‘The Girl with the Dragon Tattoo’ is the Dark Cousin of ‘Knives Out’ and ‘Glass Onion’

Between a gritty thriller and two cozy whodunits, the similarities are easier to spot than a red herring.

Chris Sasaguay
January 14, 2023
Collider

“You will be investigating thieves, misers, bullies, the most detestable collection of people you will ever meet. My family.” Should the detective take the case, this lies it all out. It’s a warning, though more importantly, it’s an invitation to investigate. Christopher Plummer could deliver the dialogue in either two of the murder mysteries he acts in. Both have him play the elder patriarch to a clan of scumbags. Among the Vangers or Thrombeys, some family members are worse than others. Should you pay a visit to any residence, it would make for a distressing time all around. The David Fincher adaptation of Stieg Larsson’s novel, bleak and intense, couldn’t be more different from Rian Johnson‘s satirical, colorful Knives Out movies. What they share in common, is where The Girl with the Dragon Tattoo (2011) turns into a dark cousin in crime.

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RED Stage 4 Sessions: Jeff Cronenweth, ASC, and Steven Meizler

Jarred Land and Naida Albright
January 13, 2023
RED Digital Cinema

Jeff Cronenweth, ASC, and Steven Meizler, two cinematography legends, sit down with RED‘s Jarred Land and Naida Albright. They discuss the challenges and triumphs of shooting projects like Che and The Social Network during the early years of RED and how those experiences and their continued relationship with the brand have forged a symbiotic relationship that has helped their art and more importantly, helped to push RED’s technology forward to meet their high standards.

Two-time Oscar-nominated cinematographer Jeff Cronenweth, ASC, is known for his role as the director of photography on Fight Club, The Social Network, The Girl with the Dragon Tattoo, and Gone Girl.

Emmy-award winner Steven Meizler‘s films include Che, The Minority Report, The Queen’s Gambit, The OA, Godless, and the upcoming American political drama series The White House Plumbers.

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Rooney Mara Almost Quit Acting After ‘Nightmare on Elm Street’ Remake, Says David Fincher Saved Her Career

“He constantly was empowering me, which I think really affected the rest of my choices thereafter,” Mara said of her collaborations with Fincher.

Christian Zilko
January 8, 2023
IndieWire

It’s been a good two years for Rooney Mara. The Oscar nominee has received strong reviews for her back-to-back appearances in Guillermo del Toro’s “Nightmare Alley” and Sarah Polley’s “Women Talking,” but those films were preceded by a multi-year hiatus from acting. Fans of the actress have had to make peace with her sporadic work habits, given that she has become famously selective about the roles she’s willing to take.

In a new appearance on the LaunchLeft podcast, Mara explained that her selectivity is partially a result of an unpleasant on-set experience in the late 2000s that almost led her to quit acting.

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Entrevista a Erik Messerschmidt ASC

Julio Gómez
Diciembre 30, 2022
Camera & Light

Durante el MicroSalón Madrid 2022 tuvimos la oportunidad de charlar con el invitado especial de la AEC, el director de fotografía Erik Messerschmidt ASC.

Os ofrecemos la conversación que mantuvo con Julio Gómez (al que hemos cortado porque no le pusimos micro) sobre sus trabajos con David Fincher (“Mank“, “Mindhunter“) y también trabajaos recientes en colaboración con Dana Gonzáles, como “Fargo” o “Legión“.

Entrevista filmada y montada por Juan Esparza Cevallos para Camera & Light.

It Still Stings: Mindhunter’s Sidelining Robbed Us of a Killer Conclusion

Jim Vorel
December 28, 2022
Paste

It’s safe to say that in recent years, Netflix has struggled to generate the kind of “prestige” dramas that still routinely draw viewers and critical buzz to premium cable networks or streamers such as HBO. Few among us could hope to understand the demographics being sought by such a massive entertainment juggernaut, or decrypt the desires of the unknowable algorithm as it tries to translate social media hype and bots sharing GIFs into subscriber predictions for three quarters from now. Trying to account for every variable would take supremely gifted intuition and insight into the human condition … the exact skillset of the fictional (but reality inspired) protagonists of Mindhunter. And Netflix let Mindhunter lay fallow, so who’s going to save us now?

The drama devised by creator-writer Joe Penhall and showrunner David Fincher was the rarest kind of Netflix project—a beautifully rendered, big budget, period piece drama with near universal critical praise and audience plaudits to match. And yet, as is so often the case with these diamonds in the rough, the show simply didn’t seem to have the groundswell of support and widespread hype to match the adoration it received from its rapt viewers. At the very least, it wasn’t as widely adopted as Netflix seemingly demands every show be in order to avoid the ever-looming axe, although Mindhunter was never truly canceled with finality—instead, it was sent into “indefinite hiatus” as Fincher’s attention drifted by necessity to an array of other projects. That “hiatus” has now stretched for more than three years, and although rumblings of a Mindhunter revival always seem to be percolating, each passing month only renders a third season less likely when all is said and done.

And that truly is a shame, because Mindhunter was one of the most gripping, unnerving, brilliantly designed and powerfully acted series that Netflix has ever brought to the world of streaming. It’s also a painfully incomplete narrative, as its second season concluded with numerous major storylines dangling in space, robbed of their dramatic possibilities. Watching the series again in retrospect, it’s clear that Mindhunter had a map for where it was headed over several more seasons, but it feels very unlikely we’ll ever see the satisfying payoff of its journey into the darkest parts of the human psyche.

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Soundtracking with Edith Bowman: Trent Reznor & Atticus Ross Return!

Edith Bowman
December 26, 2022
Soundtracking with Edith Bowman

Now, Christmas week is just about to get a whole lot cooler, as we welcome Trent Reznor and Atticus Ross to Soundtracking for a second time

Edith LOVES talking to this dynamic duo about film music, and the good news is we have two of their scores to unpack: the first being for Luca Guadagnino‘s Bones And All and the second for Sam MendesEmpire Of Light.

They also confirm that they have scored The Killer for David Fincher.

Listen to the podcast:

edithbowman.com
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Apple Podcasts
Spotify

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Soundtracking Extra with Edith Bowman (YouTube)

David Fincher to receive the Honorary César Award from the French Academy of Film Arts and Sciences

David Fincher (Frank Ockenfels / Netflix)

Translation of the original press release in French:

David Fincher, Honorary César of the 48th César Ceremony

César. Académie des Arts et Techniques du Cinéma / Canal+

Press Release
Paris, December 16, 2022

American filmmaker David Fincher will receive on Friday, February 24, 2023, on the stage of the Olympia, the César d’Honneur of the 48th César Ceremony.

David Fincher is one of those rare directors whose entire filmography has become emblematic over the years. An outstanding technician, a true visionary, his cinema is hypnotic, cerebral, a source of inspiration for countless artists.

He shocked us with “Seven“, kept us on the edge with “The Game“, and hit us again with “Fight Club“. With “Zodiac“, “The Social Network“, “Gone Girl“, his greatest success in cinema, or even “Mank“, he broke his usual codes and received the praise of the international press.

Coming from the world of music videos, David Fincher also produces successful series such as “House of Cards” or “Mindhunter“. He is currently working on his next feature film “The Killer“, which marks his big return to the thriller.

See you on February 24 to pay him a vibrant tribute, in clear, live, and exclusively on Canal+.

Update (in French):

Actress Virginie Efira chosen to present the César d’Honneur to David Fincher

Le Figaro
January 28, 2023

Frame & Reference Podcast: “Devotion” DP Erik Messerschmidt, ASC

Kenny McMillan (Twitter, Instagram)
December 8, 2022
ProVideo Coalition, Frame & Reference (Twitter, Instagram)

Frame & Reference is a conversation between Cinematographers hosted by Kenny McMillan of OWL BOT. Each episode dives into the respective DP’s current and past work, as well as what influences and inspires them. These discussions are an entertaining and informative look into the world of making films through the lens of the people who shoot them.

In this episode, Kenny talks with cinematographer Erik Messerschmidt, ASC, about the new film “Devotion.” Erik has had a very interesting career including work on series such as “Mindhunter”, “Legion”, “Fargo” and as the DP of “Mank” for which he won an Oscar.

Frame & Reference is supported by:

  • Filmtools, the West Coast’s leading supplier of film equipment. From cameras and lights to grip and expendables, Filmtools has you covered for all your film gear needs.
  • ProVideo Coalition, a top news and reviews site focusing on all things production and post coming out of the industry.

Listen to the podcast:

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First behind-the-scenes look at David Fincher’s “The Killer” with Michael Fassbender

Michael Fassbender: Road to Le Mans. Season 4, Episode 1

November2, 2022
Porsche (YouTube)

Follow the fourth season of Michael Fassbender’s journey to compete at the world’s ultimate motorsport event in this weekly YouTube series.

Starting at minute 2:14, there is a three-minute clip of Fassbender shooting car process scenes for The Killer with Fincher and his team on Sound Stage 2 at Triscenic Production Services. Andrew Kevin Walker, the screenwriter of the film, is also visiting.

The actor discusses working on the film during the off-season of his other passion, car racing:

I had the great privilege and honor of working with David Fincher on The Killer. I have the lead role in his film. To have a small window of opportunity to go to work and then to be able to work with one of the best filmmakers out there was just a dream come true.

It felt really good to go back to work. The film that I’ve done before was just before lockdown. But that was 2019, so I was definitely ready to go back to work.

With somebody of David’s caliber, it was a very special opportunity for me: quite a few locations over a five-month period.

What was interesting for me was taking the experience from what we’re doing on track and bringing it on set, especially with somebody like David who films very precisely and everything is dealing in fractions in terms of how you deliver things and movement and exactly how the frame is occupied.

You have to step on and deliver in a period of time. And David is looking for perfection and to do that within a take, however long that take is. It might be 40 seconds. It might be six minutes long, but within that time frame, you’re looking to do everything exactly as it should be.

You’ve taken on board all the notes and there’s plenty of them to digest, but in the moment when you’re trying to deliver those notes, you’re not thinking at all.

It was a real honor. I felt like I learned a lot from him. It was a full-on shoot, very long hours sometimes six-day weeks. So there was literally not enough time for me to get into car and do any training whatsoever.

So we wrapped up the film in L.A., end of March, and I got directly on a flight the next day and then came straight to the track.