Patrick Z. McGavin
September 25, 2019
In a world filled with police procedurals, Netflix’s “Mindhunter” has attracted a lot of attention.
Created by Joe Penhall, the series is a police procedural about two FBI special agents, Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany). It has attracted top-tier talent such as David Fincher, Carl Franklin (“One False Move”) and executive producer Charlize Theron.
The second season dropped last month on the streaming platform. The Australian-born editor Kirk Baxter, ACE, a two-time Academy Award-winner for Fincher’s “The Social Network” (2011) and “The Girl with the Dragon Tattoo” (2012), is the editor of four of the nine episodes.
In an exclusive interview, Baxter talked about serial killers, editing difficult material, and working with the notorious perfectionist Fincher.
You you have had a long and very successful creative collaboration with Fincher. How did you first meet?
Kirk Baxter: I got introduced to David through Angus Wall when Angus was editing “Zodiac” (2007). I got brought into helping out, so I met David when I was already cutting a scene for him. Things went well. I became a puppy that never left.
How you would describe your working methods?
Baxter: I try to rely on him as little as possible because I am familiar with what his days are like, especially during the shooting process. David is incredibly busy, and I like to get on with it.
We work through PIX [a workflow tool that allows production teams to securely share and review content], so I will put a lot of stuff up for him every day and it is the day’s PIX that we critique and do back and forth at his pace.
David is pretty good at being all-consuming. He will tend to get back to me immediately. I don’t really hit him with questions. I just hit him with work.
He shoots, I select, put something together and send it to him and I take the feedback kind of dryly. I don’t take anything from [it as] a personal affront. I just work until it is there, until we are happy with it. I am trying to outgrow the part where you loathe yourself until you like the scene. I am getting better, but I haven’t perfected it yet.
Wheat tends to happen is during the shooting process, the initial assembly is just misery. We all hate ourselves, hate the show, and then once it is beginning to take shape, there is more of a jovial atmosphere where you start to feel comfortable that things are working.
In Season 2, was there a conscious decision to take the work in different stylistic or formal directions?
Baxter: No. David might have had that conversation with the cinematographer Erik Messerschmidt, but certainly not with me. Again, rarely am I going to have a philosophical conversation about what we want to do. My communication with David is just by doing.