one who came next.

Dream House is set to hit theaters on September 30th!

Bigger pic inside…

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197 Comments

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Daniel is Hot @ 02/01/2011 at 11:22 am

Yes, I am sure we all know why he was happy. Nice car!

second that @ 02/01/2011 at 1:18 pm

to 149 @ 02/01/2011 at 12:32 am

sorry you don’t believe me but that’s ok. you don’t have to. but for the record i do know people who work with MGM. and i do know that if they can give me information they will. i wasn’t going to tell anyone this but i think you should know. when i mentioned this board one of them told me and i quote “i stopped telling those people on that board anything a long time ago and i’m not the only one” when i see him again i’m going to ask him why; if he’ll tell me. whether i tell anyone here his reason(s) that i can’t tell you. i’ve discovered that if someone says something on this board that you don’t like they get jumped on. life is too short for that.

Is Rachel still in LA? Hope so . When is she starting on her next project – Page 8?
Month of March is going to be wonderful – we have DH re-shoots with our 2 love birds, their cameo in that hungarian movie in Budapest………wish we could see them together though.
Hope we get some pics from Toronto. shouldn’t the pappz be hotfooting over to Toronto now that we all know they both will be there?!

Thanks Elise. That pic is just so YUMMY!!!

Hi Guinness

“now I can sleep with that visual of him smiling at me…thinking…”aaaw Guinness, you can’t go everywhere with me! I will call you…”. thx Dan.”

LOL! Lovely thought…and I bet you had some very sweet dreams :)

“you are NOT hooked up to D2d? its worth it, just dont’ get bannnned…”

No, I’m not on d2d – being on JJ keeps me busy enough!

“I will smother James with my thighs…ah, has that been done?”

I don’t think that has been done in any mainstream film ;)

“tomorrow we are supposedly getting the snow storm of the decade”

Stay safe!!! Stock up on groceries and toilet paper, fill up the kettle and a few bottles of water (just in case those pipes go), and bring out the board games for the kids! Oh, and keep the cats in!

“just put it on a sled and there ya go……”

Let me call Rudolph…

to Fio

“The eyes are as eloquent as the tongue!! Right?”

Oh I bet his tongue is…very eloquent indeed *grin*

“Alright, I’m gonna sit astride Daniel :)”

Guinness and her smothering thighs, you sitting astride Daniel…a lot of guys would pay a fortune to see this – with scenes like that Bond23 would make more than the last two Bond films together!

wow! you are correct Mendel–that a hot scene to melt the friggin snow coming here tomorrow! thx for spreading that _scene_out for us..*jezuus, i can’t stop!*

and i would much rather have Daniel’s “eloquent tongue” in my mouth rather than his eyeballs–so, Fio—no, the eyes are leading and decieving but not eloquent in the mouth as the tongue, IMO, of course. love yez!!!

seriously, we are getting way too much snow. not sure where it is all gonna go…… sledding ! i will send a picture of us playing in the snow—snow people…and stuff.

to poster 132 @ 02/01/2011 at 9:50 pm

@201:
The original poster (#79) referred specifically to NEW YORK LAW in their post, NOT UK law of any kind.
#79 fabricated specific, but again false, property distribution laws ‘supposedly’ active and enforced in New York State, but in reality these laws do not even exist in New York State.
# 79 was saying that those fabricated laws were the ones being enforced against Daniel to give her ‘entitlements’.
No such thing. Not even close!

@ # 153

Rachel is in London!!!

to poster 139 @ 02/01/2011 at 10:04 pm

@to 138:
Yes California IS a community property state, and what you say IS true, IF the couple in question is MARRIED/were Married, and Daniel and bleeeeech were NOT married!
California’s community property law ’50/50′ distribution of what they made while together as a ‘married’ couple …that law does not apply ! They were not married in California, in New York or anywhere else. Their residence was not in California, but in the UK. And only five years together is not considered ‘common law marriage ‘ under any state in the US.

to second that @ 02/02/2011 at 3:16 am

LOL, if you have to ask your friend to find out why he has stopped posting his “insider knowledge” here, I assume you are not very clever. This site is full of psychos and know-it-alls…..
And yes, Iike to read all that crazy stuff, because it’s very entertaining if you like crappy entertainment like I do…..

Hi, smoother
Oh, she’s shooting? In London?
Hi, Mendel
I’m sure Daniel is a master of “tounging”, so he is an experienced kisser :)
She having excessive sexual desire or appeal, but the enticing appeal of something alluring but potentially dangerous… Gee!!
Kim Kardashian wants to be a Bond girl
http://www.youtube.com/watch?v=QjeGG-wb6mc
Hi, Guinness
“i will send a picture of us playing in the snow”
I’m willing, even eager!!
So, he looked a likely man for the Bond villain, and it’s highly likely possibility! It’s fulfil my expectations.

The new Bond villain? Javier Bardem is intrigued
http://latimesblogs.latimes.com/awards/2011/02/the-new-bond-villain-javier-bardem-is-intrigued.html

Oscar nominee Javier Bardem is notoriously difficult when it comes to getting him to commit to a film, but he admits he has just been offered a part that will be hard to turn down.

Bardem recently met with director Sam Mendes to talk about playing the villain in the next James Bond film, temporarily titled “James Bond 23” and set for a Nov. 9, 2012, release.

The actor, who is Oscar-nominated for his lead work in the Spanish-language drama “Biutiful” and who won in 2008 for another villainous role in “No Country for Old Men,” hasn’t said yes to Mendes — yet. He wants to read the screenplay first. But, judging from the grin on his face when we spoke on Monday, he’s very open to the idea.

“I’m a huge fan of the James Bond saga,” Bardem says. “When I was little, I went watching Mr. Connery doing James Bond with my father. Who in the world would think I’d be in one of those movies?”

The deal breaker for him, if there is one, will be, as always, if the material doesn’t hold up. But Bardem says he was intrigued by what Mendes told him at their meeting.

“They’re changing the whole thing, the whole dynamic,” Bardem says. “I’d be playing Bond’s nemesis, yes, but it’s not that obvious. Everything is more nuanced. It’s very intriguing.”

And the escapism of the Bond franchise would seem a solid fit for an actor newly determined to leave his work behind when he goes home at night.

“But who knows? Maybe I will go back home saying, ‘I have the world in my hands,’” Bardem laughs. “Evil can be very seductive.”

– Glenn Whipp

SO BORING @ 02/02/2011 at 1:31 pm

MR. BOND IS ALREADY DOING FAT BUTT!!!! HAHA WHY NOT PUT THE BABY RHINO(PLASTY) IN THE MOVIE!!!! HAHA I COULD GIVE A BIG BUTT!!!! HAHA RHINO CAN EVEN WIN THE OSCAR FOR BEST CREATURE FEATURE!!!!!! HAHA

LOVE,
THE DOG FACE BOY HAHA

SO BORING @ 02/02/2011 at 1:51 pm

U WOULD NEVER BELIEVE THIS BUTT, “RHINO TAKES THE CRAP OF HIS LIFE.” NOW ON YOUTUBE!!!!!! HAHAHA

LOVE,
I HOPE U GOT PLENTY OF CHARMIN!!!!!! HAHA U GOING TO NEED IT!!!! HAHA

SO BORING @ 02/02/2011 at 2:04 pm

U GO CHAMP!!!!!!!!!! HAHAHA

LOVE,
THE STUD, THE STEED, THE OH MIGHTY, THE MOST POWERFUL ONE ECT, ECT!!!!! HAHA

Hi Guinness

“that a hot scene to melt the friggin snow coming here tomorrow! thx for spreading that _scene_out for us..*jezuus, i can’t stop!*”

Hahaha, don’t stop!

“i would much rather have Daniel’s “eloquent tongue” in my mouth rather than his eyeballs”

Ewwww, lol!

“seriously, we are getting way too much snow.”

Stay safe!

“i will send a picture of us playing in the snow—snow people…and stuff.”

Oh do! Hope you have plenty of hot soup in the house!

to Fio

“The deal breaker for him, if there is one, will be, as always, if the material doesn’t hold up. But Bardem says he was intrigued by what Mendes told him at their meeting.”

That sounds really good…intriguing ;)

“Bardem laughs. “Evil can be very seductive.”

He’d be such a good baddie, and yes, seductive too!

Here’s a great interview of David Fincher – gives a real flavour of the man:

http://www.guardian.co.uk/film/2011/feb/02/david-fincher-social-network-oscar

(and Dan is mentioned…very briefly)

hye! just missed you…your link didn’t work for me here, it may just be available in the UK. strange tho.

thx for the advice…I love my chicken soup i made–that is strange, could you smell it? smells like my grandma’s house…when she was still around. Love it. And pic’s tomorrow of the incredible snow…i actually got a ride to work in a big truck, so no play time, EVERYTHING was closed here. I think we are still going to get another 6 inches to total about 14 inches on top of what was already here!! safe is fun, yes, i am a responsible adult. when i want to be. blah

and thanks fio– i have that article copied and ready to paste, but alas….no other news either. On Dan anyway. *me on Dan*. I mean, no NEWS on Dan anyway. *nah nah*

and if they made Sherif look so different, can you imagine what Javier will look like? yum. he will have lots of “product” to slick back his hair, and will he have a physical change? hhhhmmm. wouldn’t kick him out of a sand pile nekkid either!!! But Dan is my one and only…. star-crush!

i need sleep. ciao, OH—you stay safe for the beginning of your wkend thurs—-say hi to Rachel for me… did Dan get back home yet? all flights on East coast are shut…

Hi, smoother
Thanks for the pic/proof :)
To be sure, she’s in London!
Hi, Mendel
Thanks for the article!!
After a while, we will be able to see the trailer and the poster of “Dragon”. Maybe…in March?
As for the poster, Daniel is half-hidden behind Rooney…she is naked from the waist up. But we will never see it… too bad!
Wait! If Daniel is naked from the waist up instead, studio might permit it…but you know that’s my cup of tea. lol
And Rachel has visited the set to see Daniel, so he wanted to protect her from the gossip.
(QUOTE)
“An initial offer to visit the set has been scuttled at the last minute, possibly because of Craig’s reluctance to be spotted with Rachel Weisz, though Fincher avoids the subject.”

David Fincher: The Complex Mind of ‘Social Network’s’ Anti-Social Director
http://www.hollywoodreporter.com/news/david-fincher-complex-mind-social-95704
The new Hollywood Reporter magazine offers a rare profile of the anti-authoritarian rebel who shot Rooney Mara topless for a new ‘Dragon Tattoo’ poster, wanted to call Mark Zuckerberg ‘Judas,’ and doesn’t play the Oscar game. ‘You won’t see me on Barbara Walters, Oprah.’
The following article appears in the current issue of The Hollywood Reporter on newsstands Thursday.
David Fincher saunters through the fortress-like, 11,000-square-foot Hollywood studio he bought back in 2002 that’s the closest thing he has to his own private fiefdom. It’s as big as his talent, as vast as his imagination — but it’s still not quite right. “Maybe I’ll rip down the walls and have everybody in one open space,” he declares. “What do you think?”
He smiles slyly, tipping his goateed head to one side, almost daring you to disagree. It’s early morning on New Year’s Day and the director’s latest film, The Social Network, is just embarking on a roller-coaster ride that will see it win the top critics awards, then lose at the all-important PGA, DGA and SAG — mainly to rival The King’s Speech. But Fincher is in a mood to provoke.

He points to a rifle placed strategically on a desk, “a reminder of the consequences,” he quips, without stating for whom. Perhaps he means for the awards voters or for any studio executive who take him on — though right now, few would dream of it.

A year and a half since he agreed to turn the improbable story of a billionaire computer nerd into one of the most original pictures in years, Fincher, 48 — a large, authoritative man, coolly commanding even in jeans and a black sweatshirt — has become a superstar, flooded with offers for projects like his upcoming The Girl With the Dragon Tattoo. It’s an odd twist for a director who’s kept a skeptical distance from Hollywood most of his life, and might have factored into his DGA loss.

Alone on this rare day off, except for an eager assistant who hurries to fetch us coffee, he guides me through his studio, past production rooms and sound booths and a tiny theater and into the art department, where images abound from Dragon Tattoo, the story of a bisexual hacker and the journalist she helps unravel a murder mystery.

There are pictures of his heroine’s apartment, the isolated house where some of the action takes place and a dungeon that’s pivotal to the climax. Photos of various actors line the walls, many in different shades of color, which Fincher and his team used to explore ways to render the period when the photos would have been taken.

There’s also an aerial view of the island at the heart of the story, carefully charting each locale’s relationship to the others. Fincher has immersed himself in every detail of its geography, just as he has Stieg Larsson’s best-seller on which the film is based. He’s a master of the meticulous — famous for his obsessive research and endless takes, sometimes 50 or more per set-up; even so, he shrugs, “At best you get 60% of what you want.”

Finally, we reach his spare, modern office, centered on a wooden desk as imposing as Fincher himself. Warming up — as much as he ever allows himself — he takes out an iPad and clicks on a photo he’s planning to use for the Dragon poster. It shows actor Daniel Craig half-hidden behind co-star Rooney Mara, who’s looking directly into the camera. Her hair is spiky, her face pierced with rings, her body covered in tattoos. It’s black and white and beautiful, but there’s no way in hell any studio will ever let Fincher use it, as he knows.
Because Mara is naked from the waist up.

“He is systematically anti-authoritarian,” says Bill Mechanic, the former Fox chairman who greenlighted Fincher’s controversial 1999 drama Fight Club. “He challenges authority, challenges decisions.”

Fincher has been challenging them ever since growing up in Marin County, Calif.; ever since getting his big break making commercials at the ridiculous age of 21; ever since shooting his first film, Alien 3, when he fought the studio so hard he got fired three times.

Now he expresses just a modicum of regret. “You don’t want to see people cut off their noses to spite their face,” he says. “But I probably did on my first movie because I foolishly thought being this squeaky wheel was the only way to be heard.” Fincher fought bitterly to make Aliens 3 his, while the studio wanted it to be just another cog in its release schedule. The result was a work neither side liked.

Fincher was 27 when he got the job, and his career was flaring like a rocket, but now it seemed poised to fizzle. The failure of Alien 3, made worse by inevitable comparisons to its Ridley Scott and James Cameron predecessors, must have hurt more than he lets on. Critics panned it and the film made a disastrous $55.5 million domestically — quite a contrast to the success of Fincher videos such as Madonna’s Express Yourself and Aerosmith’s Janie’s Got a Gun.

“He was very successful at a young age and had people try to take it away from him, and he knows what that feels like,” his Social producer, Scott Rudin, says. But it still didn’t make him toe the line. “He has an anarchist’s mentality,” the producer adds. “He likes to blow up systems.”

Even when those systems benefit Fincher himself.

Time and again he refuses to do what’s expected, declining interviews, even poking at the people who most support him. “I’ve been frustrated by what society wanted from me,” he acknowledges, though he’s hardly the confessional sort. “I flip through catalogs and don’t see anybody who’s like me. Flip through a J.C. Penney catalog and you go, ‘None of these people hold any of my concerns.’ ”

But aren’t they the very people who watch his movies? He shrugs, indifferent. “The comfort zone,” he says, is when they love and hate his work in equal measure. He recalls attending the premiere of Martin Scorsese’s 1982 release The King of Comedy and thinking, “This is fantastic — to take an audience to a place where they feel genuine discomfort!”

Where Fincher’s love of discomfort comes from is hard to gauge. The son of a Life magazine journalist and a mental-health nurse, it was his father who introduced him to film. “My dad loved movies,” he says. “We used to drive into San Francisco and watch matinees.” At age 7, he saw Butch Cassidy and the Sundance Kid. “It was mind-altering. They’re building full-scale trains and blowing them up. They’re firing blanks at each other and riding on horseback and traveling to these locations — and there’s Katharine Ross! Who would want to do anything else?”

Six months later, Fincher’s parents bought him a Super 8 camera and he started making his own films. It was liberating compared to his experiences at an alternative school, where “I was a disinterested student. I don’t think I was trouble; I just never bought into the idea that you are supposed to behave this way because somebody is wearing a badge.”

Life changed at 14 when Fincher’s family, including his two sisters, relocated to Ashland, Ore. The teenager dreamed of returning to San Francisco and joining Industrial Light + Magic, the company created by his former neighbor, George Lucas.

“It was like, I’m getting further and further from the thing that I want to do,” he recalls, thinking that if Lucas — whom he never knew well, though they lived on the same street (“He was a very quiet guy”) — could make a career in the Bay Area, so could he.

After working as a local theater projectionist while at school — where he fell for films like Klute, All the President’s Men and Being There — he volunteered at a TV station, got a job with an animation company, then at 19 joined ILM, where he served as an assistant cameraman and matte photographer.

His parents tolerated his refusal to go to college. But at ILM, while he discovered how brilliant others could be, he was also reminded that the establishment wasn’t always right. “I thought, ‘This is a bunch of guys in Wrangler jeans and plaid shirts who are scratching their asses and trying to figure this thing out,’ ” he notes. “It was horrifying and liberating at the same time. I realized I had fallen for this idea, because George Lucas has blessed these people with a place to blather around, that they were somehow uber-qualified. Really, it was just a bunch of people trying to figure something out.”

(Page 2)
Three years later, Fincher tried to figure out commercials. His first was one of his most memorable. “A friend who was a truck driver and wanted to be a producer said, ‘Give me an idea for the American Cancer Society.’ So we sat down with some storyboard artists and said, ‘Let’s do this thing that’s the Star Child from 2001.’ ”

Fincher’s ad, showing a fetus smoking, only made him $7,000 but led to work on commercials and music videos, first for Rick Springfield, then, after Fincher moved to Los Angeles, for other artists.

And yet Fincher was unhappy. “I did videos that were progressively less and less expensive,” he complains. “I ended up being signed by the music-video wing of a commercial production house and just didn’t flourish and didn’t have much fun. I got told by a lot of people that I was only good enough to play in the B- or C-leagues; I was never going to get the $1 million spots.” His response? “I said, ‘F— it, let’s start our own company.’ ”

In 1986, with Steve Golin, Sigurjon Sighvatsson and Dominic Sena, Fincher founded the management, advertising and production entity Propaganda Films, making commercials and videos for the likes of Madonna, Michael Jackson and Nine Inch Nails. Almost overnight, their annual billings went from $2 million to $70 million. “It was the beginning of the explosion of video directors becoming commercial directors,” Fincher recalls.

It was also the beginning of commercial directors turning to features, which crystallized for Fincher when he was given Alien 3.

The director’s run-in with Fox was brutal. To this day, he hates to talk about it. Asked whether he has disowned the film, he says, “I never owned it,” and it has clearly soured him on studios — though he protests: “I like studios. I just don’t like bureaucracies.”

They didn’t like him, either. Never the warm and fuzzy type, one insider says Fincher was demanding. “He is difficult with the marketing and distribution people, especially,” one former colleague notes. “But that comes out of not suffering fools.”

Asked about his manner — a certainty that can border on the cocky — Fincher hesitates. “You know, often times I think confidence can look like … it looks like different things to different people,” he says. “But I don’t think of myself as difficult. We’re expected to do stuff that’s awesome; that means we’re going to have to push each other.”

Given this, it might surprise Fincher that so many of his collaborators speak well of him. Producer Arnold Kopelson marvels at “his knowledge of lenses, of every set-up. He’s an extraordinary filmmaker.”

Even Mechanic says Fincher’s reputation is exaggerated. “There were lots of issues with the studio, back and forth as always with David,” he notes of Fight Club. “So I asked him to breakfast a few weeks before shooting, and by the end of breakfast we’d agreed on procedures and he stayed 100% true to his word. There wasn’t anything at all contentious in the process. It was one of the best I’ve ever had.”

By that time, Fincher had redeemed himself with Seven (1993), which in many ways defined his work: dark, visually audacious, emotionally distant.

“I was the first person hired for the film,” Morgan Freeman recalls, “and I remember him talking to me about the process he wanted to use to make the film dark. I was intrigued. He controls where the camera is, minutely; where the actors are, minutely; where the lights are, minutely. At the same time, he is very collaborative.”

Fincher followed Seven with the Michael Douglas thriller The Game (1997); then, after Fight Club, he moved on to the Jodie Foster starrer Panic Room (2002) and Zodiac (2007), an adaptation of Robert Graysmith’s books about the Bay Area killer who was active when Fincher grew up.

The film made only $33 million in North America but was one the best-reviewed pictures of the year. With it, Fincher solidified his reputation as a supremely talented filmmaker, if sometimes arrogant, whose work was defined by its brilliance and also coldness.

And so it came as a surprise to many Fincherfanatics (yes, there’s a website of that very name) when he took on The Curious Case of Benjamin Button (2008), Eric Roth’s adaptation of F. Scott Fitzgerald’s slender short story. What was a cool figure like Fincher doing on a warm love story like that?

“I don’t buy this notion that emotion and sentimentality are the same,” he argues. “You won’t see me on Barbara Walters; Oprah, that’s not who I am. I don’t like sentimentality because I don’t like movies that ‘tell’ me — I want to engage in a movie that says, ‘Here it is.’ It’s not a colder point of view; that’s reductive. It’s more adult.”

More adult than the films Fincher loved in his youth, like Jaws and Star Wars? “I loved Luke Skywalker and I loved Darth Vader and I loved watching them work it out,” he reflects. “But I also love Chinatown: I love the fact that Jake Gittes [Jack Nicholson] is somebody that people had nothing but contempt for.”

Button earned 13 Academy Award nominations and raked in $127 million at the domestic box office. The film drew mixed reviews but reminded the industry that superstars like Brad Pitt — who also appeared in Seven and Fight Club — often delivered their best performance for Fincher. And yet its success was bittersweet, not because the film won only three Oscars but because it left him utterly, ineffably drained.

“It took six years to get that through the starting gate,” he sighs. “It was just exhausting.”

(Page 3)
The desire to avoid that exhaustion came into play with Social Network.

Initially developed as a project for writer Aaron Sorkin to direct, the screenplay was brought to Fincher by Rudin. “I was given it on a Friday, I read it on a Saturday and on Monday I was in a room with [Sony Pictures co-chairman] Amy Pascal,” he recalls.

After making sure Sorkin was willing to step aside, “I said, ‘I want to make the movie, but I don’t want to make it next spring. We have to be as close to ground zero with this phenomenon as we can. We have to be in Cambridge in the fall.’ ”

Sony agreed. Following the usual back and forth — the studio wanted to make the film for $25 million; Fincher insisted on $42 million — shooting began three months later. Unlike Zodiac, where Fincher and Sony had parted ways over casting, the studio accommodated the director’s wishes.

“I said, ‘You gotta have 20- to 25-year-old kids. You have to give me free rein to find the best people for these parts,’ ” he remembers. “Now, I said this on Zodiacand I got the list and it’s Russell Crowe
and Tom Cruise. This time, Amy wanted me to meet people in the Sony fold. I said, ‘Let’s cast it widely.’ They came back and said, ‘We get it. Go.’ ”

“Go” meant allowing Fincher to shoot Sorkin’s 162-page script uncut. After 68 days of filming in Boston and Los Angeles, when Sony saw his rough edit — missing only the Henley regatta sequence that would later be filmed to fit Trent Reznor’s prewritten music — “They didn’t ask for any changes,” he says.

The studio’s marketing executives were more resistant. “We had the one-sheet and we had to get that through,” Fincher notes. “[Key art designer] Neil Kellerhouse came to us with one that had the tagline, ‘Punk prophet genius billionaire thief.’ It was fantastic, but for about four months it was, ‘You can’t do that! We’re not going to get involved in a lawsuit!’ ”

Fincher smiles. “I wanted ‘Punk prophet genius billionaire Judas.’ ”

Now he’s back in the Sony saddle with Dragon Tattoo.

It’s two weeks after our first meeting, and we’re in a tiny trailer at Paramount, where Fincher is filming Dragonon six soundstages — even more than Button — and is huddled with his longtime companion and producer, Cean Chaffin. An initial offer to visit the set has been scuttled at the last minute, possibly because of Craig’s reluctance to be spotted with Rachel Weisz, though Fincher avoids the subject.

Despite getting a huge budget and precisely the actors he’s wanted, Fincher seems frazzled, dealing with an overheated studio where air conditioning has to pump in cold air to simulate the bitter Swedish winter — an ironic contrast to his Swedish shoot, where the actors had to pretend the sun was baking while temperatures stooped to 40 degrees.

“I’ve been shouting at everyone all morning,” Fincher grouses, only half-joking.

Chaffin glances over, concerned. They’ve worked together for 18 years and been a couple for 15, since Fincher split with his first wife following a brief marriage that left him with one daughter.

Meeting Chaffin casts Fincher in a whole new light. She’s as warm and open as he can seem chilly and remote. “We’re oil and water,” he jokes. But in fact, Chaffin reminds you of all the things it’s easy to overlook with Fincher: His complete rejection of the Hollywood trappings; his loyalty to those closest to him; his strong bond with family; his utter immersion in the work.

“Cean is very supportive of David,” Kopelson says. “She makes it possible for him to be totally enmeshed in his life of making movies.”

He’ll be enmeshed in Dragonquite a while longer. With a shoot that includes locations in Stockholm, Zurich and England, he still has 90 days of filming ahead. It’s a giant project that Fincher initially avoided when his Buttonproducers, Kathleen Kennedy and Frank Marshall, broached it.

“I had just been through five years pushing a rock,” he explains. “I sort of felt, ‘F—, I can’t see anybody wanting to make a movie of this scale about a tattooed, bisexual hacker in Stockholm.’ I can’t go tap-dancing again.”

He continued to resist even when Rudin obtained the rights. “I was skeptical because the book is huge and there are so many characters,” he says. “But what put it over the top was [Sony chairman] Michael Lynton and Amy’s insistence that they loved the idea of a franchise for adults. If you can’t do a piece like this as a franchise, there’s no chance of ever doing one.”

Not that it’s been easy. First, there was the issue of casting the lead, Social’s Mara. Then Fincher had trouble with his director of photography, replacing him with Jeff Cronenweth. And finally came the reality of filming in Sweden. “In the EU, you can’t shoot a 12-hour day,” he explains.

Between that, the weather and the actors’ complicated schedules, Fincher has had his hands full, though he’s thrilled with Mara. “We got her an apartment in Stockholm and she kind of disappeared,” he says. “She learned how to ride a motorcycle and got all of her piercings and tattoos. Also, I asked her to learn how to skateboard because you need to stand like a 13-year-old boy. I said, ‘I don’t want you to stand like a girl.’ ”

Insiders who’ve seen Steven Zaillian’s script say it focuses far more on her character, Lisbeth Salander, than the Swedish adaptation of the book. So Fincher desperately needs Mara to deliver — just as the studio needs him.

“There are degrees of wrong, but ultimately I’m responsible,” he says. “I’m either liberated or hamstrung by the material I’m trying to make. But if I’m hamstrung, it’s my f—ing fault.” He runs his hand through his hair, thinking. Even with that rifle back in his studio, should he ever need it, there are limits to what he can do.

“You’re in charge, but you’re not in control,” the famously controlling director says. “Anybody who thinks they are in control is nuts.”

FINCHER’S GLOBAL BOXOFFICE

The Social Network, 2010: $213.6M

The Curious Case of Benjamin Button, 2008: $334M

Zodiac, 2007: $84.8M

Panic Room, 2002: $196.4M

Fight Club, 1999: $100.9M

The Game, 1997: $109.4M

Seven, 1995: $327.3M

Alien 3, 1992: $159.8M

WORLDWIDE TOTAL:$1.53B

Hi, Guinness
“your link didn’t work for me here, it may just be available in the UK. strange tho.”
Maybe Freezy created blocking mode stealthily. So here we go!!

http://www.guardian.co.uk/film/2011/feb/02/david-fincher-social-network-oscars?

“more irony for the meatloaf”…. whoolly crap. this is THE guy to make these movies…how in the helll did anyone figure that out. Thx for the posted biography—he is,well, driven, crazy, hysterical, blunt, confident, not ugly, articulate, witfully funny, hugely intellegent…damn, Dan should love him!! This year is gonna be great—my family is going to kill me every time i mention ‘another Dan film”? weird. (i got the 3rd GWTDT on Netflix!! i want to fast forward to the court scene, but i gotto wait…anticipation!)

THANK YOU FEEEOooh! I dont’ know where you are from, and i was kinda thinking in a not so safe country, so if you are, be safe…and Freezy hits my modem whilst investigating the wires(cats+anything that looks and moves like a shoestring when they bat their paw at it==funtime) that is when we loose contact with the world!! he is cheeky! cheeky freezzy.

As for Mendel, which i thought i was simultaneously posting, I just figured out tonight is her weekend..so you be safe too my friend…and be glad your boot heels are not sinking into 3 feet of snow throwing you off balance thinking that someone may think you are schnackered when you really aren’t. yeah. or just buy new heeled boots…like me, tomorrow. and did you tell Dan to call me yet? he isn’t home? well, leave a msg on the voice mail…” ah, yeah, Daniel, its me, Mendel. ah, Guinness is getting reaaal impatient and she wants you to call her…nah, I wouldn’t sext her…well, yeah, wait, yeah, go ahead and send her that–the dark blue speedo this time–in fact, send me a copy of that too…thx, yur the best! its Mendel.”

peace out~G

foie gras… this is an interesting story. all celebs should pool their charity toward the George clooney satelite of riteousness! that is friggen awesome. and speaking of which, what ARE those people down the street REALLY making in their back yard? GEOORGE??

ramsey should not judge….he is nuts. and a sensationalist…

http://www.timeslive.co.za/opinion/article891736.ece/Ramsays-new-f-word-is-finning

Ralph Fiennes In Talks For ‘James Bond 23’
It looks like director Sam Mendes’ plans for the next installment of the James Bond franchise is attracting some major interest from heavyweight thesps. Javier Bardem has spoken enthusiastically about the villain role he’s being offered (he’s just waiting to read a completed script before he makes a decision) and now another major talent is showing interest.

Baz Bamigboye at the Daily Mail is reporting that Ralph Fiennes is “in discussions” for a role in the still untitled “James Bond 23.” The “darkly complex” part is being kept under wraps, but it’s apparently not the same part that is being offered to Bardem and that Fiennes was approached because according to Bamigboye’s source, “the part is one of extreme complexity and only an actor of great ability and dexterity can take it on.”

“It’s the first of a new generation of Bond films, and the ideas Mendes has push the film into darker territory where the characters are modern, mature and challenging,” a film executive told Bamigboye with Fiennes apparently excited by the “revolutionary” approach of the upcoming film.

More big name actors are apparently being courted and while no names have been given, you can bet they will trickle out soon enough. After the disappointing “Quantum of Solace,” it looks like “James Bond 23” is shifting to be something even grittier than what we’ve seen before. Daniel Craig and Judi Dench are currently the only two thesps confirmed for the film that is eyeing a fall start date and is set for release on November 9, 2012.

http://blogs.indiewire.com/theplaylist/archives/ralph_fiennes_in_talks_for_james_bond_23/

A Fiennes choice for a Bond star Licence to thrill: Actor Ralph Fiennes
Ralph Fiennes is being lined up as one of the stars of the next James Bond movie.

I can reveal that his Hollywood representatives are in discussions with the producers and director Sam Mendes about a role in the film that so far is known only as James Bond 23.

Mendes, who will direct Daniel Craig as Bond and Judi Dench as M, has spoken to Fiennes about ­taking on what has been described to me as ‘a darkly complex’ role.

Fiennes is not interested in the usual run-of-the-mill action ­picture, but he was intrigued when he was told of Mendes’s ‘revolutionary’ plans for Bond 23.

‘It’s the first of a new generation of Bond films, and the ideas Mendes has push the film into darker territory where the characters are modern, mature and challenging,’ a film executive in Los Angeles connected to the production told me.

At the moment, the situation with Fiennes is purely at the ­discussion stage.

I was told Fiennes was approached because ‘the part is one of extreme complexity and only an actor of great ability and dexterity can take it on — and Ralph’s name is top of our list’.

From what I can gather, it’s not the same part that’s being talked about for Javier Bardem.

I’m told a couple of other major names are being courted for roles in the picture.

At one point Kevin Spacey was spoken to about doing Bond 23, but he was alreadly gearing up to play Richard III, which Mendes is directing at the Old Vic from June 18.

Gemma Jones (so good in Woody Allen’s movie You Will Meet A Tall Dark Stranger) will also appear in the play, which is part of the Bridge Project, a transatlantic collaboration between the Old Vic, the Brooklyn Academy of Music and Neal Street ­Productions, the ­company run by Mendes with Caro Newling and Pippa Harris.

Fiennes has just been filming the role of the prime minister in David Hare’s BBC film Page Eight.

Before that, he filmed his final frame as Lord Voldemort for the last Harry Potter movie.
Next weekend, he travels to ­Germany, where his much ­anticipated film version of ­Coriolanus, featuring Vanessa Redgrave and Gerard Butler, will have its world premiere at the Berlin Film Festival.

Mendes and Fiennes are old friends, by the way. The actor led the director’s Royal Shakespeare Company production of Troilus And Cressida more than two ­decades ago. The play also ­featured Simon Russell Beale — who also may pop up in Bond 23.

Last December, I revealed that Kate Winslet will move to London while her estranged husband Mendes is directing Bond 23, bringing their children with her.

http://www.dailymail.co.uk/tvshowbiz/article-1353511/Well-sizzling-summer-Miss-Strallen-new-stage-version-Top-Hat.html

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