Netflix FYC: Mindhunter. Scene Stealers with Damon Herriman and Kazu Hiro

Jenelle Riley
July 2020
Netflix

Actor Damon Herriman talks about tackling the role of Charles Manson (again) in Netflix‘s Emmy®-nominated series Mindhunter. Oscar®-winning makeup designer Kazu Hiro, meanwhile, details the actor’s physical transformation from mild-mannered Aussie to iconic cult leader.

For Your Emmy® Awards Consideration

Netflix FYC: Mindhunter. Maker’s Marque with Carl Franklin and Erik Messerschmidt


July 2020
Netflix

Director Carl Franklin and cinematographer Erik Messerschmidt expound on the visual language of a scene from season two of Netflix‘s acclaimed drama series Mindhunter. They give insights into perspective considerations, the choice of handheld camera over Steadicam and the general stylistic shift employed for the sequence.

For Your Emmy® Awards Consideration

Prosthetic designer Kazu Hiro breaks down his process

July 2, 2020
Vanity Fair

Kazu Hiro breaks down his process of using special effects to transform actors physical appearances. Kazu demonstrates the techniques he used to turn ‘Bombshell‘ cast Charlize Theron into Megyn Kelly, Nicole Kidman into Gretchen Carlson, and John Lithgow into Roger Ailes, ‘Darkest Hour‘ cast Gary Oldman into Winston Churchill, and ‘Mindhunter‘ cast Damon Herriman into Charles Manson, and Olive Cooper into David Berkowitz.

Watch the transcripted video on Vanity Fair

Streaming: Netflix’s Mindhunter

Marc Loftus
July 2, 2020
Post Magazine

Netflix’s Mindhunter series is inspired by true events. Directed by David Fincher, the show focuses on FBI agents Holden Ford and Bill Tench, who try to understand the psyches of notorious serial killers. Mindhunter’s first season debuted in 2017, and the second season returned in the summer of 2019. 

Season 2 stars Jonathan Groff, Holt McCallany, Anna Torv, Joe Tuttle, Albert Jones, Stacey Roca, Michael Cerveris, Lauren Glazier and Sierra McClain. While Fincher was the series’ primary director, Andrew Dominik and Carl Franklin also directed episodes.

SHOOTING

Cinematographer Erik Messerschmidt, ASC, had worked with Fincher in the past. He was a gaffer on the filmmaker’s Gone Girl, and was excited to receive a call, inviting him to come onboard to reshoot part of the pilot and second episode back in 2017. The show was already shooting with a Red camera for Season 1, and upgraded to the newer Hellium 8K sensor for Season 2.

EDITING

Kirk Baxter of Santa Monica’s Exile also has a long-standing relationship with David Fincher. He’s cut The Curious Case of Benjamin Button (2008), The Social Network (2010) and The Girl with the Dragon Tattoo (2011) — all of which won the Oscar for Best Editing, a credit he shared with Angus Wall. He also cut 2014’s Gone Girl (2014), and is currently working on an upcoming Netflix feature with the director titled Mank.

Read the full profile

SoundWorks Collection: The Sound of MindHunter

Glenn Kiser
Director of the Dolby Institute
July 2, 2020
SoundWorks Collection / The Dolby Institute

Cinema director David Fincher created one of the first original streaming series with House of Cards, and his innovative spirit infuses the Netflix original series Mindhunter, now in its second season.

In this podcast episode, the sound team discuss Fincher’s unique approach to the sound of serial killer interrogation scenes, a hallmark of this fascinating, dark series. The team discuss setting the acoustic tone of the series, including the oppression of the FBI agents’ basement office (and a very special door), why it was important to Fincher to always hear trainee agents at Quantico at target practice, and the joy of receiving Fincher’s incredibly detailed mix notes.

Steve Bissinger – Sound Effects Editor
Scott Lewis – Re-Recording Mixer
Stephen Urata – Re-Recording Mixer

Listen to the SoundWorks Collection podcast on:

Apple Podcasts
Spotify

Stitcher

‘Mindhunter’: How Kazu Hiro Transformed Damon Herriman Into an Uncanny Charles Manson

The multiple Oscar-winning special effects makeup wiz is the Emmy favorite for helping Damon Herriman with his spot-on, riveting Manson.

Bill Desowitz
July 1, 2020
IndieWire

Last year, Australian actor Damon Herriman did his spot-on performance of Charles Manson not once, but twice: the teasing cameo in Quentin Tarantino’s “Once Upon a Time in Hollywood” and the riveting interview with FBI agents Ford (Jonathan Groff) and Tench (Holt McCallany) in Season 2 of David Fincher’s “Mindhunter.” Although they were shot within weeks of each other, the more demanding portrayal in the Netflix crime drama came first.

And, thanks to the deft physical transformation applied by the multiple Oscar-winning special effects makeup wiz Kazu Hiro (“Bombshell,” “Darkest Hour”) — who first worked with Fincher on “The Curious Case of Benjamin Button” — Herriman gave the definitive Manson portrayal for the streamer. But we’ve come to expect nothing less from Hiro, the master at reconstructing iconic historical figures. It’s all the more impressive when there’s no physical resemblance, which was the case here with Herriman nearly five inches taller than the diminutive Manson and possessing different facial traits.

Read the full profile

Charles Manson sculpture over a Damon Herriman life cast

davidkoepp.com: “Panic Room” Script Archives

Directed by David Fincher · 2002

Screenplay by David Koepp.

When intruders break into her new home searching for a missing fortune, a divorced woman and her diabetic daughter take refuge in the house’s fortress-like safe room.

Panic Room Script Archives

Panic Room – 1.17.00
Panic Room – 2.15.00
Panic Room – 10.9.00
Panic Room – Color 2.8.01
Panic Room – Pitch

Other Screenplays by David Koepp

‘Mindhunter’ Cinematographer Erik Messerschmidt on Expanding the Scope in Season 2 and Fincher’s ‘Mank’

Michele K. Short / Netflix

Adam Chitwood
June 30, 2020
Collider

The Netflix original drama series Mindhunter is one of the best shows on television. It’s compelling and challenging in the best way, as it traces the early days of the FBI’s Behavioral Science Unit through the eyes of a pair of ambitious yet troubled detectives who spend their time interviewing serial killers, looking for insight that could help them catch future killers. It’s also a wildly cinematic show, which should come as no surprise given that it hails from executive producer and director David Fincher.

Season 1 of the series was focused on the origins of the Behavioral Science Unit and found Jonathan Groff’s Holden Ford, Holt McCallany’s Bill Tench, and Anna Torv’s Wendy Carr working mostly out of Quantico and conversing in interrogation rooms. The tremendous second season of the series, however, saw Ford and Tench forced to move into the field as the FBI is called in to consult on the “Atlanta Child Murders” and help track down a serial killer in Georgia.

This posed unique challenges and wonderful opportunities for the Mindhunter production team, as cinematographer Erik Messerschmidt told me in an extended interview I conducted by phone back in April. Messerschmidt worked on Season 1 of the series and returned for Season 2, for which he served as director of photography on all nine episodes—a rarity in the television world. During our interview, Messerschmidt talked about why they decided he should be the cinematographer on every episode and offered tremendous insight into how this impeccably crafted show is made. He discussed the intense planning that he and Fincher went through to map out the visual language of Season 2, specifically speaking to how they crafted that incredible interrogation scene set entirely in a car. He also talked about the challenge of shooting a show like Mindhunter on location as the show expanded into the outside world of Atlanta, and what his role as the “visual constant” was like when working with directors Andrew Dominik and Carl Franklin on the season’s later episodes.

With reports having surfaced that a potential Mindhunter Season 3 is “on hold” for the moment while Fincher focuses on making a film, I also asked Messerschmidt about the likelihood of a third season happening. And since Messerschmidt served as Fincher’s cinematographer on his upcoming Netflix film Mank—which is presented in black-and-white and chronicles the making of Citizen Kane—I asked about his experience working on that highly anticipated feature film.

If you’re at all interested in how the Mindhunter team was able to achieve such a handsome, controlled aesthetic this interview offers invaluable insight into that process, and what a collaboration between Fincher and his DP looks like on a longform series. With any luck this excellent show will be rightly recognized by the Emmys folks come voting time…

Read the full interview

Behind the Look: That Shot. DP Erik Messerschmidt, ASC

Naida Albright
June 30, 2020
RED Digital Cinema

RED is Behind the Look with Erik Messerschmidt, ASC who brings a gentle, elegant visual sensibility to the Netflix series MINDHUNTER. We screen and breakdown pivotal shots from Season Two of this crime thriller, and discuss what it’s like to collaborate with the legendary David Fincher.