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A title sequence is the method by which cinematic films or television programs present their title, key production and cast members, or both, utilizing conceptual visuals and sound.^[1] It usually follows but should not be confused with the opening credits, which are generally nothing more than a series of superimposed text.

History[link]

A Farewell to Arms

Since the invention of the cinematograph, simple title cards were used to top and tail silent film presentations in order to identify both the film and the production company involved, and to act as a signal that the film had started and then finished. In silent cinema title cards were used throughout to convey dialogue and plot and it is in some of these early short films that we see the first examples of title sequences themselves, being quite literally a series of title cards shown at the beginning of a film. The arrival of sound did little to alter the convention except that the sequence was usually accompanied by a musical prelude.

This remained the convention for many years until the advent of television forced the major film studios to invest in developing cinema in order to win back a diminishing audience. The "cast of thousands" epics shot on various patent widescreen formats were a direct response to television's successful invasion of the leisure marketplace. Part of cinema's new prestigious and expansive quality were orchestral musical preludes before the curtains opened and long title sequences — all designed to convey a sense of gravitas it was hoped television would be unable to compete with. As cinema's title sequences grew longer we begin to see the involvement of graphic design luminaries such as Saul Bass, which directly influenced the 1960s television predilection for creating strong graphics-led sequences for many shows.

Film-Makers at the beginning of the 21st century have many options open regarding title sequences. Some films superimpose opening credits over the opening scenes, while others elect to do away with titles entirely, instead including elaborate title sequences at the end of the movie.

Due to the commercial environment of television broadcasting, most series have regular and identifiable title sequences.

Movies[link]

Many films have used unusual and fairly elaborate title sequences since the 1930s. In the 1936 Show Boat little cut-out figures on a revolving turnable carried overhead banners on which were displaying the opening credits. This opening sequence was designed by John Harkrider, who created the costumes for the original 1927 Broadway production of the musical.

In several films, the opening credits have appeared against a background of (sometimes moving) clouds. These include The Wizard of Oz (1939), Till the Clouds Roll By (1946), the David Lean Oliver Twist (1948) and the 1961 King of Kings.

In the 1947 Technicolor film Sinbad the Sailor, the letters of the opening credits seem to form from colored water gushing into a fountain.

In the 1959 Ben-Hur, the opening credits were seen against the background of the "Creation of Man" in Michelangelo's Sistine Chapel ceiling. As the credits progressed, the camera slowly zoomed in on the Hand of God outstretched toward Adam.

In a trend increasingly common since the late 1950s, film title sequences have been a showcase for contemporary design and illustration. The title sequences of Saul Bass and Maurice Binder are among the best examples of this. They also inspired many imitators both in cinema and on television.

Kyle Cooper's celebrated title sequence for David Fincher's Se7en (1995) again influenced a whole host of designers. Nevertheless it also remains common for titles that superimpose text over a black background.

Kenneth Branagh's Hamlet does not actually have an opening title sequence - the only credits seen at the beginning are the name of the production company, Shakespeare's name, and the title of the film. However, the title is shown by means of the camera slowly panning across the base of the statue of the dead king Hamlet, whose ghost will appear in three scenes of the film, and who will play a crucial role in the story.

Television[link]

In general, a television title sequence will at some point badge the show with a typographic logo. Around this key element can be incorporated shots of highlights from earlier episodes or shows and key presenters' or cast members' names. Musical accompaniment can be either instrumental or a song and aided by the visual treatment of the images helps to convey the tone and mood of the programme.

In anime, there are usually lyrics to the theme tune at the bottom of the opening.

Television specials, especially of classic works, sometimes contain unusual opening credit sequences. In the title sequence of Mikhail Baryshnikov's 1977 version of Tchaikovsky's ballet The Nutcracker, for example, we see closeups, freeze-frame and slow-motion shots of Baryshnikov and female lead Gelsey Kirkland "warming up" for the ballet. When the actual title appears on the screen we see Baryshnikov in his nutcracker costume and mask leaping into the air in slow motion and freeze frame. The Overture Miniature is heard during the opening credits.

In serials, because a title sequence is produced at the outset of a series, it will usually include scenes from early episodes already shot when the sequence was prepared. Short clips of key characters will often climax in a freeze frame as that cast member's name is superimposed. In and around these elements will be other footage depicting the locale (a particular city, country, building or fictitious location) in which the series is set and therefore its era. A title sequence might also be used to explain the premise of a series, traditionally utilising clips from its pilot episode.

Although a title sequence may be modified during a series to update cast changes or incorporate new "highlight" shots from later episodes, it will tend to remain largely the same for an entire season. Such is the strength of a title sequence in expressing the concept of a show, it will sometimes be the key element a producer will target in order to revamp a show between seasons. Therefore some shows have enjoyed several quite different title sequences and theme music throughout their runs, while in contrast some ever-popular shows have retained their original title sequences for decades with only minor alterations. Conversely, retaining a series' original title sequence can allow a producer to change many key elements within a programme itself, without losing the show's on-screen identity. Other variations include changing only the theme music whilst keeping the visuals or vice versa.

In contemporary television news a title sequence can be changed every day by including footage of that day's news with a presenter's voice "teasing" the items. This ensures that the title sequence appears fresh but still identifies the news program by its music and visual style.

In 2010 TV Guide published a list of TV's top 10 credits sequences, as selected by readers. The series, in order of first to tenth were: The Simpsons, Get Smart, The Mary Tyler Moore Show, the original Hawaii Five-O, True Blood, The Big Bang Theory, Dexter, The Brady Bunch, Mad Men and The Sopranos.[1]

List of television series whose title sequences have regular subtle changes[link]

Some shows change their title sequences slightly.

Current series[link]

• American Dad – Stan picks up a newspaper with a unique headline (seasons 1–3); Roger appears in Stan's car wearing a different disguise (fourth season on).
• American Idol – showing past winners throughout the sequence.
• Cougar Town - Each episode for the second season (excluding the second episode) replaced the 'Welcome to' subtitle to a reference regarding the "bad" title of the show (e.g., "(Badly Titled) Cougar Town", "It's Okay to Watch a Show Called Cougar Town")
• The Fairly OddParents – Vicky's head always turns into something different at the end.
• Fringe – The style of the titles changes depending on whether the episode takes place in a different time or in the alternate universe.
• Futurama – the text below the title and the cartoon clip playing on the big screen changes each episode.
• Game of Thrones – showing different structures rising from the ground and panning on different locations depending on the setting.
• Pokémon – The Japanese version has various subtle changes throughout the opening sequences. The English version debuts a completely new theme song and intro movie with each season.
• The Simpsons – Bart writes something different on the blackboard and there is a different "couch gag" at the end of the title sequence in each episode.
• Superjail – a criminal commits a crime and is flown off to Superjail, passing various unusual sites along the way.
• TNA Impact! and TNA Xplosion – the openings change regularly as wrestlers are hired and fired and as championships change hands.
• The Young and the Restless – The names of the actors do not always appear in the same order. Usually the names of those actors prominently featured on a given day's episode will appear first.
• Weeds – the song "Little Boxes" is performed by a different artist (seasons 2–3); a different object, generally alluding to the episode's plot, morphs into the series logo.
• WWE Raw, WWE Friday Night SmackDown, and ECW on Sci Fi – the openings are altered regularly as WWE stars are hired, traded, and fired, and as championships change hands.

Past series[link]

• 8 Simple Rules (episodes with John Ritter) – where Kerry, Cate, Bridget and Paul open the front door and look one at a time at a supposed new date of Bridget's or Kerry's. The camera goes from the door to the doormat with the show's name, then the door opens again, Rory shows up and does something that changes between title sequences: he looks at the camera with disdain, takes a picture of the date with a camera, takes away the date's flowers, etc.
• Animaniacs – at the end of their theme song, a different lyric is sung with a related clip.
• Battlestar Galactica (2004) – a running tally of total human survivors is shown.
• Charmed, Dawson's Creek, Gilmore Girls, Perfect Strangers – Whenever a regular is absent from the episode, he or she is also absent from the title sequence.
• Chowder – a different food is being cooked each episode.
• Garfield and Friends – The series had three very different theme songs during its run, but they all ended the same way – after the show's logo and Garfield appears, he says a quick and often humorous message.
• The Grim Adventures of Billy & Mandy – After the opening (or sometimes after the first commercial break following the opening), Mandy walks out and says something before the episode begins.
• madTV – For The Public Silly Song Countdown, the construction workers came and put a board on the word "ULTIMATE" and painted "PUBLIC" on it.
• Monty Python's Flying Circus – The opening sequence changed every season. In one episode, it did not appear until more than 20 minutes in.
• The Critic – Jay answered a different phone call and was later shown reviewing a different movie parody clip in each episode.
• The Dick Van Dyke Show – Rob (Dick Van Dyke) entered through the front door and tripped over the ottoman. Three versions were filmed: one in which he trips over the ottoman, one in which he steps around it, and a rarely seen third variation in which he avoids the ottoman but then trips on the carpet. Editors were instructed to use them randomly.
• Ellen – Many episodes opened with Ellen DeGeneres introducing a performer who was playing the theme song that week while she held up a sign with the name of the show.
• Smallville – The sequences are different every season (Except Season 2 and 3 that use the same sequence) In Season 10, the last season, the title sequences usually have four regular cast members, except the episodes that Allison Mack appears, her name is added in the sequences of those episodes for honouring her regular starring since 2001.
• Frasier – The Frasier logo changed color every season, and 21 different animations involving the logo's skyline graphic alternated throughout its run.
• Sarah Silverman Program – Sarah introduces herself and the other characters through a series of slides, which are different in every episode.
• Scrubs – the doctor taking the x-ray out of the chart at the foot of the bed changes.
• Friends – The clips of each character were excerpts of the first half or the second half of the season. When Courteney Cox married David Arquette, all actors added "Arquette" to their last name for one episode.
• King of the Hill – A line from the recently broadcasted episode from one of the characters is said during the credits.
• A Nero Wolfe Mystery – Features title illustration and design by Aurore Giscard d'Estaing that is unique to each episode.
• Pepper Ann – At the end of the title sequence, Pepper Ann finds something interesting on the floor under her desk and says "Cool!", followed by the item she found.
• Police Squad! – In each episode there is a different "special guest star" who is killed off during the title sequence and makes no appearance in the episode. Additionally, an announcer reads off the title of the episode, which is different in each episode, and also does not match the title shown in the graphics.
• The Rockford Files – A different message is left on Rockford's answering machine.
• Roseanne – The camera turns 360 degrees, showing the family having dinner or playing a game, always ending with Rosanne laughing wholeheartedly. The last season featured a montage of pictures of the cast set to lyrics sung by John Popper of Blues Traveler.

See also[link]

• Acknowledgment (creative arts)
• Billing (filmmaking)
• Character generator
• Closing credits
• Credit (creative arts)
• Digital on-screen graphic (BUG)
• Lower third
• Opening credits
• Production logo
• Theme music
• WGA screenwriting credit system

References[link]

External links[link]

• The Art of the Title Sequence – A compendium and leading web resource of film and television title design from around the world
• Forget the Film, Watch the Titles – A collection of title sequences and interviews with their creators
• Detailed dissection of the title sequence for Space: 1999
• Novelty Title Sequences in Classical Hollywood Cinema
• Original Doctor Who opening credits
• The MGM Title Art Collection

David Fincher
Born	David Andrew Leo Fincher[1][2] (1962-08-28) August 28, 1962 (age 49) Denver, Colorado, U.S.
Other names	Finch, Dave Fincher
Occupation	Film director, film producer, music video director
Years active	1984–present
Notable work(s)	Seven, Fight Club, Zodiac, The Social Network, The Girl with the Dragon Tattoo
Influenced by	Martin Scorsese, Alfred Hitchcock, George Roy Hill, Stanley Kubrick, Steven Spielberg, Alan J. Pakula, Bob Fosse, Roman Polanski
Spouse	Donya Fiorentino (1990–1995)
Children	Phelix Imogen (b. April 25, 1994)

David Andrew Leo Fincher (born August 28, 1962) is an American film and music video director who is known for his dark and stylish thrillers, such as Seven (1995), The Game (1997), Fight Club (1999), Panic Room (2002), and Zodiac (2007). Fincher received Academy Award nominations for Best Director for his 2008 film The Curious Case of Benjamin Button and his 2010 film The Social Network, which also won him the Golden Globe and the BAFTA for Best Director. His most recent film is 2011's The Girl with the Dragon Tattoo, an English-language adaptation of Stieg Larsson's novel of the same name.

Early life and career[link]

Fincher was born on August 28, 1962 in Denver, Colorado, the son of Claire Mae (née Boettcher), a mental health nurse who worked in drug addiction programs, and Howard Kelly Fincher, who worked as a bureau chief for Life under the name Jack Fincher.^[1][3] When Fincher was two years old, the family moved to San Anselmo in Marin County, California. Fincher moved to Ashland, Oregon in his teens, where he graduated from Ashland High School. Inspired by Butch Cassidy and the Sundance Kid, Fincher began making movies at age eight with an 8 mm camera. Fincher eschewed the film school route, getting a job loading cameras and doing other hands-on work for John Korty’s Korty Films. He was later hired by Industrial Light & Magic in 1983, where he worked on productions for Twice Upon a Time, Star Wars: Episode VI – Return of the Jedi, and Indiana Jones and the Temple of Doom. In 1984, he left ILM to direct a commercial for the American Cancer Society, that would show a fetus smoking a cigarette. This quickly brought Fincher to the attention of producers in Los Angeles and he was given the chance to direct the documentary The Beat of the Live Drum featuring Rick Springfield in 1985. Though he would continue to direct spots for companies like Revlon, Converse, Nike, Pepsi, Sony, and Levi's, Fincher soon discovered music videos and went on to direct many promos.

Propaganda Films[link]

Set on a directing career, Fincher joined video-production company Propaganda Films and started off directing music videos and commercials. Like Fincher, other directors such as Michael Bay, Samuel Bayer, Meiert Avis, David Kellogg, Antoine Fuqua, Neil LaBute, Spike Jonze, Mark Romanek, Michel Gondry, Paul Rachman, Zack Snyder, Gore Verbinski, and Alex Proyas honed their talents at Propaganda Films before moving on to feature films.

Music videos[link]

Fincher directed big budget music videos for artists such as Madonna (including "Express Yourself", "Vogue", "Oh Father" and "Bad Girl"), Billy Idol ("Cradle of Love"), Paula Abdul (including "(It's Just) The Way That You Love Me", "Straight Up", "Forever Your Girl" and "Cold Hearted"), Aerosmith ("Janie's Got a Gun"), The Rolling Stones (including "Love Is Strong"), Roy Orbison ("She's a Mystery to Me"), Nine Inch Nails ("Only"), A Perfect Circle ("Judith"), Jody Watley (including "Real Love" and "Most of All"), Rick Springfield ("State Of The Heart"), Jermaine Stewart (We Don't Have to Take Our Clothes Off), Steve Winwood, Neneh Cherry ("Heart"), George Michael ("Freedom '90"), The Motels "Shame", Michael Jackson ("Who Is It"), The Wallflowers, Wire Train and The Outfield, including "All the Love (in the World)", "Every Time You Cry" and "No Surrender". His video for Don Henley's "The End of the Innocence" won Henley the MTV Video Music Award for Best Male Video in 1990.

Features[link]

[edit] Alien 3

After directing several music videos, Fincher's feature debut was Alien 3 (1992). While it received an Oscar nomination for special effects, the film was not well received by critics or moviegoers. Fincher became involved with several disputes with 20th Century Fox over script and budget issues. In "The Director’s Cut",^[4] he blames the producers for not putting the necessary trust in him. After this, Fincher retreated back into the world of commercial and music video directing, including the video for the Grammy Award winning track "Love Is Strong" (1994) by The Rolling Stones.

[edit] Seven

In 1995, Fincher directed Seven. The film, based on a screenplay by Andrew Kevin Walker, told the story of two detectives (played in the movie by Brad Pitt and Morgan Freeman) tracking down a serial killer who bases his killings on the seven deadly sins. The film grossed more than $100 million domestically (over $300 million internationally).^[5] The chairman of New Line Cinema, Arnold Kopelson, originally refused to allow filming of the shocking climactic scene. With the aid of Brad Pitt, who stated that he would not be involved with the picture if its ending were changed, Fincher was allowed to film the original scene and use it in the final cut.

[edit] The Game

After the success of Seven, Fincher went on to film The Game (1997). The story focused on a closed-off San Francisco businessman (played by Michael Douglas) who receives an unusual gift from his younger brother (Sean Penn), in which he becomes the main player of a role-playing game that takes over his life. The film had middling box-office returns despite being well received by critics.

[edit] Fight Club

Fight Club was a screen adaptation of Chuck Palahniuk’s novel of the same name about an insomniac office worker who opens up a club devoted exclusively to bare knuckle fighting for men. Featuring Edward Norton, Helena Bonham Carter, and Seven collaborator Brad Pitt, the 1999 film was an early disappointment at the box-office and received mixed reviews. Fight Club was panned by several critics and alienated audiences leading to its box office failure in the United States.

However, many critics and audiences later changed their opinions and the film appeared on many 'best of the year' lists and soon developed a cult following. Entertainment Weekly, which had originally given the film a D-,^[6] later ranked the DVD #1 on its list of 50 Essential DVDs.^[7] Exceptional sales have since established it as a cult film.

In 2006 the British magazine Total Film voted Fight Club number four in the 100 Greatest Movies of All Time, beaten only by Jaws, Vertigo and Goodfellas at 3, 2 and 1 respectively.^[8]

[edit] Panic Room

In 2002, Fincher followed up with the thriller Panic Room. The film earned over $92 million at the U.S. box office. The story follows a single mother (Jodie Foster) and her daughter (Kristen Stewart) as they hide in a safe room of their new house, away from criminals (Forest Whitaker, Dwight Yoakam and Fight Club collaborator Jared Leto) bent on finding a missing fortune. Fincher acknowledged Panic Room as a more mainstream thriller, describing the film, on the DVD's audio commentary, as "[basically] a date movie" and a "really good B movie" about "two people trapped in a closet".

[edit] Zodiac

The symbol of the Zodiac Killer.

Five years after Panic Room, Fincher returned on March 2, 2007 with Zodiac, an adaptation of Robert Graysmith’s books about the hunt for the Zodiac Killer that starred Jake Gyllenhaal, Mark Ruffalo, Robert Downey, Jr., Anthony Edwards, and Brian Cox. The first of Fincher’s films to be shot digitally, the majority of the film was recorded on a Thompson Viper Film Stream Camera. However, high-speed film cameras were used for the Blue Rock Springs and Presidio Heights murder scenes for the slow-motion shots.^[9] It was originally to be released in the fall of 2006 but was pushed back after Fincher refused to cut 20 minutes off the film.

Zodiac was one of the best-reviewed films of that year, with only two other 2007 films appearing on more top-10 lists (No Country for Old Men and There Will Be Blood).^[10] However, the film struggled at the box office in the U.S., earning only $33 million, but did well overseas with a foreign gross of $51.7 million. Worldwide, Zodiac was a decent success.^[11] Despite an aggressive campaign by the studio, expectations surrounding Robert Downey, Jr.’s supporting performance, Fincher’s direction and Vanderbilt’s adapted script, the film did not earn a single Academy Award nomination.^[12]

[edit] The Curious Case of Benjamin Button

A story about life and death, The Curious Case of Benjamin Button is an adaptation of F. Scott Fitzgerald’s short story of the same name. The film was Fincher’s third with Brad Pitt. The film started shooting in November 2006 in New Orleans, before moving on to the Virgin Islands, Montreal, and L.A.. Both Zodiac and this film are co-productions of Paramount Pictures and Warner Bros. The budget for the film was estimated at $150 million, partly due to the CGI effects used to reverse the aging in Brad Pitt’s character. The film is the first PG-13 film directed by Fincher. It received 13 nominations at the 81st Academy Awards, including Fincher's first nomination for Best Director. It won three Academy Awards for Best Art Direction, Best Makeup, and Best Visual Effects.

[edit] The Social Network

Fincher directed the 2010 film The Social Network, about the legal battles of Mark Zuckerberg and the founding of Facebook. The film features an Oscar-winning screenplay by Aaron Sorkin, adapted from the book The Accidental Billionaires. Featuring a young cast ensemble, the film was produced by Scott Rudin, Kevin Spacey and Michael DeLuca. Filming started in October 2009^[13] and was released a year later, to critical acclaim. Trent Reznor and Atticus Ross created the Oscar-winning soundtrack for the film, Fincher had long been a fan of Reznor's work in Nine Inch Nails, even putting a remix of "Closer" in the beginning of Seven and directing the music video for "Only". The film went on to win many awards, including four Golden Globes (including Best Motion Picture – Drama, Best Director, Best Screenplay and Best Original Score), three BAFTAs (including Best Direction), and three Academy Awards for Best Adapted Screenplay, Best Original Score, and Best Film Editing.^[14]

[edit] The Girl with the Dragon Tattoo

Fincher directed the American version of The Girl with the Dragon Tattoo, which was based on the book by Stieg Larsson, with a script written by Steven Zaillian. The film was shot in Sweden, with Rooney Mara as Lisbeth Salander, Daniel Craig as Mikael Blomkvist, Robin Wright as Erika Berger, Stellan Skarsgård as Martin Vanger and Christopher Plummer as Henrik Vanger. The film was released on December 20, 2011. Along with Dragon Tattoo, Fincher and Zaillian have signed a two picture deal to also adapt The Girl Who Played with Fire, and The Girl Who Kicked the Hornets' Nest, which will be shot back to back. In January 2012, it was announced that Sony Pictures was "moving forward" with the adaptation of The Girl Who Played with Fire, with Zaillian in the early stage of scripting it for a planned release in late 2013.^[15][16] Trent Reznor and Atticus Ross composed the soundtrack for the film (their second collaboration with Fincher).^[17] It received Five Academy Award nominations at the 84th Academy Awards including: Best Actress for Rooney Mara, Best Cinematography, Best Sound, Best Sound Mixing and won one award for Best Film Editing.

Future projects[link]

[edit] House of Cards

Fincher has agreed to direct the first Netflix original television series, starring Kevin Spacey.^[18] The show will be called House of Cards and will air in late 2012.^[19]

[edit] 20,000 Leagues Under the Sea

For his next film project after The Girl with the Dragon Tattoo, Fincher (as of July 2010) is attached to 20,000 Leagues Under the Sea for Walt Disney Pictures, based on the Jules Verne's eponymous novel. Scott Z. Burns (The Bourne Ultimatum, The Informant!, Contagion) is set to write the screenplay.^[20] Originally, 20,000 Leagues Under the Sea had been set to be directed by McG from a screenplay by Randall Wallace (draft by Bill Marsilli, with rewrites by Justin Marks), but the $150-million project was terminated in early pre-production stage in November 2009.^[21][22] Fincher's vision is to direct a 'gigantic steampunk science fiction movie from 1873' and '[his] Empire Strikes Back.'^[23]

[edit] The Girl Who Played with Fire and The Girl Who Kicked the Hornets' Nest

It has been announced that the other two parts in the Millennium series, The Girl Who Played with Fire and The Girl Who Kicked the Hornets' Nest, will be adapted. However, it is unclear whether David Fincher will return to direct the sequels.^{[citation needed]}

[edit] The Killer

On November 1, 2007, Variety reported that Fincher was attached to do an adaptation of a French graphic novel called The Killer by Alexis Nolent, which was optioned by Paramount Pictures and Brad Pitt’s Plan B Entertainment, with Pitt attached to star in the film. Scripted by Allesandro Camon, the film is about a top assassin, with his conscience getting the better of him, and a cop on his tail.^[24]

[edit] The Reincarnation of Peter Proud

An announcement was made on November 9, 2009 that Andrew Kevin Walker and David Fincher will re-team for the remake of the 1975 film The Reincarnation of Peter Proud.^[25][26] This marks the fifth time Andrew Kevin Walker and Fincher will work together. Walker wrote Fincher's 1995 thriller Seven, did uncredited rewrites for Fight Club and The Game and made a cameo appearance in Panic Room.

[edit] Ness

On September 5, 2008, Firstshowing.net reported that Matt Damon is in talks to play Eliot Ness in Ness with Fincher lined up to direct an adaptation of the graphic novel Torso by Brian Michael Bendis and Marc Andreyko, and that the producers were looking for locations in Cleveland, Ohio.^[27] During a Social Network Q&A Fincher confirmed that production on "Ness" is dead.

[edit] Heavy Metal

Variety reported that Paramount Pictures will make another animated film with David Fincher, based on the Heavy Metal comics. Fincher is set to direct one of the film’s eight or nine segments, which will also feature other directors such as animator Tim Miller and magazine owner and publisher Kevin Eastman directing another. The film is envisioned as being an animated, adult-themed R-rated film.^[28] On July 14, 2008 Paramount Pictures announced the movie is put on hold.^[29] On September 4, 2008, it was announced the film was to be made by Columbia Pictures, and a few of the directors attached to make a segment each includes Zack Snyder, Gore Verbinski and Guillermo del Toro, as well as James Cameron.^[30]

[edit] Rendezvous with Rama

Fincher has been attempting to make a film based on the science fiction novel of the same name written by Arthur C. Clarke with Morgan Freeman cast in the lead. In 2008, Fincher announced he was no longer making the film due to Freeman's health,^[31] but Freeman said in late 2010 that Fincher is "still part of the conversation."^[32]

Collaborators[link]

Acting[link]

Fincher often casts certain actors more than once in his films. Fincher has consistently worked with Richmond Arquette, Bob Stephenson, Christopher John Fields, Brad Pitt and Joel Bissonnette.^{[citation needed]}

Actor	Alien 3 (1992)	Seven (1995)	The Game (1997)	Fight Club (1999)	Panic Room (2002)	Zodiac (2007)	The Curious Case of Benjamin Button (2008)	The Social Network (2010)	The Girl with the Dragon Tattoo (2011)
Richmond Arquette		Y		Y		Y	Y
Joel Bissonnette				Y		Y	Y
John Cassini		Y	Y
Christopher John Fields	Y		Y	Y		Y
Rachel Flanagan		Y	Y
Duffy Gaver		Y	Y
John Getz						Y		Y
Zach Grenier				Y		Y
Mark Boone Junior		Y	Y
Elias Koteas						Y	Y
Jared Leto				Y	Y
Barry Livingston						Y		Y
George Maguire			Y	Y		Y
Rooney Mara								Y	Y
Michael Massee		Y	Y
Owen Masterson			Y	Y
Angelina McCoy							Y	Y
Holt McCallany	Y			Y
Evan Mirand		Y		Y
Brad Pitt		Y		Y			Y
Paul Schulze					Y	Y
David Lee Smith				Y		Y
Bob Stephenson		Y	Y	Y		Y
Matt Winston				Y		Y

Other[link]

Fincher also frequently works with the same crew across many films, notably Jeff Cronenweth, cinematographer, Angus Wall and Kirk Baxter, editing, Ren Klyce, sound designer, and more recently Trent Reznor and Atticus Ross, composers. Alien 3 is unlisted, as there are no collaborations on that film.

Collaborator, Role	Seven (1995)	The Game (1997)	Fight Club (1999)	Panic Room (2002)	Zodiac (2007)	The Curious Case of Benjamin Button (2008)	The Social Network (2010)	The Girl with the Dragon Tattoo (2011)
Kirk Baxter, Editor						Y	Y	Y
Donald Graham Burt, Production Designer					Y	Y	Y	Y
Jeff Cronenweth, Cinematographer			Y				Y	Y
James Haygood, Editor		Y	Y	Y
Darius Khondji, Cinematographer	Y			Y
Ren Klyce, Sound Designer	Y	Y	Y	Y	Y	Y	Y	Y
Laray Mayfield, Casting Director			Y	Y	Y	Y	Y	Y
Trent Reznor, Composer							Y	Y
Atticus Ross, Composer							Y	Y
Scott Rudin, Producer							Y	Y
Harris Savides, Cinematographer		Y			Y
Howard Shore, Composer	Y	Y		Y
Andrew Kevin Walker, Screenwriter	Y			Y
Angus Wall, Editor				Y	Y	Y	Y	Y

Filmography[link]

Feature films[link]

• Alien 3 (1992)
• Seven (1995)
• The Game (1997)
• Fight Club (1999)
• Panic Room (2002)
• Zodiac (2007)
• The Curious Case of Benjamin Button (2008)
• The Social Network (2010)
• The Girl with the Dragon Tattoo (2011)

Television[link]

• House of Cards (2013)

Music videos[link]

This biographical section of an article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (September 2010)

Reception[link]

Critical reception[link]

Box office[link]

Awards[link]

Further reading[link]

• Swallow, James (July 2003). "Dark and Light". Dark Eye: The Films of David Fincher. Reynolds & Hearn. pp. 11–33. ISBN 1-903111-52-8. 
• Waxman, Sharon, ed. (2005), Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System, HarperEntertainment .

References[link]