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When David Fincher was fielding accolades for his 2010 masterpiece The Social Network, he was already in the bosom of filming his aftereffect project. On the surface, The Girl with the Dragon Tattoo wasn’t a cogent abandonment for Fincher. At the time, he was already accomplished in the amphitheatre of authoritative aphotic dramas with an edge, be it The Game or Zodiac, and he acutely had affluence of acquaintance cogent belief about consecutive killers. The antecedent actual of Dragon Tattoo was massively popular, sure, but with that acceptance came the befalling to booty authority of an alike bigger budget, cogent this aphotic account about a brace of outsiders investigating a analgesic of woman adjoin an ballsy canvas. What Fincher (and the blow of us) couldn’t accept accepted at the time, however, was that The Girl with the Dragon Tattoo would be one of the aftermost of its kind, the dying animation of the big account flat developed drama, as Hollywood would axis to bigger, flashier, and added superhero-er films in the afterwards years. In hindsight, The Girl with the Dragon Tattoo is a deposit from a ancient era.
The “American” adjustment of Stieg Larsson’s bestselling atypical The Girl with the Dragon Tattoo was built-in in 2009, aback ambassador Scott Rudin anchored the rights to the book for Sony Pictures and adolescent producers Michael Lynton and Amy Pascal. They set Oscar-winning Schindler’s List biographer Steven Zaillian to assignment on the adaptation, and in March 2010—just as Fincher had completed arch photography on Sony’s The Social Network—the flat began allure the Se7en filmmaker to booty the helm.
Image via Sony Pictures
Fincher had absolutely been approached about Dragon Tattoo years beforehand by Kathleen Kennedy, with whom he’d formed on The Curious Case of Benjamin Button. But he abandoned the hypothesis afterwards account the book, bold a cine about a bisexual hacker in Stockholm who helps a ashamed announcer bare a aphotic abstruse would never get made. The Swedish blur adjustment accepted he was wrong, and aback Pascal came calling a brace years later, she had an agitative proposition:
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“As I accomplished Social Network, [Sony flat boss] Amy Pascal told me they’d aloof bought the rights to Dragon Tattoo,” says Fincher. “She said, ‘We accept that a cine authorization doesn’t necessarily accept to be for 11-year-olds, that this actual is best absolutely not for 11-year-olds and that is why we are bringing it to you’.”
And so the abstraction of creating a $100 actor authorization blur fabricated abandoned for adults was appealing, abnormally in 2010, aback that affectionate of cine was actuality fabricated beneath and less. Films like Munich ($70 actor budget), Gangs of New York ($100 actor budget), and Jerry Maguire ($50 actor budget) were acceptable a rarity, at atomic at those amount points. The mid-to-high-budget ball was dematerialization as studios pivoted to high-concept brand fare, and absolutely 2010—when The Girl with the Dragon Tattoo was greenlit and began production—marked a axis point.
Image via Sony Pictures
Topping the box appointment in 2010 were films that would prove to be harbingers of what was to come: Disney/Pixar’s Toy Story 3, Disney’s Alice in Wonderland, and Marvel Studios’ Iron Man 2. The Toy Story aftereffect accepted that Disney could abundance homesickness to abundant success, as admirers who were accouchement aback the aboriginal Toy Story came out were now old abundant to buy their own tickets, and added than accommodating to dig aback into their childhoods with a teary-eyed aftereffect about growing up. And now 2019 abandoned will accompany us live-action adaptations of 90s favorites Aladdin and The Lion King. Alice in Wonderland—which grossed over $1 billion worldwide—solidified 3D as a new way for studios to clasp alike added money out of ticketbuyers, ambience off a blitz of 3D conversions for a action that would prove to be widespread, yet short-lived. And Iron Man 2, of course, was a bald dispatch bean on the aisle appear exchange ascendancy for Marvel Studios.
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And afresh actuality comes The Girl with the Dragon Tattoo in December 2011, a about three-hour ball set in Sweden that affectionate of follows the abstruseness of a consecutive analgesic but is absolutely a blur about misogyny in its abounding forms. The account of the film’s somewhat blah achievement at the box appointment (it fabricated $232.6 actor worldwide) can be debated, from Dragon Tattoo fatigue to poor timing (and Fincher reportedly butted active with the flat over the film’s marketing), but at the end of the day David Fincher fabricated a David Fincher blur through and through. The drama’s capacity abide beating all the years later, the bright adroitness is a barbecue for the senses, and Rooney Mara Oscar-nominated achievement is still, well, great. And it was all corrective on an ballsy canvas that traversed aggressive anecdotal area throughout its altered five-act structure.
Image via Sony Pictures
But while admirers were clamoring to see the sequels that never materialized, we didn’t apprehend films like Dragon Tattoo were about to go extinct. Subsequent years saw some big-budget developed hits actuality and there like The Wolf of Wall Street and Django Unchained, but the box appointment archive started to become brimming with superheroes, Disney activated films, and franchises like Fast & Furious or The Hunger Games—and that’s afore Star Wars comes into the account in 2015. Meanwhile, dramas like American Hustle (made for $40 million) are starting to get fabricated for far beneath than Hollywood acclimated to advance in dramas fabricated accurately for adults.
It’s no accompaniment that Fincher’s abutting activity afterwards Dragon Tattoo was controlling bearing and administering the aboriginal two episodes of House of Cards, the aboriginal alternation that launched Netflix as a destination for authority aboriginal content. In 2018, filmmakers like Cary Joji Fukunaga, Steven Soderbergh, and alike Martin Scorsese are absorption to television to dabble in the affectionate of developed storytelling on a ample canvas that has abundantly abolished from cinemas, and Fincher was at the beginning all those years ago with House of Cards. It’s additionally no accompaniment that afterwards Fincher wraps up the additional division of his additional Netflix alternation Mindhunter, his abutting affection blur activity is accepted to be World War Z 2.
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Now, no one expects Fincher to buzz in a crank apocalypse cine with the World War Z sequel, but his captivation is apocalyptic of what it takes to get added complicate account on cine screens nowadays. In the attitude of how the abhorrence brand has been a agent for arduous contemporary accountable amount for decades, filmmakers are now application big account brand movies to analyze agreeable contemporary ideas. Movies like Mad Max: Fury Road, Black Panther, or alike Star Wars: The Aftermost Jedi accept book added on their apperception than explosions or lightsaber fights, but filmmakers like Ryan Coogler or Rian Johnson can’t absolutely analyze those account on a ample canvas afterwards the packaging of a Marvel cine or a Star Wars movie. Studios artlessly aren’t accommodating to pony up $80 actor for an developed ball anymore.
Image via Sony Pictures
Even in the case of the Dragon Tattoo franchise, Sony Pictures is absolution a displace of sorts, The Girl in the Spider’s Web, but it’s a actual altered take. For one, it’s acclimatized from one of the books not accounting by Larsson, but it additionally carries a appear account of aloof $43 million. It’s not alike actuality marketed as a above tentpole the way Fincher’s blur was. This one is bottomward in aboriginal November, as a smaller-scale brand cine of sorts.
With The Girl with the Dragon Tattoo, David Fincher acclimatized a bestselling pageturner into a lengthy, compelling, and arduous blur about misogyny and the relationships amid men and women. It acclimated to be that was enough, but alike afresh Fincher seemed acquainted that he was accepting abroad with something. He knew the abstraction of Sony greenlighting a near-$100 actor ball was a attenuate opportunity, and he took it and ran with it. What he maybe didn’t know, and what we absolutely didn’t know, was how bound the Hollywood mural would shift. The times they aren’t a’changin’—they’ve changed. And whether a blur like The Girl with the Dragon Tattoo anytime gets fabricated afresh is anyone’s guess.
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