‘Mank’ DP Erik Messerschmidt on How He Added Luster to B&W Images for David Fincher’s Tale of Hollywood’s Golden Age

Jazz Tangcay
November 19, 2020

Mank” cinematographer Erik Messerschmidt and director David Fincher have a shorthand way of communicating: They worked together on Netflix’s “Mindhunter,” and Messerschmidt served as gaffer on 2014’s “Gone Girl.”

Messerschmidt makes his feature film debut as director of photography on “Mank,” the story of screenwriter Herman J. Mankiewicz’s stay on a secluded ranch, where he works on the masterpiece that will eventually be “Citizen Kane.” Continuous shots and chiaroscuro lighting contribute to the film’s noir vibe.

Fincher and Messerschmidt always intended the movie to be in black and white, but also tested shooting on digital in color converted to monochrome before settling on black and white directly to achieve the luscious framing and silvery monochromatic effect that recalls Hollywood’s Golden Age.

Messerschmidt breaks down two key scenes from the movie and how lighting and VFX played key parts

‘Mank’ DP Erik Messerschmidt on Influence of Gregg Toland, Working With David Fincher

Will Tizard
November 17, 2020

‘Mank,’ ‘Miami’ and Other Rising Cinematographers Talk Inspirations

Jazz Tangcay
November 24, 2020

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: