![]() ![]() ![]() Instead, we’re exploring the reasons why an already established filmmaker who regularly uses color read a script and thought, I must shoot this in black and white. There’s a whole other list to be made of directors who made the bold move of embracing black and white in their debuts, including Spike Lee, Christopher Nolan, Ana Lily Amirpour, and Marjane Satrapi. But even if a project might later earn some prestige (Oscar voters tend to love modern black-and-white movies), it usually takes an established talent, a David Fincher type with contacts at Netflix, to have a shot at making it to the awards circuit. It’s fascinating when directors like Fincher eschew color in the middle of their acclaimed careers and go for something a little classic, a little daring, and possibly a little anti-commercial. These movies often come from a personal place (Fincher chose the format working from a script by his late father, Jack), but they also require a director to fight for their vision, as black-and-white films are famously hard to raise money for - even Mank couldn’t get made for decades. David Fincher’s Mank, a story about how studios would rather repeat themselves than risk bold ideas, is also a testament to the dedication required to bring a modern black-and-white film to the screen. ![]()
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December 2022
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