Gone Girl Notes

Film Extra Day School Gone Girl – the mystery of a marriage Introduction spend the money. Fincher has a reputation for David Fincher is one of the most celebrated endless re-shoots and for carefully auteur directors in contemporary Hollywood. choreographed scenes involving matte work/ His every film is an ‘event’ – something ‘bigger’ CGI and crowds/complex actions. in scope than the usual mainstream film, whether in terms of style, theme or story Our strategy today will be to consider Fincher treatment. ‘Auteur’ here implies a consistent as a director of adaptations and first we’ll study ‘authorial voice’ in the collective production of a how he set about working on a previous film. adaptation of a big bestselling crime novel, The Girl With the Dragon Tattoo, using the script by Fincher follows the tradition of the studio-based one of his regular collaborators, Steven Zaillian. auteurs of the 1950s who often worked with the We’ll do this by comparing three versions of the same creative teams on each film. Fincher’s last same narrative. The original novel (the first of a four directorial jobs have been The Social trilogy written by Stieg Larsson and known Network (2010), the biopic of Mark Zuckerberg, collectively as Millennium) was published in the adaptation of the Swedish bestseller The 2005. A Scandinavian film version was directed Girl With the Dragon Tattoo (2011), the first two by Niels Anders Oplev from a script by Nikolaj episodes of the inaugural Netflix production, Arcel and Rasmus Heisterberg in 2009. House of Cards (2013) and now Gone Girl. Each Fincher’s film was released in 2011. of these productions has featured the cinematography of Jeff Cronenweth, music by As an exercise, we will look at the first Trent Reznor (not House of Cards), film editing substantial sequence in the film narrative. Both by Kirk Baxter and production design by Donald films open with a brief sequence in which an Graham Burt. The only major creative role that elderly man opens a parcel containing a changes across these four productions is the pressed flower in a framed presentation. The screenwriter. next sequence introduces the two central characters in the story. The journalist/publisher Gone Girl has, unusually, been adapted by the Mikael Blomkvist has just lost his legal battle original author Gillian Flynn. The book was a against the financier Hans-Erik Wennerström. bestseller but Ms Flynn had not previous had a He leaves the court and meets his partner Erika screenplay credit before beginning the Berger and the other staff of Millennium adaptation. David Fincher had previously made magazine. At roughly the same time that these two films featuring women in the lead role, Alien events occur, Lisbeth Salander is gathering 3 (Sigourney Weaver) and Panic Room (Jodie together all the data she has collected on Foster). Both of these films are essentially Blomkvist and then taking it to the offices of ‘action’ thrillers rather than ‘relationship films’. Milton Security where she presents it to the Gone Girl is more akin to a mystery thriller that lawyer Dirch Frode. combines elements of both action and melodrama. The reaction to the novel was very The book version strong in terms of interest in the female Larsson’s book is very long (538 pages) and the characters. The interest in the film is therefore two short ‘events’ noted above take up around how the visions of Fincher and Flynn will mesh. 46 pages. This is mainly because Larsson gives Fincher does not make low budget films. Gone the reader a great deal of background about Girl reputedly cost $60 million (Fincher quoted both Mikael and Lisbeth and about the legal in Sight and Sound) so we must conclude that case. In this way we learn very early on what Fincher had clear ideas about how he would kinds of characters these are and also Gone Girl !1 something about the concerns of the author in filmmakers chose to include as much of the terms of the issues that interest him. narrative detail of the book as possible. Even so, there are distinct differences between the Film versions of novels two films and some of those differences are There is now a considerable amount of evident in the opening scenes. academic scholarship in film studies looking at the issue of film adaptation. In an industrial Film and literature sense it is important to note that a significant Although the two narrative forms may present number of films in most major film industries similar action and dialogue, there are important worldwide are based on successful novels (as constraints as well as potential benefits well as plays, operas, songs etc.). These affecting the filmmaker. Consider the ‘properties’ have a proven success with introduction of the central characters in the audiences and commercial filmmaking is story. A novelist can choose to tell us a great expensive and therefore ‘risk-aversive’. deal about a character before they act in any Adaptations make sense to studio accountants significant way. This is much more difficult for because the expenditure on ‘rights’ can be the filmmaker. The character in the novel can justified by the presence of the ‘given’ audience also remain ‘undefined’ for a long period – but interest. in a film we will see and hear the actor speak and we will start to ‘read’ their costume, Both filmmakers and those audience members hairstyle, body movement etc. We will also pick who have read the book are concerned with two up clues from the environment in which the main issues: action takes place. 1. The ‘interpretation’ of the story by the In a mainstream feature, the central characters screenwriter and whether any aspect of the will usually be played by stars, or at least by story will be altered. This might be thought of as recognisable actors. The major stars have the ‘fidelity’ question. developed a ‘star persona’ or ‘star image’ – a composite of the qualities associated with 2. The necessary compression of events in previous major roles as well as public ‘screen time’. The median length of a film is still appearances. In the case of Mikael Blomkvist in around 100 minutes, possibly a little longer. The the David Fincher version, he appears in the industry rule of thumb is that a film script (in the guise of James Bond – Daniel Craig. An obvious standard layout formula) represents 1 minute of question is to ask what Fincher and Craig do to screen time per page. There is no direct try to stop us thinking about Bond? Or perhaps relationship between the number of pages in a they don’t mind if we do think of Bond and book and the number of pages of a film script, they’ll try to use that knowledge? In the but there is general agreement that the film Swedish version, Blomkvist is played by Mikael scriptwriter will have to leave out significant Nykvist, an actor barely known in the US/UK, parts of a novel to fit an acceptable length for a but very well-known in Sweden. How do we single film feature. Often this means losing read his appearance? characters and manipulating narrative events and the ways in which audiences discover The novel’s description of characters narrative information. (On the other hand, there Larsson doesn’t tell us what Mikael looks like. are also examples of short stories being He gives us clues that suggest that he must be expanded to make full length films, e.g. in his 40s. He also explains why a reporter calls Brokeback Mountain.) him ‘Kalle’ – referring to a boy detective in the stories of Astrid Lindgren the famous Swedish The Oplev version of The Girl With the Dragon children’s author. Mikael spends time trying to Tattoo ran to 152 mins (but was extended to fend off journalists and at one point leaps on a 180 minutes in the version shown on TV). The bus. He orders a latte in a café and goes back Fincher version ran to 158 minutes. Both sets of to his apartment in the old part of the city, an Gone Girl !2 apartment he has stripped down and decorated • How are the two central characters himself. visualised? How does casting and performance work out? How are the actors Larsson is much more specific about Lisbeth ‘costumed’ and made up? Salander: • How is the mise en scène handled – lighting, A pale, anorexic young woman who had décor, ‘significant objects’? How is the hair as short as a fuse, and a pierced camera used? Is there any music? nose and eyebrows [long description of her tattoos]. She was a natural redhead, • Narration: How are the events shown in but she died her hair raven black. She terms of narrative structure? Are they re- looked as though she had just emerged ordered? Are any events left out, changed? from a week-long orgy with a gang of hard rockers. (Both extracts are 6-7 mins long, so the differences between them are choices based on . born thin, with slender bones that different emphases.) made her look girlish and fine-limbed with small hands, narrow wrists and child-like Exercise 2 breasts. She was twenty-four, but she Assuming we have time, we’ll try to look at the sometimes looked fourteen. opening to another Fincher film which also deals with a mystery. Zodiac (2007) is also an She had a wide mouth, a small nose, and adaptation. This time it is based on a non-fiction high cheekbones that gave her an almost book about a real-life hunt for a serial killer Asian look.

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