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Moriarty Rumbles about new David Fincher attached screenplay entitled PASSENGERS

Folks, Harry here with Moriarty's mini-rumblings written in a parodiac styling of Greg Pruss' David Fincher attached first person script called PASSENGERS. Enjoy the headache you are about to receive.... I did, the fucking formatting of this bitch hurt like a medieval spiked mace in the chute.


written by

James G Moriarty




All the lights are out but one, directly overhead, that shines so bright the pages of the script almost glow.


And I am reading a screenplay called PASSENGERS by g.j. pruss. I should be working on another article, but I’m engrossed. I turn the pages as fast as I can cram them into my eyes. I comment to myself

This is incredible...

but there’s no one to hear my aged North English growl as it echoes off the subterranean stone walls of the Labs. All the Henchmen are sleeping. One of them, a new one I still haven’t properly named, is supposed to be running errands, but he sits slumped by the door, almost sleeping.

Hey. Hey. Hey.

The Henchman doesn’t stir. I get up and cross to where he sits and kick his chair out from under him. As he lands, he wakes up with a girly little scream, and he’s on his feet in a moment, running, not even sure where he’s going, but sure he’s already late.

I can’t help but laugh as I go back to the script.


No matter how many times I come to this place, it is always shocking, always tacky, always seeming to hover just on the verge of being raided and shut down for good.

Gregor Samsa wanders in from another bout of crazy porno sex with a vaguely of-age girl, scratching himself, bleating a quick


as he goes by. I don’t hear him, though. I’m too busy ranting at John Robie, who reads even more scripts than I do.

You’ve never read a script like this, Robie.
The whole damn thing is in first person.
It’s the most absorbing thing I’ve ever seen.
It pulls you in, pushes you down the page.
And it makes you see the world that’s being
described. It’s so vivid. It’s perfect for

He’s not impressed. He’s read a lot of gimmicks, and he thinks I’m insane anyway. He’s right, but it doesn’t matter in this case.

But is it all clever on the page in a way that
wouldn’t translate to the screen? Because it
doesn’t matter how good the read is if the film
doesn’t play for the viewer.

Not at all. This is a movie, smart and strange
and emotional. It’s got a more human heart
than FIGHT CLUB, something that people
will be able to latch onto. There’s something
basic and horrifying about losing time, about
losing control of yourself and not knowing
about it.

I notice that Samsa has gone slack standing by the door. He just stands, staring at the corner of the room. There’s nothing there, though... at least, nothing I can see. I walk over to Samsa and snap a few times in front of his face.

He doesn’t even blink.

People will relate.

I turn back to say something to Robie, and he’s moving, ducking out of the room. There’s the sudden taste of copper as I catch blood on my lips that’s running from my nose. My eyelids flutter and the next thing I know...


Smoggy. Monochrome. Heavy. A dead sunbleached whale.


... I’m struggling to wake at the foot of my bed; trying to coax my eyes open when I feel the flesh in my face twist in pain. My mouth cracks open like an attic trunk.


I look across the ceiling. I feel my voice bubble up through warm mud in my throat and hear myself in an older man’s voice say

Fuck me.

Now concentrate asshole, and do something bold; like get out of bed.


I’m naked and stumbling on tight, sore muscles and cold tiles, and good Christ I’m thirsty.


I see my lips are smeared with lipstick. Wait... that’s dried blood DRIPPING FROM MY NOSE. I stick my throbbing head under the faucet and drink.


ECHOING louder than it should. Like a hammer on an oil drum. I shake my head and swallow with an open jaw trying to pop the ringing in my ears and the sound fades to normal as I see


and my browser has already brought up Ain’t It Cool News. Familiar Velma orange and brown background, new headlines up, and from there it’s just one click to the admin form.

I walk over and bend down to move the mouse and when I reach for it a SHARP PAIN stabs me in the back. I reach for it but can’t find it with my hand. What the fuck is that? I turn, look in the mirror and see


WITH A CELTIC DESIGN at the top, piercing the flesh between my shoulder blades. There’s dried blood droplets dappled and smeared near the holes.

What the hell?

That I can’t reach it is not nearly as disturbing as the fact that I can’t remember how it got there. I notice MY CHEEK and someone’s lipstick. There’s MORE there than I noticed. A lot more. Kiss and bite marks down my neck. I search the Labs for clues as to what the hell is going on.

My main clue is the script, that script I can’t forget reading. PASSENGERS is haunting, unforgettable, a perfect fit for David Fincher, one of the producers attached to the film at USA Films. He’s partnered with MICHAEL LONDON on the project, which Greg Pruss adaptated from Robert Silverberg’s short story.





I HIT PLAY ON MY ANSWERING MACHINE and Steven Hawking says `


What? And they play.

Just looking for you, Professor. I’ll try Mongo’s

Moriarty, it’s me... Lime. Wanna get in some
serious trouble? I’ve got two Mexican whores
and a cantalope now. Gimme a buzz.

It’s June... jeez, Prof, you could have at least
said hi. You acted like you didn’t even see me.

Junior Mintz was upset. And the rest play on. Late happy birthdays and people looking for me. I keep looking for clues.









DRIED BLOOD. A small pool. More dripped down the drawers. Some of it on my copy of the script.

I flip through the script. I can’t believe it’s written in first person all the way through. The result is, you have to feel, as a reader, that this is an intimate film. I’ve never read Silverberg’s short story, so I don’t know if he resolves the issue of the nature of the Passengers in his story. The film does not, and it is to the great service of the project.

The script tells the story of Charles, a man who has a life that seems fine from the outside. He’s a partner in a law firm, making $180,000 a year, with a great office, a great apartment. Everything seems perfect, but Charles is alone, and he’s unhappy, and he’s adrift.

And then he wakes up, just like I woke up, and his search of his apartment leads him to ask some hard questions, especially when he learns he lost four days. It happens again, this time for longer. And he begins to look to friends and others for answers. And all he finds as he asks around is that he is alone in a situation he can’t fathom. The one thing that keeps him moving is a memory, a woman’s face. There’s no way he can remember her, but he does, and he sets out to find her.

Charles is also searching for answers about his blackouts, and he’s noticing the spread of symptoms just like his. We’re only given answers in the vaguest of ways, and there’s opposing theories as to the nature of the Passengers. We never see an alien of any kind. We never even see a physical manifestation. This is all played out in the people themselves.

Like Ed Norton’s nameless Narrator in FIGHT CLUB, the character of Charles is iconic, someone that many of us will recognize elements of ourselves in. There’s a dark, sardonic wit to the beginning of this film, but this isn’t FIGHT CLUB. This is a project that is very, very sad at heart, broken and damaged and painful. The second half of this script contains many sequences that approach the emotional pirouettes of something like FEARLESS. There’s such grief, and such desperation, and they’re all mixed up together in a way that would ultimately make this one of the great horror films of all time.

When I use horror here, it is not in a throwaway sense. This is a horror film the way I hope to make horror films, rich with intelligence and insight and mood and texture. This is a film about people, about the fragility of connections, that comments on the empty pursuit of pleasure and illustrates the value of real intimacy. This script hit me really hard on a personal level. I am currently seeing someone, and we’re reaching one of those plateaus, a place where you decide if you like this person enough to move forward. We are at that place where you either open up or close back down, and taking that leap... opening up... it’s terrifying. There’s very few things where we are laid bare the same way. PASSENGERS manages to make an incredibly powerful comment on that moment, that leap of faith, that courage, and its lessons are almost too much to bear.

I’m not sure who Fincher’s thinking of for this film, and I’m not sure when he’s planning to get to it on his production slate. RENDEZVOUS WITH RAMA keeps threatening to heat up to active development, and for some reason Fincher’s still circling THE PANIC ROOM, that quasi-retarded David Koepp script that never even manages to deliver on what is, in the end, a fairly pedestrian premise. Throw in wild cards like PATHFINDER, a cat-and-mouse techno thriller, and you’ve got a minefield that Fincher’s making his way through. I hope this film becomes a priority for him in the very near future. I got the same feeling reading this that I did when I read FIGHT CLUB a year before it came out. The hair on the back of my neck stood up at the thought of what Fincher might have planned. The movie plays for keeps, pulls no punches, and Fincher’s going to make people crazy with the movie. He’s going to break their hearts without mercy if he shoots what I read. It’s piercing, but somehow that makes it more human, more real and immediate than anything we’ve seen from Fincher before. The idea of beings that use our bodies as emotional and visceral amusement parks, taking control of us, taking a ride for several days... that’s horrifying. The reactions of the people we meet and the world around Charles... that’s human. In that place where the horror and the human drama meet, that’s where Fincher’s film seems to want to exist. It’s a tightrope walk, a challenge that this writer has thrown down, and I’d love to see what happens when and if he tries.

I finally close the script and set it aside and










I am still. I am okay. I am alive.

”Moriarty” out.

Readers Talkback
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  • July 11, 2000, 1:13 a.m. CST


    by Syd Mead

    Is it a slow news day? Yes, I would say it is ! --Syd.

  • July 11, 2000, 1:17 a.m. CST

    Fight Club is the best film of the decade!

    by GravyAkira

    Or maybe ever made. If you want to argue about just email me.

  • July 11, 2000, 1:27 a.m. CST

    Fight Club is the best film of the decade!

    by GravyAkira

    Or maybe ever made. If you want to argue about just email me.

  • July 11, 2000, 1:50 a.m. CST

    dried blood

    by SFW

    ...umm...just a question: if the blood dripping from moriarty's nose is is it dripping?

  • July 11, 2000, 2:07 a.m. CST


    by moovees

    I hope Fincher chooses this and decides to dump The Panic Room. After Seven, The Game, and Fight Club, why spoil such a great streak with your average run of the mill thriller? Maybe someone can take control of his body for a few days and make him sign on to direct.

  • July 11, 2000, 2:08 a.m. CST


    by oh-Dawg

    I'm not so sure this would be the right project for Fincher, because it sounds a little bit too much like Fight Club. I don't know exactly how much money it made in the Box Office, but I seem to remember that the results were disappointing. Passengers sounds cool, Fincher seems like the perfect director for this, but will they (studio) let him make it? I doubt it.

  • July 11, 2000, 3:21 a.m. CST

    Rama, Finch, Rama

    by WalkerEasterling

    I want Fincher to make Rama next. Black Dahlia would be cool too, but he'd have to change from his "seven" visual style or it'd turn into self parody. I would have unspeakable amounts of respect for Fincher if he'd play the scene in Dahlia where the cop eats dinner with the lesbian's family in a comic note. I want to see a Fincher-Rama more though, a bunch of people could direct Dahlia but only a few could handle Rama.

  • July 11, 2000, 3:28 a.m. CST

    A girl walkig under a stairway in an apartment complex

    by lickerish

    from above we see her pass before crossing past beneath the stairs, a black figure lurches out as if in a dervish and slams her to the ground, pushing close to the pavement before bringing a face close enough to make eyes meet...she's looking in the mirror, a beautiful face with flashes of a white room..ok, gotcha, its in the eyes...and a friend sitting across from on a bench...a serious discussion...something disclosed that she didn't realize was going on....clueless...."those sounds, that movie, the book, it was all created by's only you here. How do you like that, then? Everyone is us...a new colour, who cares whats really happening...How many people are you, I am everyone...the figures having your body...painting your soul...defiling you for kicks...these things do as they wish...scripts and jobs and sites, they make sense when you put together the given pieces, she says... But then it stops making good reason and now it is that other...I did that for : YOU....points of nothing, or all things that you didn't mention at first...fine, fine, please, just take me back to them! are there already...where?...where do you want to be? goddamit you fuck...take me back...Ok, here? FUCK...Leave me alone...I wouldn't say that aloud if i were you...Fuck you, wanker...heh, thats just great, fuck you too, bitch. This is not even kind of real, fuck off. Oh, then why do you like '...' so much..cause i do...ok, does it have anything to do with 'tuv'? or the fact that 'y' is really colsome e gregi de puscera la reanshiom ek sua poton clegieara, mara busevelerasco....

  • July 11, 2000, 3:38 a.m. CST

    Rendezvous with Rama

    by CaptainVW

    This sounds pretty damn cool (and, hey, thanks for the spoiler warning(!)), but Rama is PERFECT for Fincher to adapt. The novel is one of Arthur C. Clarke's best, an original, atmospheric, creepy look at humanity's first encounter with alien intelligence, and with Fincher at the helm, it could possibly give serious, thoughtful sci-fi a chance in hollywood again. I mean, monster movies are all good, but there is so much more to the genre! Gattica and Dark City are the only non-action based sci-fi movies I can think of from recent years. There is so much material to draw from- from Asimov's Foundation and Robots trilogies to Larry Niven's Ringworld and decadent Known Space to Clarke's wildly original alien invasion Childhood's End to Harry Harrison's Stainless Steel Rat (waitaminute! theres a SSR movie in Development Hell, so maybe, maybe) to Niven's great alien invasion Footfall to any of Orson Scott Card's masterful epics to well, i'm rambling, and a little off subject. And I like a good, dumb action movie as much as anyone. But why are smart sci-fi movies like 2001 and Blade Runner so few and far between? I guess I just wish one of my favorite directors would validate the 'serious' sci-fi genre. Rama could be the perfect match. That said, whatever Fincher does gets my money.

  • July 11, 2000, 7:10 a.m. CST

    Oh my God...

    by I am_NOTREAL

    ...very little will get me to talkback this early, partly because I was up so late at the Home Run Derby watching Sosa hit baseballs into orbit last night...but Fincher is one of those subjects. Fincher is so good, I actually contemplated buying the DVD of "Alien3" just so I could have a complete collection of his films...anything he's even rumored to be attached to has my complete attention. More! More!

  • July 11, 2000, 7:27 a.m. CST


    by Buzz Maverik

    I love this! Good writing and creativity over form! Really smart way to get noticed and weed out the idiots with idiot readers. I predict this will have film school grads spinning in their graves!

  • July 11, 2000, 8:49 a.m. CST

    The Passenger... aka?

    by X-Mole

    Is this the same film as The Tourist? I have a book of H R Giger's stuff, including a lot of his film pre-production paintings for Alien, Species, Batman, etc... anyway, some of the pictures are of a film called 'The Tourist', which the captions claim as "One of the greatest films never made, a truly incredible sci-fi psychological horror". I seem to remember a grey green room with a bath or a sink in it... and something... IN THERE. AGGGGGH! so I am interested if someone can find this out for me.

  • July 11, 2000, 9:41 a.m. CST


    by DarthSlater

    Hey Moriarty, thanks for the fucking spoiler warnings there at the end! Nothing improves a creepy suspense-horror flick then being told who or what the villain is, especially when the movie sounds like its all about the mystery of "what the hell is going on here?"! My interest in this project just plummeted. Thank God I missed your review of the Fight Club script, where you probably said something along the lines of: "This script deeply affected me on a personal level, especially when I found out that Brad Pitt and Edward Norton were the same person!" Jesus Christ, way to shit the bed there, man.

  • July 11, 2000, 9:47 a.m. CST


    by Duty

    Just wasted to be pissy, I just have a Magnolia problem right now. I cant waint for the fucking DVD in AUG. Ahhhhh....Just kidding about it being the best. Theres just so manny. Oh and the old man should have mentioned that there were spoilers in his rumbling!! god AICN is gitting very lazy about menting that a artical has a spoiler..I Hait my geek life, Look at me, Sitting at my computer. typing about some shit a clever old man wrote. And Im so pissy, I think I need to take a vacation from my compuer and just relax, I need to stop woreing about who will be cast a Spider Man, And who else is in Star Wars ES2, Time to take a break for the Hype. It's kina tireing....This is fucking pathetic, but all this internet-instant-popculture-herion is just fucking me up -Duty

  • July 11, 2000, 9:57 a.m. CST

    Source of "Passengers"

    by PolishBear

    David Fincher could only be planning a film adaptation of an old science fiction short story called "Passengers," which was written in 1967 by Robert Silverberg. The story was a Nebula Award winner and a Hugo Award nominee for best short story. SYNOPSIS: Nasty telepathic aliens have taken over the Earth! At unpredictable times, they seize control of a person's mind and force them to do sometimes bizarre things they might not normally do. Society has sort of adjusted to this: Just ignore him, he's being ridden. (Ridden in the way a voodoo loa spirit rides a human host.) The main character breaks a taboo and contacts a woman he had sex with while ridden. The aliens' motives and capabilities are never explained.

  • July 11, 2000, 10:14 a.m. CST

    Yo Dave! yeah Dave, yeah right over hear,helloooo, yeah, listen,

    by rockojinx

    It could be so stunning. Truly epic vistas of the upside down un-reality of the habitat. Not to mention all the weightless highjinx. And, top it all off by casting Angela Basset or Thandie Newton as Nicole.

  • July 11, 2000, 10:44 a.m. CST

    Moriarty, nice work...

    by KingMenthol

    Yeah, I usually like your writing. MOST of your little AICN-Adventure tales are more entertaining and readable than Harry's. Sounds like an interesting script, but I, too, like another poster above, get the feeling it sounds a lot like Fight Club in its tone and setup. Jarmusch could do this one. Or maybe Spike Jonze. Actually, give Sofia Coppola a shot at it! One thing's for sure: if Passenger is, like Fight Club, a "dark" picture, there's no doubt the opening title should be The Stooges hit of the same name. (Now there's a goddamn rock band, motherfuckers!) Again, nice work, McWeeny. (jeez, that's almost as bad as Dawn Wiener...)

  • July 11, 2000, 11:01 a.m. CST

    When will people learn...

    by dashielm

    When will hack, crap, wanna-be movie industry types figure out they ain't and give up trying to be creative. It's such pretentious bullshit, and it's a waste of everybodys time. This review could have been 1 paragraph long, instead I have to sit through some dude's "I'd be a better screen writer than most of Hollywood"s wet dream. Moriarity you're not a good script writer, you're a decent reviewer for what is essentially a fanzine style web site. Know your limitations.

  • July 11, 2000, 11:23 a.m. CST

    "I am still. I am okay. I am alive."

    by BraveCapt.

    You are ridiculous. Geez, man - way to go overboard.

  • July 11, 2000, 1:08 p.m. CST

    The Panic Room starts filming next October.

    by Fatal Discharge

    I read they're building the sets already for Fincher's next film. If it is a generic "commercial" thriller, I don't think that's such a bad thing. The man needs a hit so studios can give him the go ahead for riskier projects. Even Scorcese did the CAPE FEAR remake which paved the way for GOODFELLAS.

  • July 11, 2000, 1:13 p.m. CST

    Finch is the man

    by L'Auteur

    I just got back from three months on the road...Hey Moriarty! Ever read THE FIRST THIRD, by Dean Moriarty...uh, i mean Neal Cassidy? Its good. Im gonna read Visions of Cody by Jack Kerouac next. Thats a cool screen name you got. Anyway, when returning home from my journey, the first thing i did was buy my Fight Club DVD. GravyAkira, you'z right. 'Tis the best film of the 90s. Does anyone know of any Easter Eggs in the disc? I found a couple in Three Kings. Im still new at being away from my home theater for so long. Well, whatever Finch does next, it better rock and not sell-out. Along with PTA and Jonze, Finch is the man.

  • July 11, 2000, 1:38 p.m. CST

    Requiem for David Fincher

    by Jack D. Ripper

    Personally, I think that Fincher has a lot of great potential projects, but the problem is getting them MADE. I think "Rendezvous With Rama" could let us see a side of Fincher we've never seen, and let his visual style evolve even further. If you've seen Fincher's work you can see how his visual style evolves from "Alien3" to "Fight Club." I think "Passengers" sounds like a great fit for him, but if you asked me which of the potential projects Fincher is eyeing I would have a hard time deciding which one I'd like to see next. While I think we can all agree that "Panic Room" and "Pathfinder" sound routine and below Mr. Fincher's talents, after getting past those two it's tricky. In my perfect world Fincher would direct-in no particular order-"Passengers", "Confessions of a Dangerous Mind", "The Black Dahlia", and "Rendezvous With Rama." But if I had to pick one it would probably be this one. Or Rama. Or Dahlia. Or Mind. Hell, I can't decide. Why don't you guys tell me:Of the following potential David Fincher films which would you most like to see made? Panic Room, Pathfinder, Confessions of A Dangerous Mind, The Black Dahlia, Rendezvous With Rama, Passengers.

  • July 11, 2000, 2:22 p.m. CST

    "I am still. I am alive. I am full of myself."

    by DarthSlater

    Jesus, what happened to the old Moriarty? Who is this bombastic, pretentious psychobabbler who has replaced him? Why is every movie experience now a monumentous, earth-shaterring, life-altering spiritual moment? This site is a geek shrine, not a resume-builder. Stop acting like you're trying to get a job, Moriarty, and come back!!! We miss you. *sniff*

  • July 11, 2000, 2:25 p.m. CST

    Um...didn't "Cape Fear" come AFTER "Goodfellas"?

    by Toe Jam

    "Goodfellas" was 1990. "Cape Fear" had to be 1992 at the earliest.

  • July 11, 2000, 2:31 p.m. CST

    Rendezvous with Rama...

    by BigJackieV

    ... am I alone in thinking that Rendezvous with Rama is overrated. And if not overrated... anti-climactic? Clarke does have one of the best imaginations in all the land (especially the sci-fi land) and that alone is worth the price of admission... BUT, at least take the time to give me some cardboard characters that I can latch on to. He might as well have had robots exploring the ship. "Danger, Will Robinson! Tidal wave approaching!" Okay, just kidding, no robots... Of course, when I ask for more character I don't mean "Here's the captain who's down on his luck and doesn't believe in life when along comes a situation that can change that." No no no... I just want some personality. Or maybe I just wanted some answers about that damn ship. Damn the things that are beyond the grasp of our intelligence! Are Rama II and III any better? On a related note... I have just began reading Childhood's End (these characters have personality) and in the first fifty pages of this nearly 50 year-old book, it makes ID4 look like the brainchild of retarded children. Nothing against ID4... there will always room for stupidly fun movies. What the hell is the point of my post? More intelligent sci-fi!!

  • July 11, 2000, 2:40 p.m. CST

    I am Jack's raving Fight Club geek... Sir...

    by BigJackieV

    I just wanted to add that the Fight Club DVD is amazing and does anyone know why those PSAs never went to the theaters? I remember there being some small controversy about them when the Fight Club trailers first came out (in front of Phantom Menace, I guess that was). I can pretty much figure why theater owners wouldn't want those PSAs... but that would've been brilliant marketing. "Please, no talking or smoking. And never let anyone touch you in your bathing suit area."

  • July 11, 2000, 2:43 p.m. CST

    Geez, try to do something a little different...

    by All Thumbs

    I kind of liked this script review's format. It was something different from the usual dry "the writing works or doesn't work because" type of review (although I think that information is hidden in there somewhere). Variety is the spice of life, in case some of you forgot. Oh well, there's always going to be complaints whether you stick to the format or stray away to something new. My only problem? I'm not sure, but I think by reading this format I just read some spoilers. But then again, the title of the movie is a spoiler in itself. "Passengers" can only mean two things: you're psychotic and have a second personality or there are aliens fucking with your life. And thank you to the person who posted the short story synopsis for confirming that main spoiler.***As for Fincher directing this: sure. It sounds like something he could bring the style and technique he's developed with "Fight Club" to the project, but it also just sounds like a Fincher-esque script. I think I would like to see Fincher tackle some other types of projects before moving to this one as it kind of resembles "Fight Club" in its tone, from what I read here.

  • July 11, 2000, 2:52 p.m. CST

    Edward Norton's narrator character in "Fight Club" nameless?????

    by Pips Orcille

    Hmmm... I could have sworn that at the beginning of "Fight Club", Norton was called Cornelious or something like that. Maybe the Marla character said that. I dunno.

  • July 11, 2000, 2:54 p.m. CST

    This better be a good script because...

    by QUIXOTE

    ...David Fincher, although very talented, is at the mercy of his material. ALIEN 3 and THE GAME were crap because the screenplays were weak. They looked great of course. Fincher is a brilliant visualist but, like Ridley Scott, he's an inconsistent storyteller. I know that a lot of you really liked THE GAME but, I'm sorry, I didn't believe it for a minute. SEVEN was great and FIGHT CLUB, though it didn't really work for me, had a lot of merit. Let's hope this screenplay provides another rich foundation for Mr. Fincher's striking visuals. By the way, the best American film of the previous decade was Jim Jarmusch's DEAD MAN.

  • July 11, 2000, 3:03 p.m. CST

    My wife liked FIGHT CLUB!

    by etnabob

    ...and not just because of Brad Pitt! I know this is a little off the topic, but I was psyched and had to share. I bought the Fight Club DVD the day it was released and spent hours watching the 2 discs, but my wife refused to watch it. Finally last weekend, after much badgering, she sat down and watched the whole movie, without saying a word. When it was done, I was sure she hated it and was afraid to ask what she thought. But the next thing I know, she's on the phone saying to her girlfriend "You have to come over and watch Fight Club! It's not what you think it is!" See, I knew I married the right person!

  • July 11, 2000, 3:09 p.m. CST

    My wife liked FIGHT CLUB!

    by etnabob

    ...and not just because of Brad Pitt! I know this is a little off the topic, but I was psyched and had to share. I bought the Fight Club DVD the day it was released and spent hours watching the 2 discs, but my wife refused to watch it. Finally last weekend, after much badgering, she sat down and watched the whole movie, without saying a word. When it was done, I was sure she hated it and was afraid to ask what she thought. But the next thing I know, she's on the phone saying to her girlfriend "You have to come over and watch Fight Club! It's not what you think it is!" See, I knew I married the right person!

  • July 11, 2000, 3:35 p.m. CST

    Pips Orcille, who obviously has yet to hear the joy of the Finch

    by user id indeed!

    He did call himself Cornelius in the beginning, but that was just for the support group. "I never gave my REAL NAME at the support groups"- Narrator, Fight Club. Yup, he said that, by gum by gum. For those groups, he also called himself Travis, which Norton reveals in the commentary he chose as homages to DeNiro characters. GOD, I love that damn movie. And for the moron who tries to convince everyone his name's Jack, it's NOT. When he says stuff like "I am Jack's cold sweat", or "I am Jack's smirking revenge", those are references to an article he read earlier in the movie. Also, on-set the character was occasionally referred to as "Jack" for the sake of a few crew members not getting cornfoozed. I'm just here to get some things clear, folks! Norton's character is nameless. End of STORY. This has been a Moment of Clarity with User ID Indeed! "An ultra energy matter... it's a matter with ultra energy!! You understand now?"-Mihoshi, Ep.9

  • July 11, 2000, 3:45 p.m. CST

    In the screenplay FIGHT CLUB by Jim Ohls, Edward Norton's charac

    by EL Duderino

    Just wanted to clear that up. Why he is named Jack in the screenplay is because of those collections of books that referred to an organ in the first person (hence, I AM JACK'S RAGING BILE DUCT, I AM JACK'S COMPLETE LACK OF SURPRISE, I AM JACK'S COLD SWEAT, etc.)

  • July 11, 2000, 4:05 p.m. CST

    Spoilers, Steven Hawking, and More

    by Moriarty

    I didn't put an initial spoiler warning on the article because I deal with less than 20 pages worth of material from the script overall. I was careful not to mention most of what happens. I went ahead and put one on for those of you who want to know literally nothing. For the rest of you, this does not give away most of the film's best material, or even hint at it. For the guy who was upset at my comment about Hawking... not mine. That's from the original script. 90% of the stuff you read is from the original script. I just wanted to give you a look at the style, which is so unusual. To anyone who attacks my screenwriting... sorry, but you're barking up the wrong tree. This isn't my style. That's the point. It's Pruss' style, and I think the guy kicks ass. You don't agree? So sorry... but I bet the film kicks ass if it sneaks through. "Moriarty" out.

  • July 11, 2000, 4:15 p.m. CST

    Fight Club- Great Book Betrayed

    by Joe Buck

    Why, oh, why did they have to change the ending? It coulda been a contenda. Also pretty hard to be film of the decade when it wasn't even one of the 20 best of the year.

  • July 11, 2000, 4:30 p.m. CST

    re: Edward Norton's narrator's character names...

    by BigJackieV

    Marla refers to him by the names he puts on his "Hi! My Name is..." name tags, which are fakes. He has a different name for different support groups (Rupert and Cornelius are mentioned most often). Why am I posting so much today? Okay, I'm off. One more thing though... to the guy who said DEAD MAN was the best American film of the decade... uh... why? And though I absolutely loathed that film I don't ask in any antagonistic manner... really, I want to know what anyone got from that film. Because I can make a slowly paced, unconventional western that riffs on everything from poetry to mythology... but I wouldn't see the point of doing so...

  • July 11, 2000, 4:58 p.m. CST


    by bluebird

    Yeah, what happened to Rendevous with Rama? That's what I want to see. Normally I wouldn't say that, as Fincher is superb at directing more unkown stuff. But.....Rama is one of my favorite books of all time. Oh well.

  • July 11, 2000, 5:04 p.m. CST


    by bluebird

    Yeah, what happened to Rendevous with Rama? That's what I want to see. Normally I wouldn't say that, as Fincher is superb at directing more unkown stuff. But.....Rama is one of my favorite books of all time. Oh well.

  • July 11, 2000, 6:28 p.m. CST

    The Case For Fincher & Black Dahlia

    by Lazarus Long

    Granted, Passengers seems like another disturbing and visionary project, but let's not forget that Fincher is not exactly the Golden Boy in the minds of many in Hollywood. Fight Club was not financially successful in theatres (video will help here a lot), even if it was the fault of the idiotic FOX marketing department. I think in order to ensure the ability to anything he wants in the future, Fincher should go with the period piece here to broaden his palette. I don't think The Black Dahlia will be likened AT ALL to L.A. Confidential, which was for all practical purposes an ensemble piece (or triangular one), with everything but the kitchen sink on the dirty dealings of post-war Los Angeles. This story is from a bit earlier, and focuses primarily on the bonding of two detectives and their separate unravelling because of their obsession with the victim of the murder they are trying to solve. However much of a heart Passengers may have, I doubt it is as painful, sad, and poignant as what is contained in the pages of Ellroy's work, which Fincher has the ability to bring to the screen. His commentary on the FC DVD has me convinced that he is the most talented director in Hollywood right now, certainly its most vital. Dahlia will give him an opportunity to show he can take us back to places in history as well as he can take us to futures or alternate presents...

  • July 11, 2000, 7:11 p.m. CST

    Passengers -- the short story

    by Memento-Mori

    It's fantastic and I recommend you read it if you can find it. I have it in one of my short story collections -- maybe in one of the Zombie ones? Or Splatterpunk I or II? I honestly can't remember... But it's brilliant and sad and scary and heart-rending and Fincher is THE right director to pull this off. It follows a natural progression in his directorial career that, like Cronenberg, will define him as an auteur and mesh well with his dark, dystopian style... God, I sound like a film school schmuck. I apologize. Why do I even bother writing in these forums? And Harry -- even though I can't stand your website's color scheme and huge fonts, you're a great movie geek and we love you... :) Keep it up.

  • July 11, 2000, 7:31 p.m. CST

    Moriarty, where's the next "90

    by Disillusioned

  • July 11, 2000, 7:35 p.m. CST

    the next "90's" installment?

    by Disillusioned

    Am I going to have to wait another decade for the next installment of the 'list of all lists?' Moriarty, channel your energy to finish your damn project. You can doooo it!

  • Are you out there? Are you listening? David Fincher, you were born to direct The Dark Knight Returns series. Let's face it, the Batman movies have all sucked so far, anyway. Either with Clint Eastwood, who would've probably been better a few years ago, or somebody else. This movie sounds cool but wouldn't be half the film that Dark Knight would be.

  • July 11, 2000, 10:39 p.m. CST

    Man it's no wonder...

    by JackBurton

    That none of Moriarty's scripts sold if this is any indication of quality, and the only one that did sunk without a trace. I'm sorry man but that was almost painful to read, not to mention pretentious as Hell. I sure hope that his ability to review other peoples scripts far exceeds his abilitty to write them or we're all in trouble.

  • July 12, 2000, 9:57 a.m. CST

    Geekdom and one of those stories

    by Lobanhaki

    The reviewers here are pretty balanced. They trash things as passionately as they advocate them. The problem is there is this whole mindset among certain people that critics have to be... Well critical. That is, critical meaning intolerant of flaws. BUT: These are people who are often as knowledgable about the making of movies as they are about the watching of them. They aren't trained journalists, usually who get put on film detail the same way some people get put on the police beat. Most of them have admitted to themselves a fundamental truth that most journalist critics can not bring themselves to face: That there is more than one way of doing it right. And also: not every film has to be a balls-out masterpiece. A good film will do. About Passengers: One of the scariest fucking stories I've ever read. The ending will get you.

  • July 12, 2000, 10:02 a.m. CST

    De Lillio's Underworld

    by Gamblor

    I hear Ficher is going to do Don De Lillo's 97/98 novel Underworld. It was optioned by Scott there is a lot of money to make it...I even hear that Fincher wants to be true to its 824 odd pages....can't wait if this is true...

  • July 12, 2000, 1:50 p.m. CST

    Moriarty... I mean... Bunny?

    by marla singer

    Can I read please? I'll forgive you for B. Jones.

  • July 12, 2000, 4:24 p.m. CST

    "Are you sure this isn't a test?"

    by Jack D. Ripper

    "No this is not a test." "You're Cornelius Rupert. You're the one who gave me this." "We have just lost cabin pressure."

  • July 12, 2000, 7:30 p.m. CST

    i want to read this script, too... please!

    by Mr Malcontent


  • July 12, 2000, 8:16 p.m. CST

    i get chills from thinking of a RAMA film

    by quamb

    when reading the rama books, especially the first and second, i always thought "this would make an awesome speilberg movie" but now i think more about it, Fincher would give the movie/s a great depth that he couldnt pull off... instead of another "introduce the characters, situation arises, battle the situation--> resolution" type movie. please make this film!!

  • July 12, 2000, 10:08 p.m. CST


    by Obscure Homage

    All we needed was a detailed description of the project and a spoiler free review of the script that would hopefully inspire confidence and anticipation in Fincher fans across the world...What we got was a self- indulgent and aimless mess that gives new meaning to the term "Moriarty's *ramblings*" You and Harry are good writers, but this crap has got to stop! When you guys write stuff like that it gives me the impression that you have a massive amount of time on your hands. Thanks a load for the info guys, but jettison everything else.

  • July 13, 2000, 7:04 p.m. CST

    My opinion on David Fincher`s next project

    by Enge|

    I think that this script will be likely rejected by Fincher who seeks something much more different tant Fight Club. After all, he had great fun doing it with his buddy Brad Pitt but this Passengers thing looks like Fight Club. Even through Fincher delights in Dark movies he semply wouldn`t do a thing like that script. he ain`t Georges Lucas who likes to gives us repetitive crap. A good project for Fincher`s dark style would be this famous Jack the Ripper flick: From Hell. I am sure this would be absolutely tremendous with Fincher`s dark style and in addition, Brad Pitt was rumored to play in that movie. Anyway, that`s my opinion