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Like Fincher, David S. Goyer has gone on to have a fabulous and rewarding Hollywood career, working with Christopher Nolan on The Dark Knight Trilogy, penning cult classics like “The Crow: City of Angels” and “Demonic Toys,” and being one of the only voices of reason behind the scenes of DC’s doomed arc of Henry Cavill Superman movies (which he had plenty to say about on “Happy Sad Confused” — very little of it good).
Goyer reflected fondly on his brief time working with Fincher in the boom days of New Line Cinema in the early ’90s:
“I developed a draft with Fincher before he had done ‘Se7en.’ […] I remember going to our producer’s office … There was this giant conference table. Fincher laid out 40 to 50 books of photography and art with post-it notes inside them. He said, ‘This is the movie.'”
It’s unclear whether or not Fincher was already in pre-production on “Se7en” at the time, but Fincher has revealed that he’d been aware of the script for the film floating around Hollywood for years by that point. In either case, Goyer’s recollection of Fincher aligns exactly with the exacting, comprehensive intellect of legend that makes his movies shine:
“[Fincher] took us on a two-hour tour around the table of the aesthetics of this scene, that character. […] It was such a fully fleshed-out visual pitch … I had never seen something like that before. A lot of that thinking infused my further revisions.”
Fincher would eventually be replaced by Stephen Norrington, who turned “Blade” into a modest box office hit with long cultural legs. And Fincher, well, we know how it turned out for him.
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