Zodiac (film)
Zodiac | |
---|---|
Directed by | David Fincher |
Screenplay by | James Vanderbilt |
Based on | Zodiac and Zodiac Unmasked by Robert Graysmith |
Produced by |
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Starring | |
Cinematography | Harris Savides |
Edited by | Angus Wall |
Music by | David Shire |
Production company | |
Distributed by |
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Release dates |
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Running time | 157 minutes |
Country | United States |
Language | English |
Budget | $65–85 million[2][3] |
Box office | $84.7 million[2] |
Zodiac is a 2007 American neo-noir crime thriller film directed by David Fincher from a screenplay by James Vanderbilt based on the nonfiction books by Robert Graysmith: Zodiac (1986) and Zodiac Unmasked (2002). The film stars Jake Gyllenhaal, Mark Ruffalo, and Robert Downey Jr., with Anthony Edwards, Brian Cox, Elias Koteas, Donal Logue, John Carroll Lynch, Chloë Sevigny, Philip Baker Hall, and Dermot Mulroney in supporting roles.[4][5]
The film tells the story of the manhunt for the Zodiac Killer, a serial killer who terrorized the San Francisco Bay Area during the late 1960s and early 1970s, taunting police with letters, bloodstained clothing, and ciphers mailed to newspapers. The case remains one of the United States' most infamous unsolved crimes. Fincher, Vanderbilt, and producer Bradley J. Fischer spent 18 months conducting their own investigation and research into the Zodiac murders. Fincher employed the digital Thomson Viper FilmStream Camera to photograph most of the film, and used traditional high-speed film cameras for slow-motion murder sequences.
Zodiac was released by
Plot
On July 4, 1969, an unknown man attacks Darlene Ferrin and Mike Mageau with a handgun at a lovers' lane in Vallejo, California. Only Mike survives.
One month later, the
At the office, Avery makes fun of Graysmith before they discuss the coded letters. Graysmith interprets the letter, which Avery finds helpful, and he begins sharing information. One of Graysmith's insights about the letters is that Zodiac's reference to man as "the most dangerous animal of them all" is a reference to the film The Most Dangerous Game, which features the villainous Count Zaroff, a man who hunts live human prey.
Two weeks later, San Francisco taxicab driver Paul Stine is shot and killed in the city's
In 1971, Detectives Toschi, Armstrong, and Mulanax question Arthur Leigh Allen, a suspect in the Vallejo case. They notice that he wears a
By 1978, Avery has moved to the
Graysmith continues his own investigation, profiled in the Chronicle, and gives a television interview about the book he is writing on the case. He begins receiving phone calls from someone breathing heavily. As his obsession deepens, Graysmith loses his job, and his wife Melanie leaves him, taking their children. Graysmith learns that Allen lived close to Ferrin and probably knew her and that his birthday matches the one Zodiac gave when he spoke to one of Melvin Belli's maids. While
A textual epilogue indicates that Allen died before police could question him and that the case remains open.
Cast
- Jake Gyllenhaal as Robert Graysmith
- Mark Ruffalo as Inspector Dave Toschi
- Robert Downey Jr. as Paul Avery
- Anthony Edwards as Inspector Bill Armstrong
- Brian Cox as Melvin Belli
- Charles Fleischer as Bob Vaughn
- Zach Grenier as Mel Nicolai
- Philip Baker Hall as Sherwood Morrill
- Elias Koteas as Sergeant Jack Mulanax
- James LeGros as Detective George Bawart
- Donal Logue as Captain Ken Narlow
- Arthur Leigh Allen
- Dermot Mulroney as Captain Marty Lee
- Chloë Sevigny as Melanie Graysmith
- John Terry as Charles Thieriot
- June Diane Raphael as Carol Toschi
- Ciara Moriarty as Darlene Ferrin
- Adam Goldberg as Duffy Jennings
- Tom Verica as Jim Dunbar
- Lee Norris as Mike Mageau
- Jimmi Simpson as Older Mike Mageau
- Joel Bissonnette as Inspector Kracke
- John Getz as Templeton Peck
- John Mahon as Captain Gillette
- Matt Winston as John Allen
- Jules Bruff as Catherine Allen
- John Ennis as Terry Pascoe
- Patrick Scott Lewis as Bryan Hartnell
- Pell James as Cecilia Shepard
- Clea DuVall as Linda del Buono
- Zachary Sauers as Aaron Graysmith
- Micah Sauers as David Graysmith
- Paul Schulze as Sandy Panzarella
- John Hemphill as Donald Cheney
- Ed Setrakian as Al Hyman
- Richmond Arquette as Zodiac 1 / Zodiac 2
- Bob Stephenson as Zodiac 3
- John Lacy as Zodiac 4
- Ione Skye as Kathleen Johns (uncredited)
Production
Development
Robert Graysmith first sold the film rights to his true crime book Zodiac to Shane Salerno, with whom he had established a close relationship. Salerno managed to make a deal with Ricardo Mestres of Great Oaks Entertainment to co-produce and write the film for Touchstone Pictures.[6] According to Stuart Hazeldine, who was pitched to rewrite it, the script would have been about the Zodiac killer resurfacing in Los Angeles.[7]
James Vanderbilt had read Robert Graysmith's book Zodiac while in high school. Years later, after becoming a screenwriter, he got the opportunity to meet Graysmith, and became fascinated by the folklore surrounding the Zodiac killer. He decided to try to translate the story into a script.[8] Vanderbilt had endured bad experiences in the past in which the endings of his scripts had been changed, and wanted to have more control over the material this time.[8] He pitched his adaptation of Zodiac to Mike Medavoy and Bradley J. Fischer from Phoenix Pictures, agreeing to write a spec script if he could have more creative control over it.[8]
Graysmith met Fischer and Vanderbilt at the premiere of Paul Schrader's film Auto Focus, based on Graysmith's 1991 book about the life and death of actor Bob Crane.[9] A deal was made and they optioned the rights to Zodiac and Zodiac Unmasked when they became available after languishing at another studio for nearly a decade.[10] David Fincher was their first choice to direct based on his work on Seven. Originally, he was going to direct an adaptation of James Ellroy's novel The Black Dahlia (later filmed by Brian De Palma), and envisioned a five-hour, $80 million mini-series with film stars.[11] When that failed to materialize, Fincher left that project and moved on to Zodiac.[11]
I remember coming home and saying the highway patrol had been following our school buses for a couple weeks now. And my dad, who worked from home, and who was very dry, not one to soft-pedal things, turned slowly in his chair and said: 'Oh yeah. There's a serial killer who has killed four or five people, who calls himself Zodiac, who's threatened to take a high-powered rifle and shoot out the tires of a school bus, and then shoot the children as they come off the bus.[12]
—Fincher explaining his Zodiac obsession
For the young Fincher, he was drawn to the Zodiac story because he spent much of his childhood in
Fincher, Fischer and Vanderbilt spent months interviewing witnesses, family members of suspects, retired and current investigators, the two surviving victims, and the mayors of San Francisco and Vallejo. Fincher said, "Even when we did our own interviews, we would talk to two people. One would confirm some aspects of it and another would deny it. Plus, so much time had passed, memories are affected and the different telling of the stories would change perception. So when there was any doubt we always went with the police reports." Fincher and Fischer approached Metro-Goldwyn-Mayer to finance the film but talks fell through because the studio wanted the running time fixed at two hours and fifteen minutes. Warner Bros. and Paramount Pictures agreed to share the production costs and were more flexible about the running time. The executives were concerned about the large amount of dialogue, lack of action scenes, and inconclusive ending.[14] When Dave Toschi met Fincher, Fischer, and Vanderbilt, Fincher told him that he was not going to make another Dirty Harry (which is loosely based on the Zodiac case). Toschi was impressed with their knowledge of the case and realized that he had learned from them.[10] Toschi watched Zodiac several times and said "I thought Ruffalo did a good job," but also that the film reminded him of old frustrations that the case was never closed.[15] The Zodiac's surviving victims, Mike Mageau and Bryan Hartnell, were consultants on the film.[16]
Casting
One of Fincher's earliest conversations on the film's casting was with Jennifer Aniston. She talked about actors she had enjoyed working with; they were Gyllenhaal (The Good Girl) and Mark Ruffalo (Rumor Has It).[18] While researching the film, Fincher considered Jake Gyllenhaal to play Robert Graysmith. According to the director, "I really liked him in Donnie Darko and I thought, 'He's an interesting double-sided coin. He can do that naive thing but he can also do possessed.'"[19] In preparation for his role Gyllenhaal met Graysmith, and videotaped him to study his mannerisms and behavior.[10]
Initially,
Fincher thought of Anthony Edwards for the role of Inspector William Armstrong, saying "I knew I needed the most decent person I could find, because he would be the balance of the movie. In a weird way, this movie wouldn't exist without Bill Armstrong. Everything we know about the Zodiac case, we know because of his notes. So in casting the part, I wanted to get someone who is totally reliable."[17] Originally, Gary Oldman was to play Melvin Belli but "he went to a lot of trouble, they had appliances, but just physically it wasn't going to work, he just didn't have the girth", Graysmith said.[21] Brian Cox was cast instead.[22] Lee Norris played the 1969 Mike Mageau, and Jimmi Simpson played the character's older version.[22]
Principal photography
Fincher decided to use the digital Thomson Viper FilmStream Camera to shoot the film. He had previously used the Thomson Viper over the past three years on commercials for Nike, Hewlett-Packard, Heineken, and Lexus, which allowed him to get used to and experiment with the equipment. He was able to use inexpensive desktop software like Final Cut Pro to edit Zodiac. Fincher remarked in an interview, "Dailies almost always end up being disappointing, like the veil is pierced and you look at it for the first time and think, 'Oh my god, this is what I really have to work with.' But when you can see what you have as it's gathered, it can be a much less neurotic process."[23]
Contrary to belief, Zodiac was not shot entirely digitally. Traditional high-speed film cameras were used for slow-motion murder sequences.
Fincher had previously worked with
Savides' first experience with the Viper Filmstream camera was shooting a Motorola commercial with Fincher. From there, he used it on Zodiac. Fincher wanted to make sure that the camera was more inclined towards film production so that the studio would be more comfortable about using it on a project with a large budget. To familiarize himself with the camera, he "did as many things 'wrong' as I possibly could. I went against everything I was supposed to do with the camera."[26] Savides felt comfortable with the camera despite its certain limitations.[26]
Fincher and Savides used the photographs of
Some of the cast was not happy with Fincher's exacting ways and perfectionism. Some scenes required upward of 70 takes. Gyllenhaal was frustrated by the director's methods and commented in an interview, "You get a take, 5 takes, 10 takes. Some places, 90 takes. But there is a stopping point. There's a point at which you go, 'That's what we have to work with.' But we would reshoot things. So there came a point where I would say, well, what do I do? Where's the risk?"[12] Downey said, "I just decided, aside from several times I wanted to garrote him, that I was going to give him what he wanted. I think I'm a perfect person to work for him, because I understand gulags".[12] Fincher responded, "If an actor is going to let the role come to them, they can't resent the fact that I'm willing to wait as long as that takes. You know, the first day of production in San Francisco we shot 56 takes of Mark and Jake – and it's the 56th take that's in the movie".[14] Ruffalo also defended his director's methods when he said, "The way I see it is, you enter into someone else's world as an actor. You can put your expectations aside and have an experience that's new and pushes and changes you, or hold on to what you think it should be and have a stubborn, immovable journey that's filled with disappointment and anger."[12]
Visual effects
Digital Domain handled most of the film's 200+ effects shots, including pools of blood and bloody fingerprints found at crime scenes. For the murder of Cecelia Shepard at Lake Berryessa, blood seepage and clothing stains were added in post-production. Fincher did not want to shoot the blood with practical effects because cleaning the costumes after every take would take too long, so the murder sequences were done with computer-generated (CG) blood.[27]
CG was also used to recreate the San Francisco neighborhood at Washington and Cherry Streets where cab driver Paul Stine was killed. The area had changed significantly over the years and residents did not want the murder to be recreated in their neighborhood, so Fincher shot the sequence on a bluescreen stage. Production designer Donald Burt gave the visual effects team detailed drawings of the intersection as it was in 1969. Photographs of every possible angle of the area were shot with a high-resolution digital camera, allowing the effects crew to build computer-based geometric models of homes that were then textured with period facades. 3D vintage police motorcycles, squad cars, a firetruck and street lights were added to the final shot.[27]
Several of the film's establishing shots of the 1970s-era Bay Area were created by the Marin County effects house Matte World Digital (MWD). The "helicopter shots" of the fireworks-laden sky over Vallejo, the San Francisco waterfront, and the overhead shot of the cab driving through San Francisco were CG, as was the shot looking down at traffic from the tower of the Golden Gate Bridge. A time-lapse sequence of the construction of the Transamerica Pyramid was a hybrid of 2D and 3D matte painting, created using reference photos of the Pyramid taken from the rooftop of Francis Ford Coppola's Sentinel Building. MWD visual effects supervisor Craig Barron researched the Pyramid's construction for accuracy.[28]
Soundtrack
Originally, Fincher envisioned the film's soundtrack to be composed of 40 cues of vintage music spanning the nearly three decades of the Zodiac story. Fincher and music supervisor George Drakoulias searched for pop songs that reflected the era, including Three Dog Night's cover of "Easy to Be Hard".[29]
Fincher did not plan an original score for the film, but rather a tapestry of sound design, vintage songs of the period,
Klyce contacted film and sound editor Walter Murch who worked on The Conversation, and he connected Klyce with Shire. Fincher sent Shire a copy of the script and flew him in to Los Angeles for a meeting. Fincher only wanted 15–20 minutes of score and based solely on piano. Shire worked on it and incorporated textures of a Charles Ives piece called "The Unanswered Question" and Conversation-based cues, he found that he had 37 minutes of original music. The orchestra Shire assembled consisted of musicians from the San Francisco Opera and San Francisco Ballet. Shire said, "There are 12 signs of the Zodiac and there is a way of using atonal and tonal music. So we used 12 tones, never repeating any of them but manipulating them".[10] He used specific instruments to represent the characters: the trumpet for Toschi, the solo piano for Graysmith and the dissonant strings for the Zodiac killer.[10]
No. | Title | Writer(s) | Performing artist | Length |
---|---|---|---|---|
1. | " The Johnny Mann Singers | 1:14 | ||
Total length: | 1:06:39 |
Release
An early version of Zodiac ran three hours and eight minutes. It was supposed to be released in time for
To promote Zodiac, Paramount posted on light-poles in major cities original sketches of the actual Zodiac killer with the words "In theaters March 2nd" at the bottom.[33][34] The film was screened in competition at the 2007 Cannes Film Festival on May 17, 2007, with Fincher and Gyllenhaal participating in a press conference afterwards.[35] The director's cut of Zodiac was given a rare screening at the Walter Reade Theater in New York City on November 19, 2007, with Fincher being interviewed by film critic Kent Jones afterwards.[36]
Home media
The DVD for Zodiac was released on July 24, 2007, and is available widescreen or fullscreen,[37] presented in anamorphic widescreen, and an English Dolby Digital 5.1 Surround track.[38] The initial DVD version of Zodiac contained only a few special features. According to producer David Prior, Fincher agreed to release it as Prior needed more time to prepare bonus material.[39][40] In its first week, rentals for the DVD earned $6.7 million.[41]
The two-disc director's cut DVD and
For Academy Awards contention, Paramount distributed the director's cut DVD to the Producers Guild of America, the Writers Guild of America and the Screen Actors Guild, instead of the official release version; the first time that the studio had done this.[43]
Reception
Box office
Opening in 2,362 theaters on March 2, 2007, the film grossed US$13.3 million in its opening weekend, placing second and posting a per-theater average of $5,671.
Critical response
On review aggregator Rotten Tomatoes, the film holds an approval rating of 90% based on 265 reviews, with an average rating of 7.7/10. The site's critical consensus reads: "A quiet, dialogue-driven thriller that delivers with scene after scene of gut-wrenching anxiety. David Fincher also spends more time illustrating nuances of his characters and recreating the mood of the 70s than he does on gory details of murder."[22] At Metacritic, the film has a weighted average score of 79 out of 100, based on 40 critics, indicating "generally favorable reviews".[47] Audiences polled by CinemaScore gave the film an average grade of "B−" on an A+ to F scale.[48]
Some critics expressed disappointment with the film's long running time and lack of action scenes. "The film gets mired in the inevitable red tape of police investigations," wrote Bob Longino of
In France, Le Monde newspaper praised Fincher for having "obtained a maturity that impresses by his mastery of form", while Libération described the film as "a thriller of elegance magnificently photographed by the great Harry Savides." However, Le Figaro wrote, "No audacity, no invention, nothing but a plot which intrigues without captivating, disturbs without terrifying, interests without exciting."[62]
Top ten lists
Only two 2007 films (
- 1st – Joshua Rothkopf, Time Out New York
- 1st – Desson Thomson, The Washington Post
- 2nd – Manohla Dargis, The New York Times
- 2nd – Mike Russell, The Oregonian
- 2nd – Nathan Lee, The Village Voice
- 2nd – Wesley Morris, The Boston Globe
- 3rd – Nathan Rabin, The A.V. Club
- 3rd – Scott Tobias, The A.V. Club
- 3rd – Film Comment[65]
- 3rd – Sight & Sound
- 4th – Scott Foundas, LA Weekly
- 5th – Philip Martin, Arkansas Democrat-Gazette
- 6th – Empire
- 6th – Lisa Schwarzbaum, Entertainment Weekly
- 7th – At the Movies with Ebert & Roeper
- 7th – Premiere
- 7th – Keith Phipps, The A.V. Club
- 9th – Marc Mohan, The Oregonian
- 9th – Noel Murray, The A.V. Club
- 9th – Andrew O'Hehir, Salon.com
- 9th – Ty Burr, The Boston Globe
- 10th – Claudia Puig, USA Today
- 10th – Liam Lacey and Rick Groen, The Globe and Mail
- 10th – Owen Gleiberman, Entertainment Weekly
- 10th – Rene Rodriguez, The Miami Herald
In the
Accolades
Organization | Category/Award | Recipient(s) | Result | Ref |
---|---|---|---|---|
Dublin Film Critics' Circle Awards | Best Director | David Fincher | Won | [68] |
Cannes Film Festival | Palme d'Or | Zodiac | Nominated | [69] |
Chicago Film Critics Association Awards | Best Director | David Fincher | Nominated | [70] |
Best Screenplay – Adapted | James Vanderbilt | Nominated | ||
Satellite Awards
|
Best Supporting Actor | Brian Cox | Nominated | [71] |
Best Cinematography | Harris Savides | Nominated | ||
Best Adapted Screenplay | James Vanderbilt | Nominated | ||
Teen Choice Awards | Choice Movie Actor: Horror/Thriller | Jake Gyllenhaal | Nominated | [72] |
Toronto Film Critics Association Awards | Best Director | David Fincher | Nominated | [73] |
Best Picture | Zodiac | Nominated | ||
World Soundtrack Awards | Best Original Soundtrack of the Year | David Shire | Nominated | [74] |
Saturn Awards
|
Best Action or Adventure Film | Zodiac | Nominated | [75] |
Bodil Awards | Best American Film | Zodiac | Nominated | [76] |
Empire Awards | Best Director | David Fincher | Nominated | [77] |
Best Film | Zodiac | Nominated | [78] | |
Best Thriller | Zodiac | Nominated | [79] | |
Edgar Allan Poe Awards
|
Best Motion Picture Screenplay | James Vanderbilt | Nominated | [80] |
Golden Trailer Awards | Best Teaser Poster | Zodiac | Nominated | [81] |
London Critics Circle Film Awards
|
Director of The Year | David Fincher | Nominated | [82] |
Film of The Year | Zodiac | Nominated | ||
USC Scripter Award
|
Author | Robert Graysmith | Nominated | [83] |
Screenwriter | James Vanderbilt | Nominated | ||
Visual Effects Society Awards
|
Outstanding Supporting Visual Effects in a Motion Picture | Zodiac | Nominated | [84] |
Outstanding Created Environment in a Live Action Motion Picture | Zodiac | Nominated | ||
Writers Guild of America Awards
|
Best Adapted Screenplay | James Vanderbilt
Robert Graysmith |
Nominated | [85] |
See also
References
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Further reading
- Film & Video: VFX for Zodiac Archived March 25, 2007, at the Wayback Machine
- CHASING ZODIAC / Film crew has San Francisco time-traveling to '70s, San Francisco Chronicle
- Building Suspense Along the Trail of an Invisible Man - an analysis of a scene from the film
- David Fincher's Zodiac: Cinema of Investigation and (Mis)Interpretation, edited by Matthew Sorrento and David Ryan (Fairleigh Dickinson University Press, 2022).
External links
- Official website
- Zodiac at IMDb
- Zodiac at Box Office Mojo
- Zodiac at AllMovie
- Zodiac at Rotten Tomatoes