A ticking-time-bomb insomniac and a slippery soap salesman channel primal male aggression into a shocking new form of therapy. Their concept catches on, with underground "fight clubs" forming in every town, until an eccentric gets in the way and ignites an out-of-control spiral toward oblivion. Written by
The film's title sequence is a pullback from the fear center of The Narrator's brain, and is supposed to represent the thought processes initiated by The Narrator's fear impulse. The sequence was conceived by director David Fincher and budgeted separately from the rest of the film. The studio told Fincher that they would only finance the elaborate sequence if the film itself was any good. After seeing a rough cut, they decided they were happy and so the sequence went ahead. The CG brain was mapped using an L-system, with renderings by medical illustrator Kathryn Jones, and was designed by Kevin Scott Mack of Digital Domain. See more »
When the Narrator is getting off the table in the police station after getting the gun, the wireless mic pack is visible and connected to his underpants. See more »
[the Narrator places the gun under his chin and cocks back the hammer]
Now why would you want to go and blow your head off?
Not my head, Tyler, *our* head.
See more »
The three police officers that try to cut off the narrator's testicles are credited as Officer Andrew, Officer Kevin and Officer Walker. Andrew Kevin Walker is the screenwriter who wrote Se7en (1995) and 8MM (1999). He also worked uncredited on David Fincher's The Game (1997) and on one of the drafts of Fight Club (1999). However, his contribution to the Fight Club script was not enough to warrant a credit by current WGA rules. Director David Fincher named the officers Andrew, Kevin and Walker, as a way of surreptitiously giving Walker a credit. See more »
Fight Club is one of the most unique films I have ever seen. In addition to presenting a rather fresh take on life, FC also presents its material in a fresh way. My main interest in the film is in that, in my opinion, it does not present characters for us to think about. Rather, it presents actions for us to think about. I will say that I cannot recall *ever* having been "asked" by a film to both suspend my disbelief the way this film asks in its third act AND at the same time come to terms with an understanding that there is no room--or need--for disbelief.
Perhaps these comments will not make sense to the average movie goer who will dismiss this film--and, unfortunately, its premise--as another hollywood flick filled with gratuitous violence. I'd go as far as to say that this film is not about violence. It is about choices. It is about activity. It is about lethargy. It is about waking up and realizing that at some point in the past we've gone to the toilet and thrown up our dreams without even realizing that society has stuck its fingers down our throat.
I would argue that anyone caught, at some point in their lives, between a rock and a hard place--anyone who has reached bottom on a mental level--anyone who has uttered to themselves "Wait, this isn't right. I would not do/say/feel what it is that I just did/said/felt... I do not like this. I must change before I am forever stuck being the person that I am not." These people, they will know what I'm talking about. These people will not only recognize the similarities between Edward Norton's character and themselves--they will be uncomfortably familiar with him. These people will appreciate Fight Club for what it is: a wake up call that we are not alone.
As David Berman once said: "I'm afraid I've got more in common with who I was than who I am becoming." If this sentence makes any sense to you, go see Fight Club. You won't regret it.
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