Mindhunter Season 2 has Wrapped

25th Anniversary of the AT&T “You Will” Ad Campaign

AT&T (YouTube)
November 28, 2018

25 Years Ago, AT&T Predicted the Future We’re Living Now

      Matt Stevenson
      November 25, 2018
      Wired

How AT&T Predicted the Future In 1993

      November 25, 2018
      Wired

Watch the original campaign:

1993. AT&T – You Will (series)

5 Visual Aesthetics of David Fincher’s MINDHUNTER: A Video Essay

Vashi Nedomansky
November 28, 2018
VashiVisuals

“I thoroughly enjoyed the visual sensibilities and filmmaking techniques used in the first season of  Mindhunter on Netflix. Here are 5 of my favorite cinematography and film editing techniques that I feel made it a very distinctive show. Created and directed by David Fincher, he used many of the stylistic choices from his feature films such as dark cinematography and glass-like camera movement but also added some new tools to his arsenal as well.”

More by Vashi Nedomansky:

All 25 Subliminal Shots in David Fincher’s MINDHUNTER Title Sequence

In Conversation with Thomas Francis Murphy

Davina Baynes
November 23, 2018
Absolute Music Chat

I recently had the enormous pleasure of interviewing the actor Thomas Francis Murphy. Thomas has worked on movies and shows such as 12 Years a SlaveFree State of JonesMindhunterThe Walking Dead and American Horror Story. We talked about his unconventional path towards taking up acting in his mid 30s, Dayton, Ohio, his career, music and much more besides.

[…]

DB: Mindhunter, Detective McGraw, you were in the first episode which is the one that David Fincher actually directed. How did you get that role?

TFM: I taped for it when I was in Louisiana. Then I came out for the first full out LA premiere I had ever done, which was for the Free State of Jones, and then auditioned here for it, in person, with Laray Mayfield who was casting out here and from there I went to New York to audition with David [Fincher] and Julie Schubert– so there was quite a long audition process for that.

DB: What was your experience on-set of Mindhunter?

TFM: Well again, I didn’t know until we started shooting, that it was a re-shoot. They had shot that whole thing and then came back at the end of the season to re-shoot that [whole] section. The actors, by that time, had been acting together for a whole season so it was like coming into the lunch room mid-semester of the senior year.

DB: There are three big scenes: the one where Tench and Ford do that slightly disastrous presentation in front of everyone; then there’s another one in the diner where you are talking to them; and the final one where you show them the photographs. With that scene, where you are back at the station and are showing them the photos, when did you, and when did they, first see the photographs that you were using?

TFM: Then. I’m sure they saw them before, but I saw them then.

DB: So, they had already seen them because of the re-shoot, but that was the first time you had seen them, because they are pretty gruesome.

TFM: That is an interesting question. That’s really an interesting question, you know – because I had never really thought of it before, kind of shame on me, but that’s alright. Even if I had thought of it, just letting this thing come over me…

DB: Did you have to smoke on set?

TFM: Yes! And that was a bitch when it came to continuity. You do it and then the next take you get, ‘No, your hands were like this!’

DB: No one else has mentioned that and it’s really interesting because I had never thought of that.

TFM: If you are a smoker, right, you don’t do it… I mean that’s the whole point of it. If you’re a smoker it just let it flow through you and proceeds according to your internal state. So to come back on a scene and go, ‘No your hand was just like that!’ That’s what I’m hired to do. I’m not hired to think about it. I’m hired to smoke!

DB: But you wouldn’t have felt quite so ill as the ones who don’t normally smoke who said they would smoke some real cigarettes!

What was it like working with Holt and Jonathan?

TFM: Well I had a high regard for both of them, but you know David does a lot of takes, everybody knows that, right. So again, you’re the new kid, that scene in the diner… that was us meeting each other as actors. I got their attention (laughs) and then we did the scene. That’s how often actors meet each other, as actors, and then you know that you’re going to be able to do the scene.

DB: Was that the first scene then, the one in the diner?

TFM: No. The first stuff we shot was the meeting. We shot that particular thing in chronological order.

DB: So, what is David Fincher like working for when he’s directing?

TFM: Well he’s obviously a guy who knows what he wants. Clearly. So that’s always good! I guess the thing you know is that, if he didn’t get what he wanted, you’d still be shooting! (Both laugh) You take your gratification where you can. My comparison that I have in my mind is that now you’re working with an NBA coach, you were in college basketball, it just has that kind of feeling to it. I’d certainly seen his films and I had certainly paid attention.

Again, it’s another story about having lived through that time, having lived through a period of time where the political colouration of the country, the kind of cultural colouration of the country that went along with that storyline. When I went back and watched Mindhunter I was just completely amazed at how it caught the spirit of that particular, in small ways, period of time.

Read the full interview

Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come):

In Conversation with Mindhunter’s Jonathan Groff
An Interview with Mindhunter’s Holt McCallany
In Conversation with Mindhunter’s Cameron Britton
In Conversation with Cotter Smith. Actor (MindhunterThe Americans)
Jack Erdie: Actor (MindhunterBanshee) & writer
In conversation with actor Adam Zastrow (MindhunterHigh & Mighty)
In Conversation With Alex Morf: Actor (MindhunterDaredevil)
In Conversation With Tobias Segal: Actor (MindhunterSneaky Pete)
Spotlight Interview. Chris Dettone: Actor (Mindhunter), Stuntman/Coordinator

Pressure and Obsession in the Films of David Fincher

Piers McCarthy
February 2012 / November 15, 2018

This dissertation aims to show the recurring themes of pressure and obsession in the work of film director David Fincher. Looking specifically at Seven (David Fincher, New Line Cinema, 1995), Zodiac (David Fincher, Paramount Pictures, 2007) and The Social Network (David Fincher, Columbia Pictures, 2010), I will show the gradual change in style and subject matter while still highlighting the resonance of the two themes under analysis. Furthermore, it will be shown how obsession and pressure link to Fincher’s working method. I will be examining critical, journalistic and academic writings to assess the themes and Fincher’s directorial position. Whereas Seven has had a great deal written about it, Zodiac and The Social Network are more recent films and thus there is less literature on them. For this reason, study on both films should garner more original analysis.

The themes of pressure and obsession differ slightly in all three films, however, there is an overriding sense in each film that the workplace and environment has a pressurizing effect on the characters. What is more, pressure can at times define the notion of obsession. Obsession is mostly shown as a mutation of characters’ personal drive, or an extension of their duties for work. The two themes can at times separate themselves in terms of aesthetic and narrative presentation yet they are mainly one and the same; at times they can even be analyzed in the context of Fincher’s filmmaking practice.

Chapter one gives an overview of contemporary Hollywood, the role of the director, Fincher in relation to both of these, the two themes under analysis and deliberations on auteurist theory – this constitutes the literature review. The second chapter examines the impetus of investigative obsession, along with the presentation of morbidity and tension in Seven. Chapter three looks at the similarity in obsessive personalities along with suspense and drama in Zodiac. Chapter four focuses on The Social Network and obsession effecting status quo. The conclusion will draw on the comparisons and contrasts from chapters two to four. It will also give an overall account of how we may regard Fincher in contemporary Hollywood and in respect to auteur theory.

Read the full dissertation

Mindhunter: Not Your Typical FBI Crime Series

Steve Arnold, Production Designer
November 13, 2018
Perspective (Art Directors Guild)

While I was finishing the fourth season of House of Cards, David Fincher called me to say he was planning another series with Netflix and to ask if I would be interested in designing it. Of course I jumped at the chance, not knowing exactly what Mindhunter would be, but certain that with Fincher involved it would be a quality project. I soon found out that it was based on the John Douglas book of the same name and that it would be shooting in Pittsburgh, a city I knew quite well since I received my graduate degree from Carnegie Mellon University there, and where I got my start in the film business while still a student in the CMU theater department.

The series is somewhat different than many crime shows in that it’s not a who-done-it, or even how’d they do it, but more of a psychological exploration of why’d they do it.

2014-11-13. Perspective (Art Directors Guild) 02

Mindhunter is a period show set in the late 1970s, so I knew the choice of Pittsburgh as a location would simplify much of the exterior design work. Many rust belt cities like Pittsburgh were hit particularly hard by the collapse of the steel industry, and all the ancillary businesses that supported steel have suffered as well. The small towns that surround a city like Pittsburgh are often stuck in the past, sometimes for forty years or more. A lot of the exterior street sequences required were possible and looked appropriate with a minimal amount of redesign because there just hasn’t been an influx of business dollars to do architectural upgrades; there were very few modern structures to modify extensively or hide. This, and the fact that there is a wealth of great period dressing elements to be had at reasonable prices at the many local flea markets, estate sales and antique stores, made the task of recreating the period much more manageable.

One of the first things I remember David Fincher saying about the look of the series was that he did not want it to look like other films or series set in this same period where the style of the time is pushed so far that it becomes exaggeratedly over the top and starts to seem camp. The focus would be on the more mundane and ordinary look of American life in the late 1970s. I knew a lot of the characters were from the lower social strata, so there were few places for high style or the cutting edge fashion of the time. One big influence on the design was photographs from the time by people like Stephen Shore, particularly for our many on the road scenes in motel rooms.

Read the full article

2014-11-13. Perspective (Art Directors Guild) 03

ADG Perspective
November-December 2018 Issue

How David Fincher’s ‘Dragon Tattoo’ Marked the End of the Big-Budget Adult Drama

Merrick Morton (Sony Pictures)

Adam Chitwood
November 7, 2018
Collider

When David Fincher was fielding accolades for his 2010 masterpiece The Social Network, he was already in the midst of filming his follow-up project. On the surface, The Girl with the Dragon Tattoo wasn’t a significant departure for Fincher. At the time, he was already well-versed in the arena of making dark dramas with an edge, be it The Game or Zodiac, and he clearly had plenty of experience telling stories about serial killers. The source material of Dragon Tattoo was massively popular, sure, but with that popularity came the opportunity to take hold of an even bigger budget, telling this dark tale about a pair of outsiders investigating a killer of women against an epic canvas. What Fincher (and the rest of us) couldn’t have known at the time, however, was that The Girl with the Dragon Tattoo would be one of the last of its kind, the dying breath of the big budget studio adult drama, as Hollywood would pivot to bigger, flashier, and more superhero-er films in the ensuing years. In hindsight, The Girl with the Dragon Tattoo is a fossil from a bygone era.

The “American” adaptation of Stieg Larsson’s bestselling novel The Girl with the Dragon Tattoo was born in 2009, when producer Scott Rudin secured the rights to the book for Sony Pictures and fellow producers Michael Lynton and Amy Pascal. They set Oscar-winning Schindler’s List screenwriter Steven Zaillian to work on the adaptation, and in March 2010—just as Fincher had completed principal photography on Sony’s The Social Network—the studio began courting the Se7en filmmaker to take the helm.

Fincher had actually been approached about Dragon Tattoo years earlier by Kathleen Kennedy, with whom he’d worked on The Curious Case of Benjamin Button. But he rejected the proposition without reading the book, assuming a movie about a bisexual hacker in Stockholm who helps a disgraced journalist uncover a dark secret would never get made. The Swedish film adaptation proved he was wrong, and when Pascal came calling a couple years later, she had an exciting proposition:

“As I finished Social Network, [Sony studio boss] Amy Pascal told me they’d just bought the rights to Dragon Tattoo,” says Fincher. “She said, ‘We believe that a movie franchise doesn’t necessarily have to be for 11-year-olds, that this material is most certainly not for 11-year-olds and that is why we are bringing it to you’.”

Read the full article