Just a few days ago a pretty significant controversy erupted over The Girl with the Dragon Tattoo. It began when The New Yorker’s film critic David Denby announced that he would be breaking the review embargo imposed on the film by publishing his review this week (yesterday, to be exact). He was able to see the film when Sony agreed to a last-minute screening of the pic after the New York Film Critics Circle moved up their voting deadline in order to be the first out the gate in the awards race. Uber-producer Scott Rudin (The Social Network, No Country for Old Men) was naturally upset, and you can read his email exchange with Denby (along with Matt’s thoughts on the matter) here.
That about brings us up to speed, and now director David Fincher has weighed in on the matter. Hit the jump to see what he had to say.
The internet has been aflutter with opinions on Denby’s actions the last few days, but now Fincher has spoken up in an interview with the Miami Herald (via The Playlist):
“Embargoes … look, if it were up to me, I wouldn’t show movies to anybody before they were released. I wouldn’t give clips to talk shows. I would do one trailer and three television spots and let the chips fall where they may. That’s how far in the other direction I am. If I had my way, the New York Film Critics Circle would not have seen this movie and then we would not be in this situation. I would be opening this movie on Wednesday Dec. 21 and I would have three screenings on Tuesday Dec. 20 and that would be it.
That’s where [Rudin] and I get into some of our biggest fights. My whole thing is ‘If people want to come, they’ll come.’ But they should be completely virgin. I’m not of the mind to tell anybody anything about the movie they are going to see. And that kind of thought is ridiculous in this day and age. But by the same token, when you agree to go see something early and you give your word – as silly as that may sound in the information age and the movie business – there is a certain expectation. It’s unfortunate that the film critic business has become driven by scoops.”
I’m with Fincher 100%. It’s exceedingly rare that audiences are able to go into a film knowing little to nothing about it. We’ve seen the four trailers, we’ve seen the 12 different TV spots each showing a little more from the film than the last, and we’ve seen every single damn character poster (yes, even the dog). We go into the movie with an expectation of tone, character beats, hell we’re even sitting there waiting for precise moments we remember from the trailers.
But alas, moviemaking is a business. Unbeknownst to most moviegoers, studios will spend hours mapping out the entire trajectory of a film’s buildup towards release:
“This is not about controlling the media. If people realized how much thought goes into deciding at what point can we allow our movie to be seen, they would understand. There are so many other things constantly screaming for people’s attention. I started shooting this movie 25 days after I turned in The Social Network. We have been working really hard to make this release date. And when you’re trying to orchestrate a build-up of anticipation, it is extremely frustrating to have someone agree to something and then upturn the apple cart and change the rules – for everybody.”
The thing that’s most frustrating to the casual movie fan is the fact that by the time the movie actually opens, you may be so worn out from all the “buzz” that it’s impossible to go into the pic with an open mind. The strict embargo times the “releasing of the Kraken buzz” to a date much closer to the film’s eventual release. At the end of the day, though, Fincher believes that the success of most movies depends not on marketing, but on actual human response:
“Ultimately, movies live or die by word of mouth anyway. All that other stuff doesn’t matter. Nothing against film criticism. I think film critics are really valuable. But the most valuable film critics are usually those people who come see a movie with their Blackberry and then text their friends ‘It sucked.’ or ‘It’s awesome. You should see it.’ You know what I mean?”
Head over to the Miami Herald to read Fincher’s full comments on the matter. The Girl with the Dragon Tattoo opens to the Blackberry-holding public on December 21st.
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I will admit, the expectation thing is true, but there’s a whole lot of information in terms of plot twists that the studio is doing a very good job in keeping under wraps (those who have read the book know what I’m talking about). But if the film has a disappointing perfomance, I will be blaming the New Yorker for it.
David Denby has become a symbol. A symbol for everything that is wrong in the world. There was a time when a man’s word was as meaningful as a full background check and binding contract are today. Putting personal gain before honoring your word is a common, but terrible trait, and it is people like that who have destroyed the bonds of chivalry and honor from modern society, and that is a shame. “Denby” should become synonymous with “untrustworthy”.
Sad to say it, but I think the idea that “movies live or die by word of mouth anyway” just isn’t true anymore. It’s all about opening day/weekend or opening week now, at least that’s how studios see it. Sure, that’s more clear-cut with, say, the Twilight movies as opposed to Fincher’s films, which tend to have legs more than special effects blockbusters. But from a marketing and distributing point of view, I think studios are terrified to let a film be released cold. If you look at what films make the most money, I can’t say I blame them. I wish it was otherwise, of course, but until people get tired of Bella Swan and other such nonsense, I don’t see it changing.
WTF did he do with casting Mara Rooney? And why is she so f’d up looking? Noomi Rapace was Lisbeth…Mara Rooney just looks like a freak. Are we supposed to believe Mikael would sleep with her? Ugh. I was so excited for this movie, not going to see it. Freakin Mara Rooney…why? Why couldn’t he have made her somewhat attractive? goddammit
what are you on about?
You did read the books right? She’s supposed to look like a freak. I think she looks amazing total transformation and I’m counting the days til this comes out. I saw the Swedish version of the films and I’m totally ok with them remaking them as US versions, especially with such an amazing director as David Fincher at the helm. I think he might be one of the only directors in Hollywood that could have made this film because he’s not afraid of the dark and ugly side of the books and he won’t sugar coat any of it. Everything that they have been releasing ahead of time just makes me more and more excited about this.
I also totally agree with Rudin and Fincher Denby crossed a line when he printed the review, I don’t care what excuses he gave.
What? Are you kidding me? That is your reasoning for not going to see it?
Watch ANY David Fincher film. Besides his flawless framing and unbelievable craft in storytelling, his casting is ALWAYS top notch. You may not like Rooney or find her attractive, but David chose her for a reason. Never doubt Fincher!
It’s “Rooney Mara” dipshit. And you don’t understand what the character is about…
Denbey just caused himself a lifetime of ban to Rudin’s films. My, now i feel sorry for the guy. Rudin usually produces those high quality oscar contenders or dramas. Now Denby can be the know it all critic because he’ll be ban!
the most irritating is that Denby breaks an agreement. i really hate it when people do that for their own glory. WHAT A DOUCHE!
*can’t be
Milions of peope have the read the books and at least several have seen the original movies, so the whole embargo thing is kind of silly; there’s not likely a lot to spoil ( unless Fincher’s version departs from its source material in certain ways) but I still agree Denby is a scumbag, both for writing the review in the first place and trying to weasel out of it.
This film already had a terrific 90 minute trailer.
It’s the original Swedish version, just a few years old.
Now THAT’s marketing.
This movie already had a terrific 90 minute trailer.
It’s the original Swedish version, just a few years old.
Now THAT’s marketing.