Love, Death and Robots Volume 3: David Fincher wanted his episode to feel like an alien - IGN

Love, Death and Robots Volume 3: David Fincher wanted his episode to feel like an alien – IGN

warning! This article contains spoilers from David Fincher’s episode of Love, Death and Robots Volume 3, titled “Bad Travel”. All nine episodes are currently available to watch on Netflix.

After nearly 40 years in entertainment, three-time Oscar nominee David Fincher seems to have done it all. From his early years directing music videos for Madonna and Aerosmith, making memorable films like Seven and The Social Network, and working on popular TV shows like House of Cards and Mindhunter, Fincher’s resume seems complete. But what about animation?

With the release of Volume 3 of the Love, Death and Robots anthology series on Netflix, Fincher can finally check out the animation from the set list with his episode titled Bad Travel. In this marine horror story, a group of Jable shark hunters on a distant planet is attacked by a giant crustacean. With the sailors’ lives at risk, chaos and rebellion erupt.

Although Fincher has decades of experience working behind the camera on live-action projects, we wanted to know if the animation brought any new challenges to the veteran director.

“Ultimately, the guidance comes back to understanding context and sculpting time, light, and behavior with that innate understanding,” Fincher told IGN. “In some cases, like in motion capture, there are people in little clothes hanging from ping-pong balls, and you’re going, ‘Okay, now remember the ship is swinging and all…’ You’re there to add a bit of fantasy sauce to all the other dirty things. Which they’re trying to keep in their heads. I mean, it tends to look a little bit like Saturday Night Live. It’s ridiculous to ask someone to do an actual play, wearing pajamas. So this side of it, it’s the same thing. You play dress up And, isn’t it? And you’re trying to say, ‘Look, from the audience’s point of view, this should happen a little bit faster here, a little bit… this could be a little slower.’ Search for that word. It’s all the same shit.”

“Bad Traveling” features popular video game voice actor Troy Baker (The Last of Us, Bioshock: Infinite) in the lead role, as one weary sailor who must confront a terrifying crustacean. The Fincher episode is an adaptation of Neil Asher’s short story of the same name. And while Usher’s story has been the primary influence of what we see on screen, Fincher was also inspired by an iconic sci-fi monster movie from the late 1970s.

I don’t want to feel like I’m around the world in 80 days. I wanted to feel like an alien


“I love Yavette Koto and Harry Dean in Alien,” Fincher said. “And I love the idea of ​​these totally uneven, sweaty guys wanting to renegotiate their bonus status before we talk about when we can get our business back online. And I love that. And I love the idea of ​​these types of faces: anonymous, sarcastic, and suspicious. And here it is. The guy who inherited this thing is supposed to run now because he’s next in line. And they go, ‘Yeah, not so much.’ Well, none of us want to get down there. This is on you, you motherfucker. And they sent him to the pit. I was kind of thinking, “What are the first three pages? Well. What do I need to tell that story?” And I thought, I don’t want to feel like I’m around the world in 80 days. I wanted to feel like an alien. “

Since the release of Alien 3 in 1992 (Fincher’s first feature film), the veteran director hasn’t produced much sci-fi content, until recently collaborating with fellow Love, Death, and Robots executive producer, Tim Miller (Deadpool). Fincher told us that while Miller helped him with some motion captures and creature designs, Fincher still had some input on what a giant crab should look like.

“It was a lot like a scorpion and lobsters,” Fincher told IGN. “And then I started bringing it back, and I kept coming back to this idea, I want this thing to be like a walking corals.” “It’s literally the size of two Range Rovers side-by-side. And if she decides she wants to cut you in half, she definitely has the ability to do that. We had different kinds of walks when we were doing this mix, and it was like, ‘There’s a Clydesdale, and then there’ Side shuffling, the elephant walk you do. I loved the scorpion’s tail, but we had to make sense of it so it didn’t feel… At first it looked like a tapeworm, which is a bit confusing.”

With three Academy Award nominations for Best Director, and a slew of other prestigious awards over the years, what could David Fincher learn more than working on a 21-minute animated episode?

The idea is to get better. The idea is to be a more complete version of the storyteller


“The idea is to get better,” Fincher explained. “The idea is to be a more complete version of the storyteller.” “I think at first I was…if I had any reservations, it was like, ‘Oh my God, if I had 300 shots, could I do that?'” Can I do something… Can I say…” I mean, the text was… I would say it was 16 pages or 17 pages. And there were things like, “The crew fights giant crustaceans until they disappear into the hole.” It’s like to Somewhat for Lawrence to take the hitch and say, “Well, that’s three weeks of filming.” So there were things that were tricky about that. But I’m used to it. And I’m definitely used to my work. I don’t think there were a lot of people who used to do That’s 14 shots from Mr. But for me, it’s like, ‘I want to make sure we get the tape where everyone crosses and do their best for the people on either side of them.'”

Love, Death and Robots – Season 3 Pictures

For more on the streaming world, be sure to check out the latest trailer for Disney’s Lady Marvel, Marvel working on a new Daredevil series, and our review of Season 1 of Night Sky.

David Griffin is Senior Editor, Features and Content Partnerships at IGN. say hello Twitter.



2022-05-20 20:09:01

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