Fincher will be on-hand to introduce his thriller, which stars Brad Pitt and Morgan Freeman as two detectives on the hunt for a serial killer who uses the seven deadly sins as inspiration for his crimes.
Having been in development since 2007, David Fincher’s adaptation of the French comic series The Killer arrives as a slick, stylish, and darkly funny film about a professional assassin desperately trying to project an image of cold, exacting competence, all the while struggling to keep his head above water in the aftermath of a job gone wrong.
With its solo protagonist who goes for long stretches of the film without saying aloud a single word, The Killer often resembles a silent film as much as anything else. Camera Operator had the opportunity to talk with A camera operator Brian Osmond, SOC, about working with Michael Fassbender in this unique role, the camera as “straight man” for the film’s sly comedy, and the professional relationship he’s developed with director David Fincher over the past seven years.
With no name and no background to go on, we meet “The Killer” in Paris, France, in the midst of his preparations to assassinate a similarly unnamed target. After days of meticulous planning, the moment finally comes with the target in sight, ready to take the shot, and he misses! Our mysterious assassin is left trying to pick up the pieces of this botched assassination all the while the situation continues to spiral out of control. The Killer is directed by David Fincher from a screenplay by Andrew Kevin Walker and stars Michael Fassbender, Arliss Howard, Charles Parnell, Kerry O’Malley, Sala Baker, Sophie Charlotte, and Tilda Swinton.
Camera Operator: Let’s talk about the first 20 minutes of the movie. That’s the part that really stuck in my head after the movie. That long, slow burn setup to what’s kind of the movie’s main punch line: him missing the shot after all that meticulous buildup and preparation. Can you talk a little bit about what went into shooting that sequence?
Brian Osmond: Yeah, it is a slow burn, isn’t it? It’s a bit painstaking, but ultimately I really like the sequence. His meticulous nature is obviously on display, and when it finally comes to the moment to pay it all off, he misses! And that sets up the rest of the movie. Shooting it was a lot of work, as you can imagine. The entire sequence, structurally, was made from three pieces: there was the Paris work, there was the stage work with Michael, and there was the stage work for everything across the street, and those are seamlessly combined with compositing and editing.
Spending too much time looking backwards feels dangerous to me, but this day on the calendar caught my attention. Has it really been that long, old friend?
I just spent an hour listening to this time capsule of what 28 year old me had to say, and it still excites me and breaks my heart.
Cate Adams, Costume Designer Edited by Leonard Zelig Behind the Scenes photos by Miles Crist March 5, 2024
Illustrations by Richard Merritt (Click to view in full resolution)
During my first talks with David Fincher to discuss the script, one of the first notes he gave me was that maybe “The Expert” should be in an Ann Taylor suit. Ann Taylor is a small US chain of clothing stores for fashion-forward career women. Put together, but not flashy. Very understated despite her wealth. That was my first impression.
When we got closer to shooting the scenes with Tilda Swinton in Chicago, there was correspondence between her and David about shaping the character, what she would wear, what her house looks like, that he shared with me and Gigi Williams, Head of Makeup.
She lives in a beautiful, mid-century modern home, and she has money from her occupation, but she is very under the radar. She indulges herself with smaller luxuries like fine-dining restaurants, where she keeps her own bottle of whisky, and Swiss ultra-luxury vintage watches like an Audemars Piguet. A masseuse could be seen leaving her home with a table.
David suggested a simple but beautiful dress with a flow, with a sway. It had to be warm because it was going to be really cold since we were shooting at night in Chicago in February. So, maybe wool. And nice shoes, but not so tall as to risk hurting anyone when she topples. He wanted something that was in a lighter tone, similar to “The Killer” in Paris. It’s funny how there are these hidden Easter eggs, everything connected. And all the light tones couldn’t have a touch of pink in them. If you look at some khakis on the color wheel they will lead to pink. And he doesn’t like pink. I also had to avoid greens. And patterns. So, it had to be muted tones like off-white, ecru, eggshell, cement… She shouldn’t be menacing when you first see her. You want a bit of compassion or empathy for her.
I knew I wasn’t going to have a lot of time with Tilda. So, we just started doing a lot of research. After scouring the internet for dresses and looking for reference photos of her films and press appearances, we started to think that we should make our own dress.
Cate Adams, Costume Designer Edited by Leonard Zelig March 5, 2024
Illustrations by Richard Merritt (Click to view in full resolution)
“The Dominatrix” is played by the gorgeous and fearless Monique Ganderton, a top Hollywood Stunt Performer, Stunt Coordinator, Actress, and Director.
We started to research for the looks of The Dominatrix in Los Angeles, around July/August of 2021. From the script and David’s notes, I knew we wanted her to be elegant with a hint of sexy the first time we see her, but not revealing as we didn’t want to give away what was to come. The inspiration for this look came from images of the classic vintage style of vedettes and fashion icons from France, such as Carine Roitfeld, formerly of Vogue Paris, Victoria Beckham, and vedette, burlesque dancer, and model Dita Von Teese in public:
Laray Mayfield got into casting the way a lot of other professionals got into it, by accident.
She was doing another job and someone said, “Hey, you should do this,” and once she did, it stuck. That’s not an unusual story. What makes this unusual is that the person who told her is arguably the best American filmmaker working today, David Fincher, with whom she’s been working for nearly 40 years.
Mayfield has since built an impressive career, with an Emmy award for the first season of House of Cards and two Artios awards —the highest honor the Casting Society offers— to her name. Her latest collaboration with Fincher, The Killer, is streaming on Netflix. She spoke with us from her home in Nashville.
The Fincher Analyst 