I. Introduction
- A. thesis: The unique style and flow of this movie whose residence resides at the top of most filmakers' top 10 lists impacts it away from the norm and pivots it right to the forefront of the new and old.
- B. subarguments
- 1. cinematography style and techniques
- 2. visual effects
- 1. cinematography style and techniques
II. Body
- A. physical effects
- 1. state the argument, in context of overall thesis
- 2. evidence, support, examples
- 3. tie off the argument
- 1. state the argument, in context of overall thesis and previous argument (transition)
- 2. evidence, support, examples
- 3. tie off the argument
- 1. state the argument, in context of overall thesis and previous argument (transition)
- 2. evidence, support, examples
- 3. tie off the argument
III. Conclusion
- A. draw all the arguments together to show how they support the thesis
- B. make some broader speculations about the significance of it all
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facts and figures to tie into the study....
Budget: $63,000,000
Total US Gross: $37,023,395
Genre: Black Comedy
Runtime: 139 Minutes
US Release Date: 10/15/99
Aspect Ratio: 2.35:1
Awards:
Academy Awards:
Nominated for best sound effects editing.
Tagline: Mischief. Mayhem. Soap.
Quote: “The first rule of fight club is you do not talk about fight club. The second rule of fight club is you do not talk about fight club!”
Studio executives did not like the film, and they restructured Fincher's intended marketing campaign to try to reduce anticipated losses. Fight Club failed to meet the studio's expectations at the box office, and received polarized reactions from critics. It was cited as one of the most controversial and talked-about films of 1999. The Guardian saw it as an omen for change in American political life, and described its visual style as ground-breaking. The film later found commercial success with its DVD release, which established Fight Club as a cult film.
Makeup artists devised two methods to create sweat on cue: spraying mineral water over a coat of Vaseline, and using the unadulterated water for "wet sweat". Meat Loaf, who plays a member of the fight club who has "bitch tits", wore a 90-pound (40 kg) fat harness that gave him large breasts for the role.[6] He also wore eight-inch (20 cm) lifts in his scenes with Norton to be taller than him.[14]
2 suits were made, one with nipples, and one sans nipples(without).
Fincher used the Super 35 format to film Fight Club since it gave him maximum flexibility in composing shots
title sequence projected as a seperate budget cuz it was so expansive. basically, we'll do it if your good. The film's title sequence is a 90-second visual effects composition that depicts the inside of the narrator's brain at a microscopic level; the camera pulls back to the outside, starting at his fear center and following the thought processes initiated by his fear impulse.[26] The sequence, designed in part by Fincher, was budgeted separately from the rest of the film at first, but the sequence was awarded by the studio in January 1999.[25] Fincher hired Digital Domain and its visual effects supervisor Kevin Mack, for the sequence.
The company mapped the computer-generated brain using an L-system,[27] and the design was detailed using renderings by medical illustrator Kathryn Jones. The pullback sequence from within the brain to the outside of the skull included neurons, action potentials, and a hair follicle. Haug explained the artistic license that Fincher took with the shot, "While he wanted to keep the brain passage looking like electron microscope photography, that look had to be coupled with the feel of a night dive—wet, scary, and with a low depth of field." The shallow depth of field was accomplished with the ray tracing process.[25]
subliminal tylers, 1 frame spliced in. " In scenes before the narrator meets Tyler, the filmmakers inserted Tyler's presence in single frames for subliminal effect.[23] Tyler appears in the background and out of focus, like a "little devil on the shoulder".[14] Fincher explained the subliminal frames: "Our hero is creating Tyler Durden in his own mind, so at this point he exists only on the periphery of the narrator's consciousness."[25]"
in this sequence if you go frame by frame after leaving the gun the camera scrolls down and you can see all the different rooms as it passes through the floors, all in intricket detail.
when he walks in and the ikea stuff is coming in, norton had to walk in with perfect timing and pace.
the plane crash, obviously was total cgi.
in the plane seen, he had a 200 lb per square inch of air, air cannon blown into his naked eye balls.
Flashing
(In cinematography, flashing is a method of contrast enhancement that takes advantage of the natural physical properties of film stock to bring out detail in darker areas of the print.
The effect is produced by adding a very small and even level of exposure to the entire image. Since exposure levels increase logarithmically, this tiny level of additional exposure has no practical effect on an image's mid-tones or highlights, while substantially boosting the shadows of the image, thus allowing darker areas of the image not normally exposed to become marginally visible.)
was implemented on much of the exterior night photography, the contrast was stretched to be purposely ugly, the print was adjusted to be underexposed, Technicolor's ENR silver retention was used on a select number of prints to increase the density of the film's blacks, and high-contrast print stocks were chosen to create a "stepped-on" look on the print with a dirty patina.[23]
Fincher hired visual effects supervisor Kevin Tod Haug
Haug assigned the visual effects artists and experts to different facilities that each addressed different types of visual effects: CG modeling, animation, compositing, and scanning. Haug explained, "We selected the best people for each aspect of the effects work, then coordinated their efforts. In this way, we never had to play to a facility's weakness."
Fincher visualized the narrator's perspective through a "mind's eye" view and structured a myopic framework for the film audiences. Fincher also utilized previsualized footage of challenging main-unit and visual effects shots as a problem-solving tool to avoid making mistakes during the actual filming.[
Other visual effects include an early scene in which the camera flashes past city streets to survey Project Mayhem's destructive equipment lying in underground parking lots; the sequence was a three-dimensional composition of nearly 100 photographs of Los Angeles and Century City by photographer Michael Douglas Middleton.
The final scene of the demolition of the credit card office buildings was designed by Richard Baily of Image Savant; Baily worked on the scene for over fourteen months.[25]
Midway through the film, Tyler Durden points out the cue mark—nicknamed "cigarette burn" in the film—to the audience.
the sex shot is a computer generated shot using a tracking sequence, so that the camera could fly between her legs and around her breast and under her arm pit and into a bead of sweat frozen like luke skywalker.
in the seen where tyler is getting beat up by the mob in the first punch with the wide shot, edward didnt react to the punch, so they split screened edward him out of the take and put him back in with a better reaction.
durring tyler's statement the sides of the film come in as the whole screen shakes, which was done in cgi. (coming out of gate)
helium ballons lights used, one of the first times.
smily face is cgi, they wouldn't let them paint the ouside of this building, so they had to track this "artwork" onto the whole shot.
the panevision box helped change the speed of the shots.
the bomb is cgi when he's trying to difuse it.
the head shot is just plain screensaver worthy. along with the buildings exploding, is just so obvious it almost should't be mentioned.
6-frame splice of penis at the end.
