David Andrew Leo Fincher (born August 28, 1962) is an American filmmaker. Often described as one of the pre-eminent directors of his generation, his films have collectively grossed over $2.1 billion worldwide. Fincher has received numerous accolades, including nominations for three Academy Awards as well as a BAFTA Award, a Golden Globe Award, four Primetime Emmy Awards, and two Grammy Awards.
Fincher co-founded the production company Propaganda Films in 1986. He directed numerous music videos for the company, including Madonna's "Express Yourself" in 1989 and "Vogue" in 1990, both of which won him the MTV Video Music Award for Best Direction. He received two Grammy Awards for Best Music Video for "Love Is Strong" (1994) by the Rolling Stones and "Suit & Tie" (2013) by Justin Timberlake featuring Jay-Z.
He made his feature film debut with Alien 3 (1992) and gained his breakthrough with Seven (1995). He has since directed The Game (1997), Fight Club (1999), Panic Room (2002), Zodiac (2007), The Curious Case of Benjamin Button (2008), The Social Network (2010), The Girl with the Dragon Tattoo (2011), Gone Girl (2014), Mank (2020), The Killer (2023), and The Further Mis-Adventures of Cliff Booth (2026). Fincher received nominations for the Academy Award for Best Director for the dramas The Curious Case of Benjamin Button, The Social Network, and Mank. Additionally, Zodiac and The Social Network are ranked in BBC's 2016 poll of the 100 greatest films of the 21st century.
In television, Fincher has served as an executive producer and director for the Netflix political drama series House of Cards (2013–2018) and crime drama series Mindhunter (2017–2019), winning the Primetime Emmy Award for Outstanding Directing for a Drama Series for the pilot episode of the former. He also executive produced and co-created the Netflix animated series Love, Death & Robots (2019–present), which received three Primetime Emmy Awards for Outstanding Short Form Animated Program.
David Andrew Leo Fincher was born in Denver on August 28, 1962. His mother, Claire Mae (née Boettcher), was a mental health nurse from South Dakota who worked in drug addiction programs. His father, Howard Kelly "Jack" Fincher (1930–2003), was an author from Oklahoma who worked as a reporter and bureau chief for Life magazine. When Fincher was two years old, the family moved to San Anselmo, California, where he counted filmmaker George Lucas among his neighbors. He became fascinated with filmmaking at the age of eight and began making films on an 8mm camera. In a 2012 interview, he said:
I was eight years old and I saw a documentary on the making of Butch Cassidy and the Sundance Kid. It had never occurred to me that movies didn't take place in real time. I knew that they were fake, I knew that the people were acting, but it had never occurred to me that it could take [...] four months to make a movie! It showed the entire company with all these rental horses and moving trailers to shoot a scene on top of a train. They would hire somebody who looked like Robert Redford to jump onto the train. It never occurred to me that there were hours between each of these shots. The actual circus of it was invisible, as it should be, but in seeing that I became obsessed with the idea of "How?" It was the ultimate magic trick. The notion that 24 still photographs are shown in such quick succession that movement is imparted from it—wow! And I thought that there would never be anything that would be as interesting as that to do with the rest of my life.
As a teenager, Fincher moved to Ashland, Oregon, where he attended Ashland High School. He directed plays and designed sets and lighting after school, was a non-union projectionist at Varsity Theatre, and worked as a production assistant at the KOBI news station in Medford. He supported himself by working as a busboy, dishwasher, and fry cook.
While establishing himself in the film industry, Fincher was employed at John Korty's studio as a production head. Gaining further experience, he became a visual effects producer, working on the animated Twice Upon a Time (1983) with Lucas. 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). In 1984, he left ILM to direct a television commercial for the American Cancer Society that depicted a fetus smoking a cigarette.
This quickly brought Fincher to the attention of producers in Los Angeles, and he was soon given the opportunity to direct Rick Springfield's 1985 documentary, To The Beat of the Live Drum. Set on a directing career, Fincher co-founded production company Propaganda Films and started directing commercials and music videos. Other directors such as Dominic Sena, Michael Bay, Antoine Fuqua, Michel Gondry, Spike Jonze, Alex Proyas, Paul Rachman, Mark Romanek, Zack Snyder and Gore Verbinski also honed their skills at Propaganda Films before moving on to feature films.
Fincher directed TV commercials for many companies including Levi's, Converse, Nike, Pepsi, Revlon, Sony, Coca-Cola and Chanel, although he loathed doing them. Starting in 1984, Fincher began his foray into music videos. He directed videos for various artists including singer-songwriters Springfield, Don Henley, Martha Davis, Paula Abdul, rock band The Outfield, and R&B singer Jermaine Stewart. Fincher's 1990 music video for "Freedom! '90" was one of the most successful for George Michael.
He directed Michael Jackson's "Who Is It", Aerosmith's "Janie's Got a Gun" and Billy Idol's "Cradle of Love". For Madonna, he directed the videos for "Express Yourself", "Oh Father", "Bad Girl" and "Vogue". The black-and-white video for "Vogue" took inspiration from the films of the 1920s and 1930s and has been frequently cited as one of the best videos of all time. Between 1984 and 1993, Fincher was credited as a director for 53 music videos. He referred to the production of music videos as his own "film school", in which he learned how to work efficiently within a small budget and time frame.
1992–2000: Breakthrough and acclaim
In 1990, 20th Century Fox hired Fincher to replace Vincent Ward as the director for the science-fiction horror Alien 3 (1992), his film directorial debut. It was the third installment in the Alien franchise starring Sigourney Weaver. The film was released in May 1992 to a mixed reception from critics and was considered weaker than the preceding films. From the beginning, Alien 3 was hampered by studio intervention and several abandoned scripts. Peter Travers of the Rolling Stone called the film "bold and haunting", despite the "struggle of nine writers" and "studio interference".
The film received an Academy Award nomination for Best Visual Effects. Years later, Fincher publicly expressed his dismay and subsequently disowned the film. In the book Director's Cut: Picturing Hollywood in the 21st Century, Fincher blames the producers for their lack of trust in him. In an interview with The Guardian in 2009, he stated, "No one hated it more than me; to this day, no one hates it more than me."
After this critical disappointment, Fincher eschewed reading film scripts or directing another project. He briefly retreated to directing commercials and music videos, including the video for the song "Love Is Strong" by The Rolling Stones in 1994, which won the Grammy Award for Best Music Video. Shortly, Fincher decided to make a foray back into film. He read Andrew Kevin Walker's original screenplay for Seven (1995), which had been revised by Jeremiah S. Chechik, the director attached to the project at one point. Fincher expressed no interest in directing the revised version, so New Line Cinema agreed to keep the original ending. Starring Brad Pitt, Morgan Freeman, Gwyneth Paltrow, R. Lee Ermey, and Kevin Spacey, it tells the story of two detectives who attempt to identify a serial killer who bases his murders on the Christian seven deadly sins. Seven was positively received by film critics and was one of the highest-earning films of 1995, grossing more than $320 million worldwide. Writing for Sight and Sound, John Wrathall said it "stands as the most complex and disturbing entry in the serial killer genre since Manhunter" and Roger Ebert opined that Seven is "one of the darkest and most merciless films ever made in the Hollywood mainstream."