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Tag: Fincher
David Fincher on What Exactly Was in the Box
Director David Fincher recently clarified a long-standing question about the contents of “the box” in Se7en while discussing the film’s 30th anniversary. Speaking in an interview, Fincher directly addressed rumors of a prosthetic head being used in the iconic scene. He also explained the practical decisions made during the production to achieve the intended effect.
David Fincher reveals if a prosthetic head of Gwyneth Paltrow was in Se7en’s box
David Fincher has clarified the contents of the infamous box in Se7en, dismissing rumors of a prosthetic head of Gwyneth Paltrow. Speaking to Entertainment Weekly, he said, “No, it’s entirely ridiculous. I think we had a seven- or eight-pound shot bag. We had done the research to figure out… what portion of [Paltrow’s weight] would be attributable to her head.” He added, “So we had an idea of what that would weigh.”
The director further elaborated, “We did put a wig in there, so that when Morgan [Freeman] rips the box open if there were some of this tape that was used to seal the box — I think it was a shot bag and a wig, and I think the wig had a little bit of blood in it, so some of the hair would stick together.” Fincher emphasized the importance of imagination, saying, “But as I always say, you don’t need to see what’s in the box if you have Morgan Freeman.”
This revelation debunks claims that the crew crafted a prosthetic head for the film. Some reports suggested Steven Soderbergh later reused it in Contagion. Instead, the team designed the props to evoke realistic reactions from the actors without explicitly revealing the contents.
Fincher further reflected on Se7en’s legacy. A 4K remaster will debut in IMAX on January 3 and release digitally on January 7. Detailing the process, the iconic filmmaker said, “We were really trying to get back to that first CCE check print that we saw 30 years ago.”
Se7en remains a defining piece of cinema. Its suspense and emotional weight continue to captivate audiences. The remaster preserves its original impact while enhancing visual and technical fidelity for new viewers.
The post Se7en Ending: David Fincher on What Exactly Was in the Box appeared first on ComingSoon.net – Movie Trailers, TV & Streaming News, and More.
David Fincher, the renowned director behind films like “Fight Club” and “Gone Girl,” is known for his dark and twisted storytelling. One of his most iconic scenes comes from the film “Se7en,” where the character John Doe presents detectives Somerset and Mills with a box containing a horrifying surprise.In a recent interview, Fincher was asked about the contents of the box and what exactly was inside. His response was cryptic yet revealing, as he explained that the ambiguity of the scene was intentional. He wanted the audience to come to their own conclusions and interpretations of what was in the box, leaving it open to speculation and debate.
Fincher’s refusal to definitively answer the question only adds to the mystery and intrigue of the scene, further solidifying his reputation as a master of suspense and psychological thrillers. The box in “Se7en” remains a haunting and unforgettable symbol of the darkness that lies within us all.
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David Fincher, Se7en, What’s in the box, David Fincher interview, David Fincher movies, Se7en movie analysis, Se7en ending explained, David Fincher directorial style
#David #Fincher #Box
David Fincher reveals the “thrillingly stupid fix” he used for the 4K restoration of Se7en
David Fincher reveals the “most thrillingly stupid fix” that allowed him to restore a scene for the 4K version of Se7en.
David Fincher is already making headlines in 2025 as he prepares to celebrate the 30th anniversary of his 1995 thriller, Se7en, with a 4K restoration on Blu-ray on January 3. Before tackling the grim and gritty world of a deranged serial killer, Fincher shot music videos for artists like Madonna, Paula Abdul, Steve Windwood, Gypsy Kings, Billy Idol, and others. His moody and atmospheric style was too unique to be remanded to music videos alone, and with 1992’s Alien 3, Hollywood had a new premiere filmmaker. Learning about Fincher’s filmmaking methods is something aspiring filmmakers and fans love to experience, and thanks to Collider‘s Peri Nemiroff, we know where Fincher’s head is at with the restoration of Se7en, a film many consider a pillar of the crime-thriller genre.
Concerning Fincher’s approach to restoring a classic, he explained to Nemiroff where he feels he must draw the line, careful not to lose the integrity of the original while offering something polished. There’s lots of movie magic that goes into restoration, and if you know the tricks, you can execute some clever workarounds. For example, Fincher told Nemiroff about a scene where two unnamed actors (wink) are meeting at a bar to discuss their collective ennui about the case in front of them.
“In this case, there was this unasked-for and unearned camera pan where a character moved, and then the camera panned over to follow them but followed them late and overshot them and ended up seeing more of the bar than was intended,” Fincher explained. “But the performance in it was so good that we went with it. Well, in this case, we can take that and go, ‘What’s the issue here with stabilizing this pan that happens at such an inopportune time?’ There was no issue in terms of the background. We had enough of the background, but at the beginning of it, we had cleaved off one of the actor’s shoulders, and he’s wearing a black leather jacket, and there’s no data. We don’t know how that shoulder connects to the sleeve and the kind of supple wrinkling and deformation of the leather in that jacket. So I asked, ‘Based on these other takes that we have, can we restore this jacket so that I can take this pan out because this pan happens at such a clumsy time? It’s right as I want to watch a reaction, and the camera’s moving.” And we didn’t know if we could.”
Thankfully, Fincher has roughly four or five great shots of the jacket. He used AI to replicate the article of clothing, creating a complete look for the scene. Fincher says the process is the “most thrillingly stupid fix” for a problem that would have been increasingly difficult to eliminate before advanced AI techniques. While filmmakers can use AI for evil, especially in the interest of art theft and generative art tool training, it’s nice to hear there are less nefarious uses for the technology.
Will you watch David Fincher’s 4K restoration of Se7en when it hits shelves? What other film in Fincher’s library would you like to get the 4K treatment? Let us know in the comments section below.
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David Fincher, the acclaimed director behind films like Fight Club and The Social Network, recently revealed the “thrillingly stupid fix” he used for the 4K restoration of his iconic film Se7en.In an interview with Collider, Fincher explained that during the restoration process, a crucial shot in the film was missing. Instead of trying to recreate the shot or find an alternative solution, Fincher decided to improvise.
“We were missing a shot of a phone booth exploding, and we had no idea where it was,” Fincher said. “So, we took a shot of a phone booth exploding from another movie and just put it in. It’s a thrillingly stupid fix.”
While some may see this as a lazy or unorthodox solution, Fincher’s “thrillingly stupid fix” perfectly captures his unconventional and boundary-pushing approach to filmmaking. It’s a reminder that sometimes, the best solutions are the simplest ones.
The 4K restoration of Se7en is set to be released later this year, and fans can expect to see the film in all its glory, complete with Fincher’s signature attention to detail and commitment to his craft.
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David Fincher, Se7en, 4K restoration, film restoration, movie restoration, David Fincher interview, Se7en movie, filmmaking, restoration process, digital restoration, Se7en director, film industry, film technology, film production, film preservation
#David #Fincher #reveals #thrillingly #stupid #fix #restoration #Se7en
David Fincher Talks To Us About Brad Pitt’s Crazy Schedule, The Complicated Sloth Makeup, And The Infamous Box As Seven Turns 30
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Credit: Warner Bros.
Rain drenches an anonymous street in Los Angeles, which is standing in for an anonymous city that won’t be named. Two A-list actors, playing polar opposite detectives assigned to a frightening and ominous case, stand around and wait for their turn to step on set, where they’re poised to discover the next atrocity left for them by a mysterious serial killer named John Doe.
But in this specific moment, director David Fincher is just trying to figure out how to get the body of character actor Michael Reid McKay, transformed into the victim we’ll come to know as Sloth, onto the set without disrupting the man’s intricate makeup job.
That’s just one of many unexpected challenges facing David Fincher (Fight Club, The Social Network, Zodiac) as he labored on Seven, the mesmerizing dark-noir thriller that cast Brad Pitt and Morgan Freeman as cops tracking a killer whose victims are modeled after the Seven Deadly Sins. It’s an ingenious hook, designed by screenwriter Andrew Kevin Walker. But it was Fincher’s meticulous execution of the crimes that burrowed under the skin of moviegoers back in 1995, and helped make Seven an unforgettable achievement that earned its place in the pop-culture pantheon of contemporary masterpieces.
I’m not sure Fincher knew he was creating a masterpiece at the time of filming. The former music-video director was coming off of a disastrous shoot with Alien 3, was focused on establishing himself and his own voice, and had to deal with a difficult schedule attached to one of his leading men. (More on that in a second). And then, there was this damn Sloth body… the one that wakes up mid-investigation, and scares the daylights out of John C. McGinley (Scrubs).
Speaking with CinemaBlend on behalf of a 30th anniversary 4K UHD release of Seven (which arrives on January 7), Fincher started reminiscing about that particular Deadly Sin, telling us:
The makeup effects endured by our wonderful Sloth took, I’m going to say, six or seven hours. Michael’s call, I think it was midnight in order to have him on set. The makeup was applied, and then he had to be transported in a – because they were gelatin, he had to be transported in a semi-refrigerated, not an ambulance, but a van. And then he had to be carried on that bed, because there were all kinds of wires and stuff that went to… I forget exactly what it was. We had tubes and wires and stuff running into (his body). So he was literally medevaced up the stairs into the giant penny building, placed, and then art directed into that.
Insanity. And that’s only one Deadly Sin – and only one of the more amazing stories that David Fincher happily shared about the making of his magnificent detective thriller. Dive into CinemaBlend’s exclusive conversation about the making of Seven.
Morgan Freeman in Seven
‘We only had 58 days with Brad.’
The beauty of Seven lies in its economy. Scripter Andrew Kevin Walker relies on a few familiar detective tropes to plunge us into the story – an inexperienced but eager hotshot cop (Brad Pitt) gets paired with a grizzled detective (Morgan Freeman) trying to survive one last case – but then takes the narrative through some unforeseen, disturbing avenues that helped Seven stand apart from the crowd. Walker and Fincher weren’t afraid to pull back the curtain on the darkest sins of humanity, holding up a mirror to some truly disgusting people that had us asking difficult questions about the victims, the killer, and even the cops investigating the crimes.
Speaking with Fincher about his relationships with these memorable characters, and how he made them more than their archetypes, the director told CinemaBlend:
I would frighten you by telling you that… I feel it’s essential, if you are going to be effectively enabling an actor to give you their best, you’d better relate to all of (the characters). So, I hate to tell you, I relate to John Doe. And I relate to Tracy. And I relate to Somerset. And yeah, certainly, I relate to Mills. But you know, that’s the job.
It’s one portion of the job. The rest often comes down to solving impossible problems as you keep the entire production on schedule. As mentioned, Fincher and Walker seemed to strip the Seven narrative down to its essence. Over the course of one week, Detectives Mills (Pitt) and Somerset (Freeman) would encounter a new victim every day of the week, leading to a confrontation with the Big Bad. Fincher had a vision. But as a relative newcomer to the world of feature films, he found that he had to fight tooth and nail for each supplement he hoped to add.
Here’s an amazing example. During our conversation, Fincher spoke about the riveting finale in the desert, where Mills and Somerset agree to accompany John Doe (Kevin Spacey) to a pre-determined location. The cops are accompanied by an entourage of law enforcement… only, Fincher said he ran into one major obstacle. He told CinemaBlend:
Originally, we ran out of time. We only had 58 days with Brad. Brad left at the end of 58 days. (And) New Line wouldn’t give us the money to shoot – they didn’t feel that the helicopters were necessary. They were like, ‘Well, let’s see how it goes, and we’ll decide whether we can give you the money to shoot the helicopters.’ So we shot the sequence, and then we lost Brad.
Can you imagine the Seven finale without the aerial shots of the helicopters surrounding Mills and Somerset as they play the final mind game with John Doe? That feeling of hovering over the action, almost struggling to keep everything in focus because the helicopters are moving, adds to the dread and uncertainty that Fincher establishes in the moment. Of course, there’s the brilliant moment when Mills learns what’s in the box. But after he kills John Doe – and completes the serial killer’s mission – we get that incredible improvisation of John C. McGinley shouting into the helicopter headset microphone:
Christ. Somebody call somebody.
Thankfully, as David Fincher explained to us, Pitt’s schedule cooperated. And New Line executives realized what kind of a gem they had in their hands, because they relented. A month after Pitt wrapped shooting on 12 Monkeys, New Line approved nine days of pickup shots, sending Fincher and crew scrambling back to the desert to complete the project. As Fincher recalled:
That McGinley line … was (done) on the looping stage. And he said, ‘I think at the end, I should say something.’ And I go, ‘Well, what do you think you would say?’ And he goes, ‘I don’t know. I think I’d be so upset, I should say (something).’ And I said, ‘What if you just say, “Somebody down there, do something!”’ And then he riffed on it like four or five times. … I remember thinking, if you just have a non sequitur that just feels like somebody giving up. ‘We’re not going to be able to affect anything here. There’s not… it’s done. It’s over. It is what it is.’ And that’s what he came up with.
I’ll never be able to think of that scene without hearing McGinley’s exasperated plea. And now I won’t watch the scene without thinking that the helicopter shots almost weren’t part of it. Because that would have been a huge mistake.
Brad Pitt in Seven
‘John Doe has the upper hand.’
Of course, one of the more legendary moves pulled off by Seven was the casting of Kevin Spacey as John Doe, and then hiding his identity until the final-act reveal. Yes, we now know that Spacey appeared earlier in the movie, and got chastised by Mills for photographing a crime scene. But the reveal of Doe’s true identity matched up with some other late-game twists that were happening at the movies at that time… and also involving Spacey.
Did you realize that Bryan Singer’s crime thriller The Usual Suspects, with Spacey in a pivotal role, opened in theaters one month before Fincher dropped Seven? Because Fincher knew. And as he told CinemaBlend, it caused him more than a little agita. The director explained:
In all fairness, I did not know at the time that we shook hands with Kevin and said, ‘Show up next Monday, let’s begin,’ nobody knew who fucking Keyser Soze was! (laughs) He had just wrapped that movie. And no one knew that he was playing this evil, twisted genius in that movie. And I probably, and smartly for Kevin, because I probably would’ve said, ‘How many twisted evil geniuses can you play in a year?’
It’d be difficult to imagine anyone but Spacey in the part of John Doe now. Just like it’d be really hard to look at a cardboard box on the set of Seven and not picture the head of Gwyneth Paltrow inside of it. Don’t expect Fincher to have the actual box on shelf somewhere, ready to be added to The David Fincher Museum when that exhibit is one day established.
As he tells CinemaBlend:
If you’re talking about a prop on a film that I made, you’re talking about one of three dozen. So no, the box… the idea that there’s one box is as cute as the idea of trying to bring an actor totally covered in gelatin and bedsores up three flights of stairs without anybody seeing it.
Everyone will be able to see it again, this time in 4K, when Warner Bros. puts Seven out on 4K UHD beginning on January 7.
David Fincher, the renowned director behind the iconic film Seven, recently sat down with us to discuss the film’s 30th anniversary. As we delved into the making of this psychological thriller, Fincher revealed some fascinating behind-the-scenes details.One of the most challenging aspects of filming Seven was working around Brad Pitt’s busy schedule. Pitt, who played Detective David Mills, had a jam-packed itinerary, but Fincher and the crew managed to accommodate his commitments without compromising the production.
Another major hurdle was the intricate sloth makeup used in the film. Fincher described the painstaking process of transforming actor Bob Stephenson into the emaciated sloth victim, a task that required hours of delicate work to achieve the desired effect.
And of course, we couldn’t forget about the infamous box scene. Fincher recounted the impact of that shocking moment on audiences and how it has become a lasting symbol of the film’s dark, twisted narrative.
As Seven celebrates its 30th anniversary, Fincher’s insights shed new light on the film’s enduring legacy and the dedication that went into creating this unforgettable cinematic experience.
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David Fincher, Brad Pitt, Sloth Makeup, Seven, 30th Anniversary, Box, Behind the Scenes, Hollywood, Film Industry, Director Interview, Movie Production, Thriller Genre, Iconic Film
#David #Fincher #Talks #Brad #Pitts #Crazy #Schedule #Complicated #Sloth #Makeup #Infamous #Box #Turns
David Fincher discusses AI and what’s really in the ‘Se7en’ box
Se7en turns 30 this year, and to commemorate the anniversary, director David Fincher has overseen the 4K remaster of the seminal crime drama.
The serial killer mystery — which stars Morgan Freeman, Brad Pitt, Gwyneth Paltrow, and Kevin Spacey — first shook up the crime genre in 1995 with propulsive, precise craft and unprecedentedly nasty crime scenes that have influenced everything from Saw to The Batman. The film now has a higher-resolution look that will debut on IMAX screens on Jan. 3 before releasing on 4K UHD Blu-ray Discs and on digital Jan. 7. Fincher and his team painstakingly recreated the film as it was originally printed in 1995, utilizing some AI tools to enhance the image and fix visual mistakes that weren’t visible in previous scans of the film.
Entertainment Weekly chatted with Fincher to discuss the new version of Se7en and reflect on his memories of helming his feature directorial breakout 30 years later — including what’s really in the box.
David Fincher directing Morgan Freeman on the set of ‘Se7en’.
courtesy of Warner Bros
ENTERTAINMENT WEEKLY: What was it like to revisit Se7en after three decades?
DAVID FINCHER: Well, as far as the content of the movie, I’ve seen it. I knew what it was. As far as the excavation, though… Originally, I thought, “Well, it’s 1995. We’ve done this twice before; we did the DVD version and the high-def version.” But going back and exhuming it from the negative on 8K was more restoration than I had convinced myself it would be. So that was kind of shocking.
I know that there are a lot of people who tend to bag on digital, but if you could see a 30-year-old negative and what it looks like even when immaculately stored — it was an enormous amount of fixing, just digs and scratches and cinch. So a good couple of months were just devoted to bringing the thing back to what I would consider to be a negative, and then we could begin. It’s a little bit of a misnomer to say, “Well, it’s the 4K remaster.” It’s really the archival negative remaster. And in that respect, I don’t think any of us realized exactly what we were getting into.
What exactly went into the process for you in particular? How are you spending your time as you’re overseeing this process?
Throwing this new kind of technological firepower at stuff was, for me, really revelatory. We ran into things that heretofore had never been noted. I mean, shots that were fundamentally out of focus that you couldn’t read on film and couldn’t read even in HD. And then you get to 4K downsampling of the 8K scan. And we did end up going in and doing little split screens and using AI to sharpen things so that we could reestablish what was intended to be looked at. I think we probably took a little over a year — and left to my own devices, it could have been twice that.
We were really trying to get back to that first CCE check print that we saw 30 years ago when we were like, “Okay, that’s the movie. That’s the contrast of it. That’s the density of it. Those are the colors. This is where they’re muted, and here’s where they’re vibrant.” And really just try to remember what — technologically and artistically — that first print effect was. And I think we did it.
Morgan Freeman in ‘Se7en’.
courtesy of Warner Bros
Did you make any adjustments to the film in the remaster that was different from your original vision for it back in 1995?
I honestly believe that films are as beholden to the technological artifacts of the time as they are to the limitations of budget and whatever, so I tend to feel like there are certain lines that can’t be crossed. Having said that, there was color matching that we couldn’t do in 1995 making release prints. There were certain things that we just couldn’t get to flow seamlessly from one to the other that we now can do. There’s more firepower. There’s more ability to manipulate color, space, and key things. But no, we were going for matching that first CCE print.
And I definitely did some things that I felt I had to do, especially in-focus stuff. There were some shots of Kevin in the backseat of the police car with the grate that divides the front of the police car to the back, and there were shots that were completely out of focus. We were able to use AI and make mattes and extract the performance that was in the backseat and render it. It’s still soft, but it’s not as egregious as it was. But yeah, my real attitude is I don’t want to change it. I want to make it opening night, 1995, but the pristine version of that.
I know the AI question is a big one that’s ringing around in the industry right now. What’s your attitude toward it as a tool or as a potential way of making films in the future?
It’s probably a little too open-ended to say, “Are you for it or against it?” It’s like, what exactly are we talking about? For instance, there was a shot that had been operated with the intention of the characters leaning toward the edge of the frame. The camera operator missed it. And so he makes a sort of staggered pan with one of the characters. And there was data that was lost, that was irretrievable. Now, on either side of it, we had the fullness of the character’s shoulder, and we were able to kind of recreate using AI — recreate that shoulder and the kind of ripples or motions of the light on the surface of the leather. And we were able to sort of composite that so that we didn’t have what I considered to be distracting and unnecessary movement. And so a lot of little stuff like that where you go, “Ugh, I wish I had the look-around room that I have now,” harvesting an 8K and then down-sampling to 4K. I had the headroom because it’s Super 35, but I didn’t have the look-around room….
I mean, look, you give me a tool, a powerful tool to do X, Y, and Z, I may not be interested in Y and Z, but if I can use it for the sake of X — all tools, if they do what they say they’re going to do, are good tools. And it’s usually the tools that overpromise and underdeliver that I take more umbrage with than, “Oh, here’s this wildly powerful new toolset; use it to make something ugly.”
I know you said that you want to maintain the vision of the 1995 print, but thinking back to yourself making this movie in the mid-’90s, is there anything that you would tell yourself 30 years ago that you would want to do differently or change about the process of making it?
No. I feel like the director’s job is to find that thing that’s essential because you don’t have time to necessarily capture everything that you would want. So, part of your process is to define for yourself, based on the text, what is the essential thing that you must walk away with at the end of the day. And so I sort of stayed to that. And I did treat it a little bit as a historical document.
There are so many things that I would do differently. I mean, I would do things differently that I completed three weeks ago. So you’re constantly in that process of “I know better now.” There’s a lot of kicking yourself and going, “Yeah, I would do this so differently.” But that wasn’t the job. The job was to exhume this and make it look like a pristine CCE print from September of 1995.
Brad Pitt and David Fincher on the set of ‘Se7en’.
courtesy of Warner Bros
Moving back to the original production of the movie — there’s a pervasive story that the crew made a prosthetic head or entire body of Gwyneth Paltrow that you opted against using in the final film. [Some versions of the story say that Fincher’s friend, Steven Soderbergh, ended up repurposing that Paltrow-shaped prosthetic in Contagion in 2011]. Is that true?
No, it’s entirely ridiculous. I think we had a seven- or eight-pound shot bag. We had done the research to figure out, if Gwyneth Paltrow’s body mass index was X, what portion of that would be attributable to her head. And so we had an idea of what that would weigh, and I think there was a weight in it.
And we did put a wig in there, so that when Morgan rips the box open if there were some of this tape that was used to seal the box — I think it was a shot bag and a wig, and I think the wig had a little bit of blood in it, so some of the hair would stick together. Remember, I think Morgan opened 16 or 17 of those things. But as I always say, you don’t need to see what’s in the box if you have Morgan Freeman.
Nine Inch Nails has a prominent place in the soundtrack of the opening credits. You’ve gone on to work with Trent Reznor as a composer on many of your subsequent films. What was it about their music from that era that made you feel like it would fit into your work?
I had canvassed Trent for years before Social Network to say, “You should think about this.” And he’s a busy guy, I mean, he’s even busier now that he has so many movies! But we just thought that the Flood mix of that song was kind of amazing for what we were trying to do.
Originally, there was a title sequence that had nothing to do with John Doe and his fingertips or any of his composition book perversions. So that was a kind of last-minute thing as we were trying to figure out what the title sequence could be.
We were going to have to jettison — we’d shot a day of stuff of Morgan, supposedly upstate. I think we shot it in Ventura, looking at an empty little house that he was going to buy. And then we were supposed to do this long train sequence, and we only shot the day at the house. And then we were going to go back east and try and shoot the train coming into New York City or second unit stuff of a train coming into New York City. And then we would build a little bit of a set. And then that all became too much of a problem.
So I kind of tasked Kyle Cooper, who was at [design studio] Imaginary Forces, with the idea of, “What else can we do here in this space? Because I feel like we don’t have our villain until 90 minutes into the movie. What can you think about?” And he went through everything. He came back, and he goes, “You have all these composition books.” I said, “Oh, I know we have all these composition books. We have, I dunno, $20,000 worth of composition books that are all filled.” And he said, “Well, I would like to take a stab at that.” And I said, “Great.” Drew a storyboard. And they did a storyboard. And that became the title sequence.
The 4K remaster of Se7en will debut on IMAX screens Jan. 3., then release on 4K UHD Blu-ray and digital Jan. 7.
This interview has been edited for clarity and length.
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David Fincher, the acclaimed director behind films such as “Fight Club,” “Gone Girl,” and “The Social Network,” recently sat down for an interview to discuss his thoughts on artificial intelligence and the infamous box from his film “Se7en.”In the interview, Fincher delved into the complexities of AI and its potential impact on society. He expressed both fascination and concern about the rapid advancements in technology, highlighting the ethical dilemmas that arise when creating machines that mimic human intelligence.
When asked about the enigmatic box at the climax of “Se7en,” Fincher revealed that the decision to leave its contents unknown was intentional. He wanted to leave it up to the audience’s imagination, allowing them to interpret the ending in their own way.
Fincher’s insights into AI and his artistic choices in “Se7en” shed light on the thoughtfulness and depth that he brings to his work. As technology continues to evolve, his perspective on the intersection between humanity and artificial intelligence offers a poignant reflection on the future of society.
Tags:
David Fincher, AI, Se7en, film director, artificial intelligence, movie analysis, film discussion, thriller, suspense, Brad Pitt, Morgan Freeman, what’s in the box, film theory, cinematic analysis
#David #Fincher #discusses #whats #Se7en #box
