There's been a lot of talk about just how much Gillian Flynn revised the ending of her novel Gone Girl for David Fincher's screen adaptation. Recently she sort of walked back expectations about those changes to the ending and how everyone was making much ado about nada. If what Trent Reznor says is true, whatever changes the filmmakers made or didn't make, the movie is working. The lead man for the Nine Inch Nails told Entertainment Weekly, "It's a nasty film." Reznor and partner Atticus Ross are collaborating as they did with director Fincher for The Girl with the Dragon Tattoo and The Social Network which netted the duo an Oscar.
Talking about the book vs movie, Reznor makes the understatement of the year when he says the book 'is not exactly uplifting or happy' (No, Trent, it's not!) then goes on to add 'but it's a nasty film'. Which makes me wonder if that Entertainment Weekly cover featuring Rosamund Pike and Ben Affleck posed on a gurney in the morgue is a clue. Would Flynn and Fincher go so far as to kill Ms Dunne off?
“This film has been really fun to work on. It’s been an interesting challenge with some different parameters, and it keeps us on our toes. That’s what makes it good,” he said. “It’s a much darker film than I was expecting. The book is not exactly uplifting or happy, but it’s a nasty film.”
Trent Reznor, Atticus Ross
“I’ve been working on it pretty much all this year on and off during the gaps, and we’ve got a good portion of the composition in good shape,” Reznor said while on break during a tour stop in Finland. “I’ve seen the film a number of times, and we’re deep into the integration part of it. I would hope by the time we leave for Soundgarden that it’s smooth sailing. And if it isn’t, there will be a studio set up in every hotel room until it is.”
“Not really knowing what I’m doing in the world of scoring films, the best decision Atticus and I made starting with The Social Network was really just to listen and really try to understand what David is thinking,” he said. “It’s clear he has a pretty realized vision in his head, and he’s thought a lot about whatever project he is working on, and I’ve always felt like our role is in service to that. How do we translate the role that he thinks music should be, and the tones and textures and spaces it’s allowed to take up, and then make it better than that? So step one in all the projects we’ve done with him is just to sit and let him talk about it and listen before any music is written or before any palette of sounds is chosen. That’s been the right strategy so far.”