David Fincher

Film director, Music video director, Commercial director
One of cinema's most dazzling visual stylists, whose dark view of human nature often overshadowed the stark images of his films, director David Fincher established himself in the world of commercials and music videos ... Read more »
Born: 08/27/1962 in Denver, Colorado, USA


Director (12)

Utopia 2014 - 2015 (TV Show)


Gone Girl 2014 (Movie)


The Girl With the Dragon Tattoo 2011 (Movie)


The Social Network 2010 (Movie)


Stand Up To Cancer 2008 - 2009 (TV Show)


The Curious Case of Benjamin Button 2008 (Movie)


Zodiac 2007 (Movie)


Panic Room 2002 (Movie)


Fight Club 1999 (Movie)


The Game 1997 (Movie)


Seven 1995 (Movie)


Alien3 1992 (Movie)

Producer (6)

Living On Video 2015 - 2016 (TV Show)

Executive Producer

Bmw Short Film Series 2014 (Movie)

(Executive Producer)

The Fall 2008 (Movie)


Love and Other Disasters 2006 (Movie)

(Executive Producer)

Lords of Dogtown 2005 (Movie)

(Executive Producer)

House of Cards (TV Show)

Executive Producer
Actor (5)

Side by Side 2012 (Movie)

Himself (Actor)

Dirt 2007 (Tv Show)


The Henry Rollins Show 2004 - 2005 (Tv Show)


Full Frontal 2002 (Movie)

Film Director (Actor)

Murder By Numbers 2001 - 2002 (TV Show)

Visual Effects & Animation (2)

Indiana Jones and the Temple of Doom 1984 (Movie)

Matte Photography (Matte Painter)

The Neverending Story 1984 (Movie)

Matte Photography Assistant (Matte Painter)
Other (1)

The Blue Iguana 1988 (Movie)

assistance (Assistant)


One of cinema's most dazzling visual stylists, whose dark view of human nature often overshadowed the stark images of his films, director David Fincher established himself in the world of commercials and music videos before becoming one of Hollywood's most respected talents. After an inauspicious debut with the critically maligned "Alien 3" (1992), Fincher made his mark with the unforgettable, "Se7en" (1995), a stunningly dark and morose thriller that contained perhaps one of the most gut-wrenching endings of modern filmmaking. With his bona fides set in stone, Fincher went on to direct another challenging - and brutally violent - film, "Fight Club" (1999), which allowed the director a full palette in which to display his stylish gifts. He occasionally settled back into standard thriller territory, as he did with "Panic Room" (2002), or saw an otherwise excellent film fail at the box office like with "Zodiac" (2007), but later emerged as a perennial Oscar contender with "The Curious Case of Benjamin Button" (2009) and "The Social Network" (2010), both of which were radical departures from his previous gritty and violent films. By the time he directed the highly anticipated adaptation of "The Girl with the Dragon Tattoo" (2011), there was no disputing Fincher's ink black vision and refusal to believe in mankind's better nature marked him as a unique and refreshingly honest filmmaker worthy of considerable praise.


Jack Fincher

Was a bureau chief and writer for Life magazine

Phelix Fincher

Born in April 1994 mother, Donya Fiorentino

Donya Fiorentino

Married from 1990-1995 mother of Fincher's daughter later married Gary Oldman


Ashland High School

Ashland , Oregon



Helmed the first two episodes of the Netflix series "House of Cards"


Nominated for the 2011 Golden Globe Award for Best Director – Motion Picture


Directed the U.S. adaptation of "The Girl with the Dragon Tattoo," based on Stieg Larsson's novel and Steven Zaillian's screenplay; film starred Daniel Craig and Rooney Mara


Nominated for the 2011 Directors Guild of America Award for Outstanding Directorial Achievement in Feature Film ("Social Network")


Nominated for the 2011 Directors Guild of America Award for Outstanding Directorial Achievement in Feature Film


Nominated for the 2011 Academy Award for Best Achievement in Directing


Nominated for the 2011 Golden Globe Award for Best Director – Motion Picture ("Social Network")


Directed "The Social Network," about the founding of Facebook; screenplay by Aaron Sorkin


Re-teamed with Brad Pitt to direct him in "The Curious Case of Benjamin Button," an adaptation of F. Scott Fitzgerald's short story; received Golden Globe and Academy Award nominations for Directing; also earned a nomination from the Directors Guild of Am


Helmed an adaptation of Robert Graysmith's books about the hunt for the Zodiac Killer titled "Zodiac"


Executive produced "Lords of Dogtown," a feature film based on the documentary "Dogtown and Z-Boys" about 1970s skateboarders


Directed the thriller "Panic Room," starring Jodie Foster


Played a film director in Steven Soderbergh's "Full Frontal"


Executive produced a series of short film advertisements for BMW shown over the Internet at bmwfilms.com


Helmed "Fight Club," a screen adaptation of Chuck Palahniuk's novel of the same name starring Brad Pitt and Edward Norton


Feature film debut with an uncredited role in "Being John Malkovich"


Helmed third feature, "The Game" with Michael Douglas; produced by Steve Golin


Had surprise box office success with the psychological thriller "Se7en" featuring Morgan Freeman and Brad Pitt


Earned a Grammy for helming the Rolling Stones' music video "Love Is Strong"


Feature directorial debut, "Alien3"; became involved with several disputes with Fox, which led Fincher to disassociate himself with the production


Co-founded Propaganda Films with Steve Golin


First commercial was a spot for the American Cancer Society, which showed a fetus smoking


Left ILM to begin making commercials

Worked at Industrial Light and Magic (ILM), George Lucas' special effects production company

Directed music videos for Madonna, Michael Jackson, Rolling Stones and Nine Inch Nails

Entered the film industry by getting a job with an animation company loading cameras

Bonus Trivia


"I don't know how much movies should entertain. I'm always interested in movies that SCAR. The thing I love about 'Jaws' is the fact that I've never gone swimming in the ocean again." – Fincher quoted in Empire magazine, February 1996


"I just make these things and try to live them down. It's just creating a context for understanding a song. These are not windows into somebody's soul. For me, this is my film school, and, quite honestly, I'm embarrassed by a lot of my work." – Fincher on his music video work to David Wild in Rolling Stone magazine, Oct. 17, 1996


"I had a meeting once with a famous commercial director who was running off to direct a movie, and he wanted me to join his company. He said, 'I'm going off to do this movie.' I said, 'Well, what is it?' 'Oh, it's this cop thing.' I thought to myself, 'Oh, my God, I don't ever want to be in a situation where I'm going off to do some 'cop thing.'"You know, the best analogy for movie making is you're doing a watercolor from three blocks away through a telescope, with 40 people holding the brush, and you have a walkie-talkie." – Fincher to Fred Schruers in Rolling Stone magazine, April 3, 1997


"I look for patterns in coverage, and for ways to place the camera to see what you need to see, from as far away as possible. I try to remain semi-detached; I want to present the material without becoming too involved. I'll say to myself, 'Am I getting too involved in the action? Am I presenting this to someone who's uninitiated to these people, and doesn't want to be in the middle of this argument? Maybe we should be doing over-the-shoulders, as if the spectator is experiencing the scene after returning from the water cooler.' My visual approach comes from a more voyeuristic place." – Fincher quoted in American Cinematographer, September 1997


"I thought 'Alien3' was an opportunity to make my mark, but it didn't quite work. I learned a lot; never to shoot a movie without a script, and the more money you have, the more trouble you're likely to run into." – Fincher to David Hochman in Entertainment Weekly, Sept. 19, 1997


"...to hear Fincher's friends and associates tell it, [Michael] Douglas' character [in 'The Game'] isn't so different from the director himself, whom they describe as intense, controlling, manipulative, arrogant and – oh, yes – extraordinarily talented." – from The Los Angeles Times, Sept. 17, 1997


"I never feel comfortable on set. I don't know why I do it – honestly, I don't know. It's the most unpleasant part of the whole thing – collecting all the stuff and going through it like the military part of an operation when you have to show up early and marshal the forces and shoot stuff and argue with people and cajole and cheat and do whatever you have to do."I like the initial design and rehearsal, all the possibilities. Then when you go to shooting, it's, 'We can't put a wide enough lens on,' or, 'We can't get the wall further back.' That's always so unpleasant and has not gotten any easier." – Fincher quoted in Empire, November 1997


"I've had days of shooting where I went, Wow, that's what it is, that's what it's like to be making a movie. Everything's clicking, people are asking questions, and the clock's ticking, but you feel like you're making progress. But most of the time it isn't that. Most of the time it's, how do you support the initial intent of what it is you set out to do, and not undercut that by getting pissed off and letting your attention get away on that? It's priority management. It's problem solving. Oftentimes you walk away from a scene going, Wasn't what I thought it was going to be. Often. But it's also knowing that you don't have to get it exactly the way you see it." – from Film Comment, September/October 1999


"Entertainment has to come hand in hand with a little medicine. Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies. Everything's not okay." – Fincher to Esquire magazine, March 2007