The year is 1972. On May 7, Tony Orlando & Dawn is in the middle of a four-week ride atop the Billboard Hot 100 with “Tie a Yellow Ribbon Round the Old Oak Tree,” and Edmund Kemper is indicted on eight counts of murder in Santa Cruz, Calif. Welcome to the world of David Fincher’s Mindhunter, a circa 1970s crime drama that debuts on Netflix this weekend.
Set within the FBI’s elite Behavioral Sciences Unit, the show delves into the psyche of high-profile serial killers because, “How do we get ahead of crazy, if we don’t know how crazy thinks?” In other words, as sophisticated a study in depravity as audiences are likely to see outside of a theater showing a Fincher film, and he wanted the music to match.
Fincher’s facility with score has been validated with an Oscar, a Grammy and two noms for his past four films, which include Gone Girl, The Girl with the Dragon Tattoo, and The Curious Case of Benjamin Button. House of Cards, another show Fincher executive produces for Netflix, has accumulated five Emmy nominations for composer Jeff Beal (who won this year). And he famously convinced Trent Reznor to score 2010’s The Social Network, resulting in Oscars for the Nine Inch Nails principal and collaborator Atticus Ross. But Fincher is surprisingly modest about accruing any of that acclaim.
“I just hire people that are great and get out of their way,” says the man who was the enfant terrible of ’80s music video.
The muted, subterranean Mindhunter soundtrack is composed by erstwhile alt pop comet Jason Hill — he soared, he shined, he fell short of being a star with bands Louis XIV and Vicky Cryer. But the 42-year-old rose to the occasion for Fincher, who asked him to craft a score that wouldn’t sound, literally, like music.