Fight Club (film)

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Fight Club

Fight Club theatrical poster.
Directed by David Fincher
Produced by Art Linson
Ross Grayson Bell
Cean Chaffin
Written by Chuck Palahniuk
(novel)
Jim Uhls
(screenplay)
Starring Edward Norton
Brad Pitt
Helena Bonham Carter
Meat Loaf
Music by Dust Brothers
Cinematography Jeff Cronenweth
Editing by James Haygood
Distributed by 20th Century Fox
Release date(s) October 15 1999
Running time 139 min.
Country Flag of United States United States
Language English
Budget $63 million
Gross revenue $100,853,753 (worldwide)
Official website
All Movie Guide profile
IMDb profile

Fight Club is a 1999 feature film adaptation of the 1996 novel Fight Club by Chuck Palahniuk. The film is directed by David Fincher and stars Brad Pitt, Edward Norton, and Helena Bonham Carter. Fight Club was commercially released in the United States on October 15, 1999.

Contents

[edit] Plot

Spoiler warning: Plot and/or ending details follow.

The narrator (Edward Norton) is a nameless automobile company employee who travels to accident sites for the company. Suffering from insomnia, he goes for a check-up to request medication. The doctor refuses to write a prescription, recommending instead natural sleep. When the narrator protests that he is in pain, he is advised to visit a testicular cancer support group in order to appreciate real suffering. The narrator attends the group and is able to find catharsis, sleeping soundly without a problem. He begins compulsively attending other support groups, faking symptoms to be part of them. One day, he notices another faker, Marla Singer (Helena Bonham Carter), whose presence disrupts his ability to sleep. He confronts her, and they make a deal to schedule their group attendances so that they never run into each other.

L to R: Tyler Durden (Pitt) and the narrator (Norton)
L to R: Tyler Durden (Pitt) and the narrator (Norton)

During a flight for a business trip, the narrator meets Tyler Durden (Brad Pitt), a soap salesman. When the narrator arrives home, he finds that his apartment has been destroyed by an explosion. He calls Tyler and meets him at a bar, where Tyler permits the narrator to stay at his place. Leaving the bar, Tyler asks the narrator to hit him. The narrator reluctantly complies, and the two end up enjoying a fist fight. The narrator moves in with Tyler at an abandoned house, and they continue fighting outside the bar, attracting a crowd and eventually establishing a 'fight club' in the basement. More clubs spring up around the country.

Marla Singer, who overdosed on Xanax, gets her call ignored by the narrator and is instead rescued by Tyler Durden. The two begin a sexual relationship, and Tyler forbids the narrator from talking to Marla about him. Eventually, Tyler's fight club grows to become Project Mayhem, which commits acts of anti-corporate vandalism in the city. The fight clubs become a network for Project Mayhem, and the narrator is left out of Tyler's activities with the project, feeling disturbed about their actions. During an argument between Tyler and the narrator while driving on a rainy night, Tyler purposefully crashes the car, and then disappears from the scene.

When a member of Project Mayhem, Bob (Meat Loaf), dies on a mission, the narrator decides to take action to shut down the project. He tries to trace Tyler's steps, traveling all over the country and feeling a sense of déjà vu wherever he travels. The narrator calls Marla Singer and is called "Tyler Durden" by her, realizing the split personality in him. Tyler appears in his room and explains how he was replacing the narrator in the body over time. The narrator falls unconscious, and he wakes to find phone calls made during his blackout. He tracks Tyler to downtown credit card companies' headquarters, which Tyler plans to blow up. Tyler confronts the narrator in disarming one of the explosive and knocks him out, taking him to the upper floor of another building to witness the impending destruction.

The narrator, who is held by Tyler at gunpoint, realizes the illusion and that he really holds the gun. He finds himself holding the gun and fires it into his mouth, shooting through the cheek without killing him. The illusion of Tyler collapses, with an exit wound to the back of his head. Members of Project Mayhem, who still see the narrator as Tyler, bring Marla Singer to him and leave. Marla, who was warned to leave the city by the narrator, sees the gunshot wound and asks concernedly what happened. The narrator explains that he shot himself and tells Marla, "You met me at a very strange time in my life." They see the buildings implode from explosions outside their window, and they stand together, holding hands and watching the collapsing skyline.

[edit] Production

Fox 2000 head and producer Laura Ziskin first bought rights to the Chuck Palahniuk's 1996 novel Fight Club for $10,000.[1] In August 1997, Twentieth Century Fox announced that director David Fincher would helm the film adaptation of the novel.[2] Ziskin had recognized Fincher's creative team as the one from the critically acclaimed Se7en.[3][4] Initially, actor Sean Penn was considered to portray Tyler Durden in the film.[5] In January 1998, actors Brad Pitt and Edward Norton officially joined the project to portray Tyler Durden and the nameless narrator, respectively.[6] Fincher cast Norton based on the actor's performance in The People vs. Larry Flynt (1996).[1] Though actresses Courtney Love and Winona Ryder were considered to portray Marla Singer,[7] actress Helena Bonham Carter was cast into the role based on her performance in The Wings of the Dove (1997).[8] Norton and Pitt took lessons in boxing, Taekwondo, and grappling to prepare for their roles.[9] The actors also took soapmaking classes from boutique company owner Auntie Godmother.[10] For his role, Pitt voluntarily chipped out pieces of his front teeth, which were restored after filming concluded.[11]

Filming lasted 138 days,[12] during which Fincher shot over 1,500 rolls of film, three times the average for a Hollywood film.[9] Filming locations were in and around Los Angeles and on sets built at the studio's location in Century City.[12] Production designer Alex McDowell constructed over seventy sets.[9] The exterior of Tyler Durden's home on Paper Street was built in San Pedro, California, while the interiors were built on a sound stage at the studio's location. The interiors were designed to possess a sense of decay that reflected the deconstructed world of the characters.[12] Marla's apartment was based on photographs taken at the Rosalind Apartments in downtown L.A.[13]

Makeup artist Julie Pearce, who collaborated with the director on The Game, worked on the actors in Fight Club. For her tasks, Pearce studied mixed martial arts and pay-per-view boxing. She also designed an extra to have a chunk missing from his ear, for which she cited Mike Tyson as inspiration.[14] To create sweat on cue, two methods were devised: spraying Evian water over a coat of Vaseline, and using straight Evian for "wet sweat". Meat Loaf, who plays a character that has "bitch tits", wore a 90-pound fat harness that gave him big breasts for the role.[9] He also wore 8-inch lifts in his scenes with Norton, being shorter than the lead actor.[15]

The director sought to find a band who would perform film music for the first time, out of the concern that bands who had experience performing film music would be unable to tie the film's themes together. Radiohead was pursued as a possible band,[15] but the alternative rock producer pair Dust Brothers was ultimately chosen to score the film. The Dust Brothers created a post-modern score that included drum loops, electronic scratches, and computerized samples. According to Dust Brothers performer Michael Simpson, "Fincher wanted to break new ground with everything about the movie, and a nontraditional score helped achieve that."[16]

[edit] Writing

The adapted screenplay was developed by Jim Uhls, who was receiving his first screen credit as a writer.[17] Uhls had initially excluded the voice-over at the request of the studio, who saw the technique as a crutch. When David Fincher joined the project, the director worked with Uhls for eight months to rewrite the script, including the voice-over to provide a sense of context and a sense of humor through the interior monologue.[18] Fincher described the film without the technique as seemingly "sad and pathetic".[13] Screenwriter Andrew Kevin Walker from Fincher's Se7en provided the screenplay with a final polish prior to principal photography.[19]

Author Chuck Palahniuk expressed praise for the faithful film adaptation of his novel Fight Club and applauded how the film's plot was more streamlined than the book. Palahniuk also described how there was contention over the believability of the novel's plot twist for film audiences. Director David Fincher kept the twist and said, "If they accept everything up to this point, they'll accept the plot twist. If they're still in the theater, they'll stay with it." Palahniuk was annoyed by the change of a single ingredient in the film's explanation of making napalm to render the recipe useless, since the author had researched the components extensively.[20] Palahniuk's novel also contained homoerotic overtones, which the director purposely included in the film as part of his plan to make audiences uncomfortable so they would be surprised by the film's twists and turns.[21] The scene in which Tyler Durden bathes next to the narrator is an example of the overtones, though Durden's insight in the scene, "I'm wondering if another woman is really the answer we need," was meant to suggest personal responsibility instead of homosexuality.[15]

At the end of the novel, the nameless narrator is placed in a mental institution. In the film's ending, the narrator instead finds redemption in rejecting Tyler Durden's dialectic. Norton described the film's redemptive parallel to The Graduate, in which the protagonists of both films find a middle ground between the division of two selves.[22] The director also considered the novel more infatuated with Tyler Durden and altered the ending to pull away from him. "I wanted people to love Tyler, but I also wanted them to be OK with his vanquishing," Fincher said.[19]

[edit] Cinematography

To perform the cinematography for Fight Club, director David Fincher hired Jeff Cronenweth, the son of the late cinematographer Jordan Cronenweth, with whom Fincher had collaborated for Alien³ (1992). Fincher and Cronenweth drew from elements of the visual styles that Fincher had begun exploring with Se7en and The Game. For the narrator's scenes without Tyler Durden, the look was purposely bland and realistic. For scenes with Tyler, Fincher chose a look that was "more hyper-real in a torn-down, deconstructed sense - a visual metaphor of what [the narrator's] heading into". Heavily desaturated colors were used in the costuming, makeup, and art direction, and the crew took advantage of as much natural and practical light at filming locations as possible. The film was shot with the Super 35 process to give the director maximum flexibility in composing shots. The director also took various approaches to take advantage of lighting situations in the film's scenes. Several practical locations were chosen due to the city lights' effects on the shots' backgrounds. Fluorescent lighting at practical locations was also embraced to maintain an element of reality and to light the prosthetics of the characters' injuries appropriately.[12] Fincher also ensured that scenes were darkened enough to reduce the visibility of the characters' eyes, citing cinematographer Gordon Willis's technique as the influence.[15]

The majority of Fight Club was filmed at night, with daytime shots taking place in purposely shadowed locations. For scenes in Lou's basement where fight club took place, the area was lit by $2 work lamps from Home Depot to create a background glow. The director also chose to film fight scenes in the basement from a more objective view, purposely avoiding stylish camerawork and placing the camera in a fixed position. As the fight scenes in the film progressed, the camera moved from a distant observer to the point of view of the fighter.[12]

Scenes of Tyler Durden were staged to conceal the film's twist. The character was not filmed in two shots with a group of people, nor was he included in any over the shoulder shots. Durden also appeared in single frames of the narrator's scenes before the narrator actually meets Durden.[13] About the subliminal frames, Fincher explained, "Our hero is creating Tyler Durden in his own mind, so at this point he exists only on the periphery of the narrator's consciousness."[23] In addition, Durden was often captured in the background and out of focus, like a "little devil on the shoulder".[15]

[edit] Visual effects

Director David Fincher hired visual effects supervisor Tod Haug, who had collaborated with the director for The Game. Fincher chose to illustrate the nameless narrator's perspective with a "mind's eye" view and to create a myopic framework for the film's audience. Haug divided the visual effects work among several facilities, choosing to have them separately address the CG modeling, animation, compositing, and scanning. According to Haug, "We selected the best people for each aspect of the effects work, then coordinated their efforts. In this way. we never had to play to a facility's weakness." Fincher previewed Pixel Liberaton Front's previsualized footage of challenging main-unit shots and shots that would require usage of visual effects. The director considered the preview a problem-solving technique to avoid mistakes from being made during actual filming.[23]

Fincher chose to design a ninety-second pullback scene from the fear center of the narrator's brain as the title sequence, desiring to begin with the thought processes initiated by the narrator's fear impulse.[13] The sequence was designed on a separate budget from the film, but the studio later paid for the sequence based on Fincher's expert direction of the film.[15] For the visual effects of the sequence, Fincher hired Digital Domain and its visual effects supervisor Kevin Mack, who won an Academy Award for Visual Effects for What Dreams May Come (1998). The computer-generated brain was mapped using an L-system,[24] and the design was detailed using renderings by medical illustrator Kathryn Jones. The passage through the brain included the presence of action potentials and a hair follicle as the shot drew out from within the skull. Haug explained Fincher's artistic licensing with the shot, "While he wanted to keep the brain passage looking like electron microscope photography, that look had to be coupled with the feel of a night dive - wet, scary, and with a low depth of field." The depth of field was accomplished with the process of ray tracing.[23]

One of the beginning scenes in which the camera surveys the destructive equipment of Project Mayhem in the streets and building parking lots was a 3D composition of nearly a hundred photographs of Los Angeles and Century City by photographer Michael Douglas Middleton. The final scene of the buildings being demolished was designed by Richard Baily of Image Savant, who worked on the scene for fourteen months.[23]

The director pursued a lurid style to influence the color palette of the film, choosing to make people "sort of shiny", such as Helena Bonham Carter wearing opalescent makeup for her character to create a "smack-fiend patina" that would portray her romantic nihilistic character best. The director and his cinematographer, Jeff Cronenweth, were also influenced by American Graffiti (1973), which applied a mundane look to nighttime exteriors while simultaneously including a variety of colors. When Fight Club was processed, several techniques were applied to alter the footage. The contrast was stretched to be purposely ugly, the print was adjusted to be underexposed, resilvering (lower-scale enhancement) was used to increase density, and high-contrast print socks were stepped all over the print to create a dirty patina.[13]

Fincher included the cue mark sequence in which Durden points out the "cigarette burn" flash to serve as a thematic element. The director described the film's initial progression as a "fairly subjective reality" for audiences, with the sequence foreshadowing the coming break in which the reality is subverted. "Suddenly it's as though the projectionist missed the changeover, the viewers have to start looking at the movie in a whole new way," explained Fincher.[23]

[edit] Themes

[edit] Characters

In Fight Club, the nameless narrator is an everyman who lacks a world of possibilities and initially cannot find a way to change his life. The narrator finds himself unable to match society's requirements for happiness and embarks on a path to enlightenment, which involves metaphorically killing his parents, his God, and his teacher. At the beginning of the film, the narrator has killed off his parents but still finds himself trapped in his false world. The narrator meets Tyler Durden, with whom he kills off his God by going against the norms of society. Ultimately, the narrator has to face killing his teacher, Tyler Durden, to complete the process of maturity.[13]

The narrator (Norton) confronts Marla Singer (Carter) for similarly faking symptoms to attend support groups
The narrator (Norton) confronts Marla Singer (Carter) for similarly faking symptoms to attend support groups

The narrator also seeks a form of intimacy, which he initially avoids with Marla Singer due to seeing too much of himself in her.[15] Despite being similar, the narrator rejects the more seductive, negativist prospect in her and embraces the newness that Tyler Durden has to offer him. The narrator finds himself comfortable having the personal connection to Tyler Durden, but becomes jealous when Marla becomes involved with Tyler. When the narrator argues with Tyler about their friendship, Tyler explains that the relationship between the two men is secondary to the active pursuit of the philosophy they had been exploring.[22] Tyler also suggests doing something about Marla, implying that she is a risk to be removed. The suggestion begins the narrator's parting from Tyler's path, as the narrator realizes that his desires should have been focused on Marla.[15]

The unreliable narrator is not immediately aware that Tyler Durden is also him.[13] The narrator also unreliably advocates the fight clubs as a way to feel powerful. Instead, the narrator's body worsens throughout his fights, while Tyler Durden's self-image instead improves due to the narrator's idealistic perception of him. The transformations were reflected in production with Norton losing weight and Pitt working out and becoming tan.[25] Tyler Durden, who initially embarks on a journey with the narrator in desiring "real experiences" like actual fights,[26] becomes a Nietzschean model in possessing the nihilistic attitude of rejecting and destroying institutions and value systems.[27] Tyler, who represents the Id with his impulsive nature,[15] conveys an attitude that is seductive and liberating to the narrator and the followers. Eventually, Tyler's initiatives approach the point of being dehumanizing,[27] with Tyler using a megaphone to order around members of Project Mayhem in a similar fashion to the approach of Chinese re-education camps.[15] The narrator pulls back from Tyler and retreats from what Tyler is going toward. Instead, the narrator ultimately arrives at a middle ground between his conflicting selves.[22]

[edit] Reception

[edit] Box office performance

Fight Club was originally slated to be released in July 1999,[5] later changed to August 6, 1999. The studio delayed film's release again to autumn due to a crowded summer schedule and a hurried post-production process.[28] The film held its world premiere at the 56th Venice International Film Festival on September 10, 1999.[29] Fight Club commercially opened in the United States on October 15, 1999 and earned $11,035,485 in 1,963 theaters over the opening weekend.[30] Fight Club placed #1 for its opening weekend, ahead of Double Jeopardy and The Story of Us, a fellow weekend opener.[31] The gender mix of audiences for Fight Club, initially argued to be "the ultimate anti-date flick", was 61% male and 39% female, with 58% of the audience below the age of 21. Despite the top placement, its opening reception had fallen short of the studio's expectations.[32] The following weekend, Fight Club dropped 42.6% in revenue and earned $6,335,870.[33] The film, whose production budget was $63 million, went on to gross $37,030,102 during its domestic run. Fight Club earned $100,853,753 in theaters worldwide.[30] The underwhelming domestic performance of Fight Club soured the relationship between studio head Bill Mechanic and media executive Rupert Murdoch, eventually leading to the resignation of Mechanic in June 2000.[34]

For the UK release of Fight Club on November 12, 1999, the British Board of Film Classification removed two of the film's scenes that had involved "an indulgence in the excitement of beating a (defenseless) man's face into a pulp". The film was awarded an 18 certificate, limiting the release to adult-only audiences in the UK. The BBFC did not censor any further, having considered and dismissed claims that Fight Club contained "dangerously instructive information" and could "encourage anti-social (behavior)". The board noted of the film: "The film as a whole is -- quite clearly -- critical and sharply parodic of the amateur fascism which in part it portrays. Its central theme of male machismo (and the anti-social behaviour that flows from it) is emphatically rejected by the central character in the concluding reels."[35]

[edit] Critical reaction

On Rotten Tomatoes, Fight Club received 80% overall approval out of 123 reviews from critics, with a Cream of the Crop rating of 65% out of 23 reviews from major media outlets.[36] On Metacritic, Fight Club received 66% approval based on 35 reviews.[37] Janet Maslin of The New York Times praised Fincher's direction and editing of the film. She also noted that Fight Club carried a message of "contemporary manhood", and if not watched closely, the film could be misconstrued as an endorsement of violence and nihilism.[38] Roger Ebert of the Chicago Sun-Times called Fight Club "visceral and hard-edged", as well as "a thrill ride masquerading as philosophy" that most audiences would not appreciate.[39] Jay Carr of The Boston Globe considered the beginning of the film to have a "invigoratingly nervy and imaginative buzz", but that the film eventually became "explosively silly".[40]

American anarcho-primitivist philosopher John Zerzan has considered Fight Club a film that reflects the rise of alternative consciousness and anti-culture thinking.[41]

[edit] Awards and nominations

The UK film magazine Total Film ranked Fight Club as "The Greatest Film of our Lifetime" in 2007 during their tenth anniversary.[42] Actress Helena Bonham Carter won the 2000 Empire Award for Best British Actress.[43] In 2004 and 2006, the film was voted by Empire readers as the ninth and eighth greatest film of all time on the respective occasions.[44][45]

Fight Club was nominated for the 2000 Academy Award for Sound Editing, which it lost to The Matrix.[46]

[edit] DVD release

Front cover of the Fight Club two-disc special edition DVD
Front cover of the Fight Club two-disc special edition DVD

Fight Club was released on two DVD editions. The single-disc edition included four commentary tracks,[47] while the two-disc special edition included these tracks, multiple behind-the-scenes clips, deleted scenes, trailers, public service announcements, the promotional music video "This is Your Life", Internet spots, still galleries, cast bios, story boards, and publicity materials.[48] Fight Club won the 2000 Online Film Critics Society Awards for Best DVD, Best DVD Commentary, and Best DVD Special Features.[49] Entertainment Weekly ranked the film's two-disc edition #1 in its 2001 list of The 50 Essential DVDs, giving top ratings to the DVD's content and technical picture-and-audio quality.[50] The positive reception of the DVD, despite the film's lukewarm domestic box office performance, transformed Fight Club into a cult film.[51] Newsweek described Fight Club as a cult movie that would potentially have "perennial" fame.[52]

In March 2007, a definitive two-disc edition of Fight Club was released in the UK. The edition features four audio commentaries and restores two scenes cut by the British Board of Film Classification.[53]

[edit] See also

[edit] Further reading

  • Kevin H. Martin. "A World of Hurt", Cinefex, Jan. 2000.
  • Christopher Probst. "Anarchy in the U.S.A.", American Cinematographer, Nov. 1999.
  • Damon Wise. "Menace II Society", Empire, Dec. 1999.
  • Gavin Smith. "Gavin Smith goes one-on-one with David Fincher", Film Comment, Sept/Oct 1999.
  • Gary Crowdus. "Getting Exercised Over Fight Club", Cineaste, Sept. 2000.
  • Christopher Deacy (January 2002). "Integration and Rebirth through Confrontation: Fight Club and American Beauty as Contemporary Religious Parables". Journal of Contemporary Religion 17 (1): 61-73. 1353-7903. 
  • Sharon Waxman (December 2005). Rebels on the Backlot: Six Maverick Directors and How They Conquered the Hollywood Studio System. HarperEntertainment. ISBN 0060540176. 
  • Art Linson (May 2002). "Fight Clubbed", What Just Happened? Bitter Hollywood Tales from the Front Line (Hardcover), Bloomsbury USA, 141-156. ISBN 1582342407. 
  • Henry A. Giroux; Imre Szeman (December 2001). "Ikea Boy Fights Back: Fight Club, Consumerism, and the Political Limits of Nineties Cinema", in Jon Lewis: The End of Cinema As We Know It: American Film in the Nineties (Paperback), New York University Press, 95-104. ISBN 081475161X. 
  • Henry A. Giroux (December 2001). "Brutalized Bodies and Emasculated Politics: Fight Club, Consumerism, and Masculine Violence", Breaking in to the Movies: Film and the Culture of Politics (Paperback), Blackwell Publishing Limited, 258-288. ISBN 0631226044. 
  • Ken Windrum (November 2004). "Fight Club and the political (im)potence of consumer revolt", in Steven Jay Schneider: New Hollywood Violence (Paperback), Manchester University Press, 304-317. ISBN 0719067235. 

[edit] References

  1. ^ a b Peter Biskind. "Extreme Norton", Vanity Fair, Aug. 1999. Retrieved on March 23, 2007.
  2. ^ Michael Fleming. "Thornton holds reins of 'Horses'", Variety, 1997-08-19. Retrieved on March 23, 2007.
  3. ^ Christian Moerk, Claude Brodesser. "The green team", Variety, 1999-09-29. Retrieved on March 23, 2007.
  4. ^ Seven (1995). Rotten Tomatoes. Retrieved on March 23, 2007.
  5. ^ a b Benjamnin Svetkey. "Blood, Sweat, and Fears", Entertainment Weekly, 1999-10-15. Retrieved on March 23, 2007.
  6. ^ Chris Petrikin. "Studio Report Card: Fox", Variety, 1998-01-07. Retrieved on March 23, 2007.
  7. ^ "Palahniuk: Marketing 'Fight Club' is 'the ultimate absurd joke'", CNN, 1999-10-29. Retrieved on March 26, 2007.
  8. ^ Richard Johnson. "Boxing Helena", Los Angeles Magazine, Nov. 1999. Retrieved on March 23, 2007.
  9. ^ a b c d Stephen Garrett. "Freeze Frame", Details, Jul. 1999. Retrieved on March 23, 2007.
  10. ^ Johanna Schneller. "Brad Pitt and Edward Norton make 'Fight Club'", Premiere, Aug. 1999. Retrieved on March 23, 2007.
  11. ^ Chris Nashawaty. "Brad Pitt loses his teeth for a "Fight"", Entertainment Weekly, 1998-07-16. Retrieved on March 23, 2007.
  12. ^ a b c d e Christopher Probst. "Anarchy in the U.S.A.", American Cinematographer, Nov. 1999. Retrieved on March 23, 2007.
  13. ^ a b c d e f g Gavin Smith. "Gavin Smith goes one-on-one with David Fincher", Film Comment, Sept/Oct 1999. Retrieved on March 23, 2007.
  14. ^ "It Bruiser: Julie Pearce", Entertainment Weekly, 1999-07-25. Retrieved on March 23, 2007.
  15. ^ a b c d e f g h i j Fight Club DVD commentary featuring David Fincher, Brad Pitt, Edward Norton and Helena Bonham Carter, [2000]. Retrieved on March 23, 2007.
  16. ^ Amanda Schurr. "Score one for musicians turned film composers", Sarasota Herald-Tribune, 1999-11-19. Retrieved on March 26, 2007.
  17. ^ Michael Fleming. "D'Works' 'Semper Fi' hits the beach at NBC", Variety, 1999-09-30. Retrieved on March 23, 2007.
  18. ^ "So Good It Hurts", Sight & Sound, Nov. 1999. Retrieved on March 23, 2007.
  19. ^ a b Damon Wise. "Menace II Society", Empire, Dec. 1999. Retrieved on March 23, 2007.
  20. ^ Interview With Fight Club Author Chuck Palahniuk. DVD Talk. Retrieved on March 23, 2007.
  21. ^ Louis B. Hobson. "Fiction for real", Calgary Sun, 1999-10-10. Retrieved on March 24, 2007.
  22. ^ a b c Barbara Teasdall. "Edward Norton Fights His Way to the Top", Reel.com, 1999. Retrieved on March 24, 2007.
  23. ^ a b c d e Kevin H. Martin. "A World of Hurt", Cinefex, Jan. 2000. Retrieved on March 23, 2007.
  24. ^ Mark Frauenfelder. "Hollywood's Head Case", Wired, Aug. 1999. Retrieved on March 23, 2007.
  25. ^ Robby O'Connor. "Interview with Edward Norton", Yale Herald, 1999-10-08. Retrieved on March 26, 2007.
  26. ^ Stephen Schaefer. "Brad Pitt & Edward Norton", MrShowbiz.com, Oct. 1999. Retrieved on March 26, 2007.
  27. ^ a b Graham Fuller. "Fighting Talk", Interview, Nov. 1999. Retrieved on March 26, 2007.
  28. ^ Leonard Klady. "Fox holds the 'Fight' to fall", Variety, 1999-06-17. Retrieved on March 23, 2007.
  29. ^ A. G. Basoli. "The Venice Diaries", indieWIRE, 1999-09-18. Retrieved on November 14, 2006.
  30. ^ a b Fight Club (1999). Box Office Mojo. Retrieved on November 14, 2006.
  31. ^ Weekend Box Office Results for October 15-17, 1999. Box Office Mojo. Retrieved on November 14, 2006.
  32. ^ Dade Hayes. "'Jeopardy' just barely", Variety, 1999-10-18. Retrieved on March 23, 2007.
  33. ^ Weekend Box Office Results for October 22-24, 1999. Box Office Mojo. Retrieved on November 14, 2006.
  34. ^ Rick Lyman. "MEDIA TALK; Changes at Fox Studio End Pax Hollywood" (subscription only), The New York Times, 2000-06-26. Retrieved on February 24, 2007.
  35. ^ Adam Dawtrey. "UK to cut 'Club'", Variety, 1999-11-09. Retrieved on March 23, 2007.
  36. ^ Fight Club (1999). Rotten Tomatoes. Retrieved on March 24, 2007.
  37. ^ Fight Club (1999): Reviews. Metacritic. Retrieved on March 23, 2007.
  38. ^ Janet Maslin. "FILM REVIEW; Such a Very Long Way From Duvets to Danger", The New York Times, 1999-10-15. Retrieved on March 23, 2007.
  39. ^ Rogert Ebert. "Fight Club", Chicago Sun-Times, 1999-10-15. Retrieved on March 23, 2007.
  40. ^ Jay Carr. "'Fight Club' packs a punch but lacks stamina", Boston Globe, 1999-10-15. Retrieved on March 24, 2007.
  41. ^ Zerzan, John (2002). Running on Emptiness: The Pathology of Civilization. Feral House, 164. ISBN 092291575X. Retrieved on February 28, 2007. 
  42. ^ "Ten Greatest Films of the Past Decade", Total Film, April 2007, pp. 98. Retrieved on March 23, 2007.
  43. ^ Sony Ericsson Empire Awards - 2000 Winners. Empire. Retrieved on March 23, 2007.
  44. ^ "The 100 Greatest Movies Of All Time", Empire, 2004-01-30, pp. 96.
  45. ^ "The 201 Greatest Movies Of All Time", Empire, 2006-01-27, pp. 98.
  46. ^ 72nd Academy Awards (1999). Academy of Motion Picture Arts and Sciences. Retrieved on March 24, 2007.
  47. ^ Fight Club. 20th Century Fox. Retrieved on March 23, 2007.
  48. ^ Fight Club Special Edition. 20th Century Fox. Retrieved on March 23, 2007.
  49. ^ The OFCS 2000 Year End Awards. Online Film Critics Society. Retrieved on March 23, 2007.
  50. ^ "The 50 Essential DVDs", Entertainment Weekly, 2001-01-19. Retrieved on March 23, 2007.
  51. ^ Nick Nunziata. "The personality of cult", CNN, 2004-03-23. Retrieved on April 1, 2007.
  52. ^ David Ansen. "Is Anybody Making Movies We'll Actually Watch In 50 Years?", Newsweek, 2005-07-11. Retrieved on April 1, 2007.
  53. ^ Philip French. "Fight Club", Guardian Unlimited, 2007-03-04. Retrieved on March 30, 2007.

[edit] External links

Wikiquote has a collection of quotations related to:
Films directed by David Fincher
Alien³ • Se7en • The Game • Fight Club • Panic Room • Zodiac • The Curious Case of Benjamin Button
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