SE7EN: How does David Fincher's establish character?

-The thriller, rather than a genre, is a sinister tone

 in which the stories of bloodthirsty murderers

 of heinous crimes, but also of superlatives characters

 that escape the laws of nature and reason develop.

In the thriller the aim is to cause maximum stress

 on the viewer as thrill means, excite

 and the thrill's name means entreteinment. -

There is no doubt that 'Se7en' (1995) meets this definition superlative, it is an apocalyptic speech mercilessly crumbling clichés detective films and a dying, insane, sterile society.

“Did the kid see it?”

Somerset (Morgan Freeman) asks. He’s referring to a crime, and he’s asking because that’s the kind of guy he is. Somerset is curious and thoughtful, inquisitive and concerned. He’s been doing this job a long time, but he still cares about things like whether or not a kid sees something awful.  

That sentence says it all, he is a man that neither the years of detective or immorality around him has worn him. His soul is not yet fully sunk in that world of darkness and crimes, continues to see shades of light keeping him sensitive. He sees it as if the other side of the window.

 Sleeps alone, with only the meditative tick of a bedside metronome for company.

The hypnotic sound of the metronome marks a meticulous rhythm of 2/2 building a way to circumvent the sound of the noisy city and focus in a neutral state of calm that helps him escape from his thoughts and escape the anxiety that leads into him. He has sleeping problems and needs self-hypnosis to achieve the dream state that without it, he could not get.

Also, the first scene gives us the image of him standing with his back to the camera, wearing a white shirt and black trousers with straps hanging down.The character is almost in the center of the room, a kitchen. The camera is positioned below the midline. The man turns, forward, clasping the cuffs of his shirt, forward and to the right of the viewer. You can see a chessboard, window and some other elements of the stage. The images tell how a man dresses. We see the man tying his tie in the mirror, remove a speck from his bag on the bed spread, save a series of objects (a pen, knife, etc.)

He's jaded and almost vital energy, its cleanliness, putting his jacket (which picks up a hair ...), respecting the scene of a crime of passion detective.

His actions seem a regular symmetrical dance in their daily lives. Everything is neatly timed and conducted, reflecting calm and control that distinguish the character.Even the way in which sorts the objects, leaving the same space between each other and all perfectly aligned. All but one.

A handkerchief and a piece of wallpaper stand out wildly in this row of objects, which is slightly turned might content emotions Somerset has on this object, that is in disorder with the other things can mean the detective's weekness.

“Detective Somerset? I’m Detective Mills (Brad Pitt),”

 Mills says, running into the scene to introduce himself. As we’re observing Somerset’s character through his behaviors and symbols, Mills jumps right in to tell us who he is.

“I wasn’t standing guard outside a Taco Bell,” Mills tells him. “I”ve worked homicide five years.”

“Not here,” Somerset assures Mills.

Mills is presented as a nervous and clever character, while young, contrasting sharply with the calm and neatness of the experienced Detective Somerset.

 He’s been transferred in, and he’s ready to get to work. Old cop, young cop, detailed cop, brash cop. There’s a combative energy from the first time their eyes meet which invests the audience in their evolution.Before we can notice, characters and attitudes are established. 

It is gratifying to note mime Fincher in caring for David Mills (Brad Pitt very solid) and William Somerset (superb, as usual, the great Morgan Freeman), two antagonistic characters who are prepared, as two sides of the same coin.