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 scene involving the destruction of the corporate artwork (where the huge ball crashes into the coffee shop) was the most troublesome scene to shoot in the whole film. Initially, director David Fincher had wanted to the scene to feature an entirely CG ball on live plates, but visual effects supervisor Kevin Tod Haug convinced him to try shooting it as a live special effect instead. As such, special effects coordinator Cliff Wenger was placed in charge of the scene. Problems began to arise when Wenger discovered that the flooring at the location could only take 250 pounds per square foot. As such, a lightweight ball (100 pounds) had to be built to ensure no damage was caused. However, because the ball was so light, it didn't react the way a heavy ball would; for example, when the ball rolls down the steps, it bounced, when it rolled through the water it left no wake, and when it rolls through the pool, rather than sinking and rolling along the surface, it floated. As well as that, the ball couldn't gather enough speed. In the end, Wenger was reduced to having two special effects people running alongside, pulling the ball on wires and trying to hold it down so it didn't float on the surface of the water. There were also problems shooting the scene where the ball crashes through the front of the coffee shop. Wenger had only a 40 foot run up to the front of the shop, but because the ball was 8 feet high, and the ceiling of the area in which they were shooting was 10 feet, it meant the ramp could only rise 2 feet off the ground, leaving virtually no room for the ball to gather momentum prior to smashing into the glass. As such, when the ball would hit the café, it would smash the glass in the front of the shop and then just roll back out instead of crashing on into the counter. In the end, digital effects company Toybox was given the entire scene with orders to do a major cleanup on the live footage. For the rolling shots, they removed the bounces, added furniture which the ball violently knocks out of its way, added pavement cracks in the wake of the ball, added flickering lights, added additional splashes and a wake as the ball moves through the water, and added a digital camera shake. For the café shots, they completed the destruction of the counter, added flying glass and furniture, added flickering lights, and again, added digital vibration to the camera. In the end, although the majority of the actual scene is live photography, almost all of the minor effects in the shots are completely digital. See more »
Bob mispronounces the steroids Dianabol and Winstrol as "Diabanol" and "Wisterol," respectively. See more »
If you could fight anyone, who would you fight?
I'd fight my boss, prob'ly.
Yeah, why, who would you fight?
I'd fight my dad.
I don't know my dad. I mean, I know him, but... he left when I was like six years old. Married this other woman, had some other kids. He like did this every six years, he goes to a new city and starts a new family.
Fucker's setting up franchises.
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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 »
a dangerously brilliant film that entertains as well as enlightens.
"Fight Club" an aggressive, confrontational, often brutal satire that is quite possibly a brilliant masterpiece. Taking the "Choose life," anti-consumerism rant at the beginning of "Trainspotting," and carrying it to its logical -- albeit extreme -- conclusion this is a big budget, mainstream film that takes a lot of risks by biting the hand that feeds it. The film's narrator (Edward Norton) is an insignificant cog in the drab, corporate machine, dutifully doing his job and what he's told without question. He's an insomniac slave to his IKEA possessions and only finds joy in going to as many self-help/dealing with terminal diseases sessions as he can. It provides him with an escape from his sleepless nights. That is, until Marla Singer (Helena Bonham Carter), a trashy chain-smoking poser, enters his life and upsets his routine. The narrator also meets Tyler Durden (Brad Pitt), a charismatic soap salesman whose straightforward honesty, candor and sleazy lounge-lizard outfits are a breath of fresh air. One night, after the two men have bonded over beers, Tyler asks the narrator to hit him. At first, it seems like an absurd request but after they pound on each other for a bit, a strange feeling overcomes them. They feel a kind of release and satisfaction at inflicting pain on one another. In a world where people are desensitized to everything around them, the physical contact of fighting wakes them up and makes them feel truly alive. Others soon join in and pretty soon Fight Club becomes an underground sensation. However, it becomes readily apparent that Tyler has more elaborate plans than just organizing brawls at the local bar. David Fincher has taken the dark, pessimistic worldview of "Seven" and married it with the clever plot twists and turns of "The Game" and assembled his strongest effort to date. "Fight Club" is a $50+ million studio film that remains true to its anti-consumer, anti-society, anti-everything message -- right up to the last, sneaky subliminal frame. What makes "Fight Club" a subversive delight is not only its refreshing anti-corporate message but how it delivers said message. As Fincher has explained in interviews, you don't really watch the film but rather download it. Its structure is extremely playful as it messes around with linear time to an incredible degree. The narrative bounces back and forth all over the place like a novel, or surfing on the Internet -- even making a hilarious dead stop to draw attention to itself in a funny, interesting way that completely works. Yet Norton's deadpanned narration holds everything together and allows the viewer to get a handle on what's happening. This is the way films should be made. Why must we always have to go through the A+B+C formula? "Fight Club" openly rejects this tired, clearly outdated structure in favour of a stylized frenzy of jump cuts, freeze frames, slow motion and every other film technique in the book that only reinforces its anarchistic message. A film like this would have never been greenlighted by a major studio if Brad Pitt had not been attached to the project. Once you see the film, it becomes obvious that he was the only choice for Tyler Durden. Like he did with "Kalifornia" and "Twelve Monkeys", Pitt grunges himself down and disappears completely into his role to a frighteningly convincing degree. During many of the brutal fight scenes, he is transformed into a bloody, pulpy mess that'll surely have the "Legends of the Fall" fans running for the exits. It is an incredible performance -- probably his best -- for the simple fact that he becomes the character so completely. If Pitt has the flashy, gonzo role, Edward Norton is his perfect foil as the seemingly meek yet sardonic narrator. It's a deceptively understated performance as the last third of the film reveals but Norton nails it perfectly. He is clearly our surrogate, our introduction into this strange world and his wry observations on our consumer-obsessed culture are right on the money. They are the perfect setup for Tyler's introduction and his view on the world which is clearly a call to arms of sorts, a manifesto that rejects the notion that we are what we own. And ultimately, that is what "Fight Club" tries to do. The film is a cinematic punch to the head as it challenges the status quo and offers a wakeup call to people immersed in a materialistic world where those who have the most stuff, "win." I think that Fincher's film wants us to tear all that down, reject corporate monsters like Starbucks and Blockbuster, and try to figure out what we really want out of life. It's almost as if the film is suggesting salvation through self-destruction. And it is these thought-provoking ideas that makes "Fight Club" a dangerously brilliant film that entertains as well as enlightens.
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