‘Fight Club’ 20th Anniversary: Holt McCallany on Standing Behind Brad Pitt in ‘Iconic’ Photo

The “Mindhunter” star portrayed a fight club member in David Fincher’s 1999 film.

Omar Sanchez
September 10, 2019
The Wrap

Holt McCallany currently stars in Netflix’s “Mindhunter,” but two decades ago, he was an up-and-coming actor who found himself sharing the screen with Brad Pitt in “Fight Club.” As the David Fincher film celebrates the 20th anniversary of its premiere at the Venice Film Festival, McCallany reflects on being part of the “iconic photo” from the set, calling it “one of the really memorable moments of my career.”

The photo of a bloodied Brad Pitt shirtless in a dingy basement, smoking a cigarette and ready to fight is arguably the most famous image from the film. Surrounding Pitt are other fight club members, including McCallany.

“I love that photo,” McCallany told The Wrap. “It’s one of the really memorable moments of my career. There aren’t too many moments along the way that were more special than ‘Fight Club.’”

McCallany was a New York Broadway actor when he landed his role in “Fight Club,” the Edward Norton and Pitt-led action flick about two members of an underground group of brawlers. The still was taken by the set photographer Merrick Morton. McCallany said after the “Fight Club” premiere, strangers would approach him on the street, recognizing him due to the photo’s use during the film’s promotional run.

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Holt McCallany

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Pop Disciple: Jason Hill

Interviewer: Paul Goldowitz
Research, Copy, Layout: Ruby Gartenberg
Editing: Alex Sicular, Ruby Gartenberg

Extending gratitude to Jason Hill, Alison Deknatel, and Netflix.

September 6, 2019
Pop Disciple

Jason Hill is the hypnotic composer, producer, recording artist, songwriter, and multi-instrumentalist, admired for his arcane musical stylings and idiosyncratic approach. He is the frontman and thought leader of controversial post-punk band, Louis XIV, member of alternative supergroup, Vicky Cryer, and founder of The Department of Recording and Power, a voluminous vintage studio in Glendale, California. A contrarian musical nomad, Jason has thrived in myriad roles within the music business, working with David Bowie, The Killers, Robbie Williams, New York Dolls, Jet, Sky Ferreira, Macy Gray, The Virgins, Richard Butler of The Psychedelic Furs, and many others. After being tapped to fulfill the official trailer and teaser for Gone Girl, legendary director, David Fincher invited Jason to conjure a musical macrocosm for Netflix’s gripping criminal psychology thriller series, Mindhunter. Over two critically acclaimed seasons, Jason’s score negotiates the liminal space between masks of normalcy and unbridled savagery, masterfully evoking unseen traumas. In our sprawling discussion, Jason details his lifelong rejection of sonic mores and how he made Netflix history with his haunting re-imagining of the Mindhunter theme for the season two finale.

Before becoming a composer for media, you explored many artistic avenues in the music industry — Louis XIV, Vicky Cryer, and beyond. Could you describe some of your most fulfilling pursuits before you changed your professional trajectory? What are the advantages of having a strong pre-existing relationship to storytelling through music?

Well, it’s an interesting thought about the storytelling aspect. With songwriting, you’re trying to tell these mini stories, but I’ve had many, many fulfilling artistic projects. Louis XIV, I absolutely loved doing, and in fact, for the first time in 10 years, we’re in the middle of making another record. We’ve got a few songs so far, and it’s fun to come back around to it after we went pretty hard, toured the world, and made records. “The Best Little Secrets are Kept” is one of the records I’m very, very proud of. I just loved making it.

Looking back, I lived in this little, tiny…it wasn’t even an apartment, and it overlooked a Shell gas station. It didn’t have a shower or anything. I would literally connect a hose to the faucet and drag it out on the balcony that overlooked the gas station. In the middle of the night, I would hose myself to take a shower unless I was staying at girlfriends’ houses. I had a futon in the corner, but the rest of the place was just my recording gear. I was broke, but I was happy to be making music. That’s where all the Louis XIV material came about. It was essentially from those late nights, and that was a really great experience.

I’ve actually had so many great experiences related to music. There were times when me and my past bandmates moved to a place called Jamul up in the mountains, about an hour outside of downtown San Diego. We lived in this old adobe house on forty-six acres that an artist built. That was one of the places where we learned to sing harmonies and write together. That was also where I really learned how to record. We just had reel-to-reels, and I figured out how to do it. I’ve always lived in pursuit of trying to figure out how to do things by myself. If I signed a record deal, instead of giving another producer a bunch of money in the studio to make a record, it was like, “No. Let’s just buy a bunch of gear ourselves, and now, we can make records for the rest of our lives.” That’s why I have the arsenal of stuff I have to this day.

There are so many incarnations of my life in music, starting from the moment I first fell in love with it. I remember as a little kid; I was actually plagued by these things in my head, which later I learned were melodies. It would drive me nuts. To be honest with you, as a nine-year-old kid, I would have all these tiny, weird symphonies playing in my mind, but I didn’t know what they were until I started figuring out what music really was. Of course, I knew what music “was,” and I even wrote a song around age five, but at that point, I didn’t know how to make these melodies I was hearing come to life. It was like, “How do I get this out of my head and into the cosmos? How do I play it on a guitar or a piano?”. Oh god, it was so tough. That was a thing like, “I gotta figure this out because otherwise, it’s going to kill me.” 

I think it’s always been a pursuit of the fog. It’s like a foggy mirror after a hot shower. Little by little, the fog comes clear, and you are able to see your reflection. That’s what music has been, for me, for my entire life, and now, I just have a lot more control over it. That said, it’s still this elusive thing, and I love that elusive thing. I love the feeling of not knowing, so I still dance in that realm.

The Glass Armonica, invented by Benjamin Franklin.

Taking place in the late ’70s through the early ’80s, Mindhunter charts the origin of the FBI’s Behavioral Science Unit and the practice of criminal profiling. Together, agents, Holden Ford and Bill Tench, alongside psychologist, Wendy Carr interview and analyze incarcerated serial killers across the nation, applying this groundbreaking knowledge to solve cases. In your collaboration with David Fincher, what concepts and musical references does he bring to the table, and how does that inform your approach? 

[David Fincher] is so articulate. He’s a brilliant man. I can’t stress that enough, really. He gives you these prompts, but they’re rarely specific. Nowhere in there is he saying, “Do this,” or “Make this piece exactly like this.” He just gives you these open-ended questions.

This time around, one of his prompts was ‘the death of disco’ and what that sounded like. It was a very interesting thing to consider when you think of our score and where it ended up. How does finding out what the death of disco sounds like translate to season two of Mindhunter? I still don’t know, but it led me in a place of trying to figure it out, which was a bit of a mind fuck. 

Read the full interview

How Mindhunter’s Composer Manipulates Sound to Create an Unexpected Score

Susannah Edelbaum
September 17, 2019
The Credits (MPAA)

Todopoderosos: David Fincher (Vol. II)

VIDEO IN SPANISH

Todopoderosos (@todopoderosos)
Agosto 27, 2019
Espacio Fundación Telefónica (@EspacioFTef)

Castillos de naipes, chicas tatuadas, botones menguantes y hambrientos del like. Han vuelto los Todopoderosos para contarnos todo lo que se les quedó pendiente sobre David Fincher.

O sea, Rodrigo Cortés, Javier Cansado, Juan Gómez-Jurado y Arturo González-Campos. Que alguien llame a los mindhunters.

Juan Gómez-Jurado (@juangomezjurado)

Autor de libros como La Leyenda Del Ladrón, El Paciente, Cicatriz o su reciente Reina Roja, un autor traducido a más de 40 idiomas, y una de las mentes más intrigantes de la cultura española.

Javier Cansado (@cansado2)

Un ilustre ignorante que demostrará que ambos adjetivos son falsos en su caso. Uno de los grandes cómicos de este país y un comunicador que, cada día, hay que descubrir. Se afeita regular, eso también lo tiene.

Rodrigo Cortés (@rodrigocortes)

Rodrigo Cortés ha hecho una película dentro de una caja y tres fuera. Escribe libros, habla por la radio y huele genial. Una vez se quedó atrapado en un ascensor con Carlos Boyero.

Arturo González-Campos (@arturogcampos)

Durante muchas noches ha gritado en La Parroquia de Onda Cero, escribe libros, hace guiones y es monologuista, la prueba viviente de que un feo también tiene lugar en este mundo.

Versión en Podcast:
Próximamente

#TPFincher

Gracias a Jesus Cao

Todopoderosos: David Fincher (Vol. I)

Pop Culture Confidential: Liz Hannah, Writer/Producer on Mindhunter Season Two

Christina Jeurling Birro
September 3, 2019
Pop Culture Confidential

This week on Pop Culture Confidential we are thrilled to have screenwriter Liz Hannah in conversation about the incredible new season of Mindhunter, as well as working with Steven Spielberg on The Post and more!

Liz Hannah burst onto the scene a couple of years ago when her first screenplay, a spec script about Washington Post owner Kay Graham and her decision to publish the Pentagon Papers, was picked up none other than Steven Spielberg. That became The Post starring Meryl Streep and Tom Hanks. Liz Hannah went on the write the critically acclaimed comedy Long Shot starring Charlize Theron and Seth Rogen.

Now she is onboard Mindhunter season two as a writer and producer. Liz Hannah talks to us about her career, working with David Fincher (exec producer and director on Mindhunter), writing and staging one of the most intense episodes of TV this year, the Charles Manson episode, getting into the heads of serial killers and much more.

In Conversation with Jennifer Haley, Writer (Mindhunter Season One)

Jason Hill: “David Fincher es un escultor. Lo esculpe todo poco a poco”

“David Fincher is a sculptor. Sculpts everything little by little

INTERVIEW IN SPANISH
Read the translation to English by Google Translate

Pelayo de las Heras Álvarez
Septiembre 2, 2019
Mondo Sonoro

Jason Hill fue miembro de los relativamente efímeros Louis XIV, ahora volvemos a tenerle por aquí en una faceta bien distinta. Suya es la banda sonora original de la serie televisiva de Netflix “Mindhunter“. Aprovechamos el estreno de su segunda temporada para charlar con él.

Es la década de 1970 y los coches, brillantes y alargados, recorren las ciudades de Estados Unidos bajo la macilenta luz de las farolas. Jimmy Carter es presidente, J. Edgar Hoover lleva muerto varios años y la guerra fría sigue en marcha. Salir a la calle ya no parece tan seguro como lo era en la idealizada década de 1950, pero el país vive, entre todas, una particular pesadilla: los asesinatos en serie. El miedo al otro se instala en la sociedad norteamericana. ¿Conseguirá el FBI modernizarse a tiempo de una forma adecuada y eficaz? Sigamos la serie para descubrirlo. Una serie, por cierto, que destaca entre los thrillers televisivos actuales. Y uno de los motivos es por la atractiva banda sonora de Jason Hill, vocalista y guitarrista de Louis XIV, una banda que publicó tres álbumes en cuatro años durante la década pasada.

La banda sonora original de “Mindhunter” parece siempre sutil, delicada. Es como en la introducción de la serie, con la pieza de los créditos, en la que la subversión se esconde detrás de esa música y la perfección y cuidado de los agentes manejando la grabadora. Eso debe haber sido difícil de lograr. ¿Cómo fue el proceso creativo?

Era cuestión de encontrarle la voz, de encontrarle color al movimiento. Fue como un enigma. Yo desde el principio comencé a sentirlo como una bruma, una especie de niebla o agua. Era líquido, resbaladizo… pero también era como esa característica ilusoria de los pensamientos, que también es algo de lo que se trata en la serie, especialmente en la primera temporada: las cosas que ocurren y tienen lugar en las mentes de las personas y luego el camino y la acción que toman. Los pensamientos son muy extraños, no puedes tocarlos. Eso sucede muchas veces con la música también. Quería que la música fuera así, cuando no puedes tocarla exactamente, resbalándose entre los dedos.

Entonces, la banda sonora tiene una fuerte carga psicológica.

¡Sí! Por suerte, llevo trabajando con Fincher alrededor de cinco o seis años, y mucho de ese tiempo ha servido para identificar el sonido y la estética de las cosas y los temas [en particular]. Desde entonces ha sido fantástico; más o menos siempre lo encontramos juntos. Con “Mindhunter” he empezado a trabajar desde una fecha bastante temprana, incluso ocho meses antes de ver siquiera una sola imagen. De hecho, empecé desde el momento en que me dijo: ‘¿te apetecería hacer esto?’. Me mandó el guión y lo leí… ¡pero fue difícil! Me considero una persona muy relacionada con todo lo visual y sonoro, pero no es como que al leer el guión se me haya ocurrido la música. Nada de eso. Gran parte del proceso, por tanto, fue para encontrar algo que yo sintiese que era correcto. Cuando vi una imagen, entonces sí, todo adquirió sentido. La “sensación” o esencia que debía transmitir la serie surgió de mí al momento.

Parece que funcionó, porque la música encaja a la perfección con la serie. Había dado por hecho que habías comenzado a partir de las imágenes.

Oh no, no. Hay una canción titulada “The Crime Of The Century” que fue la primera que compuse a partir de una imagen. Fue como: ‘whoah, vale, este es el sonido de la serie (aunque por entonces ya había trabajado largo tiempo en ello). Esa fue la parte en la que sentí que había encontrado lo que buscaba, algo de un aspecto y movimiento acuoso, espeso. Se asemeja a cuando lanzas una piedra en un lago y ésta va formando pequeños círculos o anillos. Así sentía yo esa pieza en relación con la música y con el resto de canciones que estaban por venir. A veces me sentaba al piano y, aunque es difícil de explicar, sentía que la forma en la que estaba tocando era la que se suponía que debía de ser. Es decir, que ese ritmo era el que debía haber en la serie. Extrañamente, a pesar de que desde pequeño siempre creaba canciones, yo nunca entré en el mundo de la música para ser compositor.

Lee la entrevista completa

Steven Benedict: Mindhunter

Steven Benedict
September 1st, 2019

Mindhunter is the 4th time David Fincher has examined serial-killers. Far from resorting to tired clichés, with the 2nd season he has again broken new ground.

Listen to the podcast

More David Fincher related podcasts and video essays by Steven Benedict:

Se7en, Credits, Fight Club, Zodiac, The Social Network, House of Cards, Gone Girl, Other mentions.

‘Mindhunter’: An Intro Is Worth a Thousand Words

Will Jones
August 24, 2019
Big Shiny Robot

David Fincher is a meticulous man.

From the infamous tales of his multi-take shooting style to the sheer technical precision consistently on display in his work, it is apparent that Fincher is methodical in his craft, a director who knows what he wants and sees very little point in doing the job if he is ever willing to settle for less than that.

Which is why, in a truly unique way, the opening intro to Fincher’s latest Netflix series, Mindhunter, is essentially a distillation of his entire filmmaking career into a single minute-and-a-half of unnervingly brilliant and precise cinematic craft.

Fincher’s first credit as a filmmaker may have technically been Alien 3, but his career didn’t really begin properly until 1995, with the release of Seven. The tale of a pair of detectives investigating the grisly murders of a serial killer, Seven is in many ways, in hindsight, the perfect introductory statement for Fincher’s body of work as a whole. On the surface, it’s a tightly-woven and meanly constructed narrative about a serial killer and the men trying to catch him. But just beneath the surface (and for our purposes, much more importantly) Fincher is using the narrative as a framework through which to explore themes such as the perverseness of mankind, the lasting wounds of grieving, and obsession.

That last one is important: obsession. Because it’s one he’s come back to again and again, and explored in increasingly interesting ways. Fight Club saw him creating a pop-cultural satire, one that delved deep into the depravity of its time and how the obsessions of a generation essentially derailed the concept of mental stability. Zodiac saw him confronting it in his most direct way yet, showing how Robert Graysmith’s and the nation-at-large’s obsession with the Zodiac murders came to engulf them.

What’s so intriguing about Mindhunter is that it tackles this thematic staple of Fincher’s work in a very similar way, yet it does so without even necessitating a single minute of footage from the series proper.

Read the full article