David Fincher Reveals Shocking Behind-the-Scenes Torture of Making ‘Seven’!

David Fincher was already successful by 1990, directing music videos for top artists like Madonna, and creating profitable advertisements for major brands around the world. The production company he co-founded, Propaganda Films, had a significant presence in the MTV market and played a role in launching the careers of notable directors such as Spike Jonze and Antoine Fuqua.

However, Fincher, not even 30 at the time, was eager to take on Hollywood. He dove headfirst into his first feature film, one that any hardcore fan of Ridley Scott (another renowned commercials director) couldn’t resist: the third installment of the “Alien” series. Despite gaining a dedicated fanbase over time, the 1992 “Alien 3,” was not well-received initially. It was a problematic production that Fincher has largely distanced himself from.

Just over three years later, Fincher returned with a film that would come to define his career. The film “Seven” starred Morgan Freeman and Brad Pitt, two detectives with differing personalities, on the hunt for a sadistic killer whose murders were inspired by the seven deadly sins. The film perfectly encapsulated Fincher’s ability to create a captivating atmosphere, combined with a story that almost touched on philosophical depths.

Fincher, now 61, reflects on the challenging years between “Alien 3” and the breakthrough that solidified his unique style. “Why waste time complaining about wrongs done to you?” he questions. “I don’t think I was victimized during ‘Alien 3,’ but I certainly discovered my boundaries.”

His tale of redemption remains an important one, even if Fincher himself prefers to look forward. With the upcoming world premiere of a newly remastered 8K Imax version of “Seven” at the TCM Classic Film Festival, it seems appropriate to revisit his story. Fincher, known for his sharp wit and self-deprecating humor, discusses his journey via a Zoom call from his Los Angeles office.

After the difficult experience of “Alien 3,” you were removed from the editing process and the film was taken out of your hands. Was it difficult to consider making another movie?

Fincher recalls being back to directing commercials and a few music videos when he was sent the script for “Seven” accidentally. “There are only a handful of scripts you come across in this industry that leave you wondering: What just happened?” he says.

What specifically surprised you?

Fincher remembers his initial reaction to the script. “Old cop/young cop?” he says. “I wasn’t sure about it. I called my agent and said I wasn’t interested in this film about the last seven days of a homicide investigator.” His agent urged him to finish the script, and when he reached the part where the hunted John Doe surrenders, Fincher was intrigued. “How can the narrative reinvent itself in the last 20 pages?” he thought. Reaching the shocking climax, he was sold on the project.

The ending was quite radical for Hollywood in the ’90s. But after “Alien 3,” how did you know you weren’t going to be messed around again?

Fincher explains that “Alien 3” was a big-budget movie, part of a major franchise, and there was a lot of oversight. On the other hand, making a gritty serial-killer movie for New Line came with less interference. He says, “In the beginning, everyone was like, ‘Oh God, it’s that problem child from the ‘Alien’ movies.’ But after six weeks, they saw consistency in my work. They liked what they saw and thought, ‘Maybe that was then and this is now?’”

Are you suggesting that you always projected confidence? Have you always been confident?

Fincher admits to always being confident, saying that everyone makes mistakes. He explains that during “Alien 3,” he didn’t enjoy being forced to make other people’s mistakes. He wanted to believe in his work. With “Seven,” he finally found a script that resonated with him. He says, “I like movies that challenge me, movies that make me think: Really? You want to get this close?”

This was your first movie with Brad Pitt, with whom you would later work on two more films, “Fight Club” and “The Curious Case of Benjamin Button.” How difficult was it to cast your detective duo?

Casting the detective duo was not an easy process. Initially, the producers wanted Al Pacino, but he turned down the offer. Fincher then considered Gene Hackman, but he declined due to the amount of night shooting involved. Brad Pitt was eventually chosen, and Fincher relates how a meeting over coffee led to a deal being struck within 48 hours. Morgan Freeman was then suggested by the producer, Arnold Kopelson, and Freeman agreed to the role despite the night shooting.

Let’s discuss another key collaborator on “Seven,” cinematographer Darius Khondji, whose outstanding work is exceptional. How did he come on board?

Khondji had created a condom commercial that was strikingly beautiful, and Fincher had worked with him on a campaign for Nike in Paris. Despite some initial concerns from New Line, Fincher was determined to have Khondji on board. He wanted the film to be visually stunning yet dystopian. Khondji proved to be the right choice, with his skillful use of light creating a powerful and realistic atmosphere.

However, the production encountered some issues, right? It was plagued by misfortune.

Fincher recalls some challenges during production, such as the excessive rain due to El Niño. They had to make a tough decision to include the rain in the continuity of the film. He jokingly adds that anyone who questions the constant rain should consider the difficulties of filming during El Niño.

So the perpetual rain is not a gloomy homage to “Blade Runner” but merely to ensure continuity in the footage?

Exactly. Having giant water tankers on set is expensive. There was some resistance, but people eventually got on board. Fincher recounts a humorous anecdote about a New Line executive who visited the set during the filming of a gruesome murder scene. She saw bags of cockroaches being emptied onto the floor and decided that someone was getting fired for it, but it wasn’t going to be her.

You joke, but the test screenings for “Seven” were famously terrible.

The test screenings were indeed disastrous. The movie scored in the 50s, a score which usually indicates that a movie will be shelved. Fincher recalls asking for the flyer used to gather the audience for the test screening. He was given a card that read: “Would you like to see a new movie starring Brad Pitt (‘Legends of the Fall’) and Morgan Freeman (‘Driving Miss Daisy’)?” Fincher was baffled, saying that the movie shouldn’t be marketed to the same audience who enjoyed “Driving Miss Daisy.”

How did you bounce back from a screening like that? What’s the next step?

After the disappointing screening, a meeting was held at New Line. One of the producers suggested that the shocking climax of the film should involve the head of the pet dog, instead of a human head, in the box. Fincher and others were skeptical. He recalls asking for extra shooting days to complete the ending, promising that the final movie would be better than what was screened. Michael De Luca, the production president at New Line, agreed and gave Fincher the additional shooting days.

Do producers like that still exist?

Fincher asserts that such producers certainly exist. He explains that the audience was initially sold a thriller, but the movie turned into a horror film. That transition, he says, was a challenging puzzle to solve, and De Luca supported him throughout the process.

Are you content with how significant “Seven” is in your filmography? Even when you were releasing something like last year’s “The Killer,” it’s always: Fincher’s back to what he does best. Do producers want you to repeat yourself?

Fincher is pleased with the impact of “Seven.” He recalls how Warner Bros. told him that “Zodiac” wasn’t scary, to which he responded that some people might disagree. He explains that while some people might expect him to recreate his success with “Seven,” he has moved on and evolved as a filmmaker.

Do your fans only want to discuss “Seven” with you?

Fincher says that not many people approach him to talk about “Zodiac.” He jokes that those who do are probably on some watch list.

Do you think you’re on a watch list for making all these movies — and then revisiting them decades later with Imax versions?

Fincher jokes that he hopes so. He recalls joking that anyone still in the theater on the fifth weekend of “Seven” should be arrested.

This interview has been edited for length and clarity.