DavidFincher tells you everything you'd ever want to know about making LoveDeathandRobots and directing ‘Bad Travelling.’
If you’re a fan of David Fincher and Love, Death + Robots, you’re about to be very happy. Not only is Love, Death + Robots Volume 3 now streaming on Netflix, David Fincher directed one of the episodes, Bad Travelling, and it’s fantastic. Written by Se7en screenwriter Andrew Kevin Walker, it’s about a giant crustacean and a shark-hunting sailing vessel.
DAVID FINCHER: Well, I appreciate that. It's really mostly Tim, I [have] to be honest. But this was fun. I got to at least play another reindeer game this time around.FINCHER: It's amazing. He's [episode director Alberto Mielgo] something else. He's otherworldly, this kid. His episode really blew me away in terms of the story and the animation.
I remember just thinking to myself, you see something like that [and] you just hope that people aren't going to see it on their phone on a bus. You just hope that they're going to have at least a headset on and they're going to watch it at night. It'll be really interesting to see how it plays on a big screen tonight, because it's really assaultive and the audio is very vertical, and the sound pressure of it. It'll be really interesting to see.
I grew up in the 1970s [with] Kai Pindal and the National Film Board of Canada, Spike and Mike's Animation Festival, Fantastic Animation Festival, or even Will Vinton. Whether you saw them on the Academy Awards, or whether you saw them in a revival house before Monty Python and the Holy Grail, or whether you saw them on KQED in San Francisco—you were exposed to this stuff.
How did you decide on the style of animation that you wanted to use for your episode, knowing that there are so many choices out there in terms of the animation. So in that, one of the things that I kept coming back to was the style of the thing. I think we had 300 shots or something like that. We only had a certain amount of shots and we had to portion the shots, so we went and storyboarded the whole thing. As we were going through that process, it started feeling like something that's a little closer to Deadliest Catch.
FINCHER: He did that all the time because he's a very bad den mother. Tim takes on an enormous amount of responsibility. If you want to play, when Tim tells you, "Pencils down," you have to kind of take it at face value. I didn't have to go to any budget meetings on my episode, but I would hear anecdotally. His producer or his agent or whatever comes into the edit room, and he's like, "It has to stop. It simply must stop.” We had a couple of those.
RELATED: Exclusive: 'The Art of Love, Death + Robots' Illustrated Companion Book Includes Stunning Images, Foreword by John Scalzi One of the many things I love about Love, Death + Robots is that not only do you not know what the animation is going to be when you push play, but you also don't know where it's going to end. Every episode can end at the most random place.
But no, Andy Walker took Neal's short story, and there was some back and forth because Tim was like, "All these guys are doing is boating." I was like, "Simmer down. It's going to be fine." There were these concerns about doing another five grizzled miscreants. First, they draw straws. Now, they're checking boxes. Why do we have to sit through this? I was like, "It's just a different kind of drama, but there will be some drama to this.
Jen would sit down with me for an hour on Monday, Wednesday, and Friday, and I would talk her through [it]. "I want to be looking down and I want to see the ship is rocking back and forth, and I want to see, as Toren goes across, as he comes back, we see Deacon with a knife in his teeth coming up." It was kind of like having a production meeting.
FINCHER: No, our whole thing is to try to make it as short as you can possibly make it. It's the Hollywood storytelling adage, how late into the scene can you come in, and how early can you get out? That is the discipline that informs everything. That is what it is to be a discipline storyteller. So there's no magic number. I think Bad Travelling has 300 shots in it. I could be wrong. At some point in the process, Tim was saying to me, "We can afford 300 shots.
I joke with Tim all the time that he's slowly putting his competition in the game space out of business by giving them Love, Death + Robots shorts to do. That's not the case, but I do tease him mercilessly about this. We can only presume so much. I love the idea of doing a 30 or 40-minute episode, and I think that can cover shorts.
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