ZODIAC’s focus lies in the maddening contradiction of factual accounts that stymied real-life investigators and led to missed clues and dead-end leads. To accomplish his stark, pitch-black vision, Fincher enlists the eye of cinematographer Darius Khondji, who is able to translate David Fincher’s signature aesthetic (high contrast lighting, cold color palette, silhouettes and deep wells of shadow) onto the 35mm film image. With FIGHT CLUB, David Fincher also finds ample opportunity to indulge in his own personal fascinations. Christopher Plummer, Stellan Skarsgard, and Robin Wright round out Fincher’s compelling cast. Titled “Golf”, “Stairs”, “Kiss”, and “Drive”, all are presented in stark shades of black and white, rendered crisply onto the digital frame. The cold, steely color palette has been desaturated to a pallid monotone in its treatment of blues, teals, and greys. He was hired by Industrial Light & Magic (ILM) in 1983 as an assistant cameraman and matte photographer and worked on Return of the Jedi (1983) and Indiana Jones and the Temple of Doom(1984). This also gave them the confidence to commit to two full seasons from the outset instead of adhering to traditional television’s tired-and-true practice of producing a pilot before ordering a full series. But their relationship is a Cain and Abel story, and because of his blind trust that Zuckerberg will do the right thing and look out for him, he inevitably assumes the Abel position. The spot tracks the long, slow erosion of a rock until it becomes so smooth that is adopts the form factor of Motorola’s Pebl mobile phone. David Fincher has ever touched has turned to gold, including, it seems, 'The Social Network', since he started out in feature film-making with 'Alien 3'. It’s easily one of his best music videos and will no doubt serve as a taste-making piece and influencer for many pop videos to come. Norton brings a droll, dry sense of humor to his performance as the Narrator, a medicated and sedate man who must “wake up”. It also doesn’t really look like Fincher’s handiwork, what with a heavy orange and black color scheme instead of his trademark cold palette. The result is a pretty conventional, but no less well-crafted, piece of advertising. This spot echoes the look of “IPHONE 3G” with a similar steely color palette and Kubrick-style set piece, but this time around David Fincher has a little more fun with the storyline and technology on display. Cast in a heavy, David Fincher-esque green color tint, Brad Pitt walks down the street and casually talking on his phone— all while CGI cars are blown away by apocalyptic winds behind him. A student of Stanley Kubrick’s disciplined perfectionism and Ridley Scott’s imaginative world-building, David Fincher established his own voice with a cold, clinical aesthetic that finds relevancy in our increasing dependency and complicated relationship with technology. By giving herself over to the role entirely, she’s able to take a character that was already so well-defined by Rapace in the Swedish versions and make it completely into her own. The twist, however, is that despite all this cutting-edge technology (circa 2002, provided), both the protagonists and the antagonists have to resort to lo-fi means to advance their cause. Mahershala Ali, better known for his role in Fincher’sHOUSE OF CARDS series, works for the first with the director here as Tizzy, Queenie’s lover and a distinguished, mild-mannered father figure to Benjamin. film genre; some claim that it is a definitive work of modern film noir, while others argue that it is undoubtedly a thriller. 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