The Girl with the Dragon Tattoo, David Fincher’s latest antiblockbuster, is a baroque rethink of the serial-killer subgenre; a subtly retuned adaptation of the first novel in Stieg Larsson’s penny-dreadful Millennium trilogy; a technical achievement of narrative compression and pacing in a mainstream thriller; and the most recent proof of the director’s trademark habit of unleashing bad vibes in the multiplex. It’s a sick kind of holiday movie. The story is bookended by two Christmases—a year its two protagonists pass among murderers, sexual predators, and a wealthy family with a history of sadistic brutality (and Nazi sympathies), all stirred up by a cold case involving the disappearance of a sixteen-year-old girl from a private island. With good reason, Fincher called The Girl with the Dragon Tattoo “the feel-bad movie of the season.” The director renders its source material in the coolly droll yet fundamentally shocking and disturbing style of his previous films about psychos, Seven (1995), Fight Club (1999), and Zodiac (2007). In the manner of Tod Browning’s subversive 1931 take on Dracula, The Girl with the Dragon Tattoo frightens the viewer while injecting grimly fiendish jokes into an earnest literary artifact with an intractably complicated storyline.
In our long-running series “How I’m Making It,” we talk to people making a living in the fashion and beauty industries about how they broke in and found success.
As the Academy Award nominations were being announced on March 15, “Mank” costume designer Trish Summerville was all PPE-ed up, shooting the Jason Momoa-starring fantasy film “Slumberland.” She was simultaneously FaceTiming her wife, up early in Los Angeles, and watching a semi-delayed livestream (relatable), when she heard her name.
“I went to the director on the film, Francis Lawrence, and we stepped outside,” Summerville, on a call from Toronto, remembers. “He did give me a hug. He and I are really good friends and have known each other for many, many years. We had masks and face shields on, and all that, and were really, really safe. I have to say, it was great to get a hug.”
Known for her stylized, high-concept and often high-fashion-influenced (or designer label-stacked) costumes, Summerville received multiple nods for her innovative work on the Old Hollywood-set “Mank,” including her first BAFTA and her sixth Costume Designers Guild Award nominations. (This is also her first time being up for an Oscar.) She already won two CDGAs for 2013’s “The Hunger Games: Catching Fire,” also directed by Lawrence, and “The Girl With the Dragon Tattoo,” helmed by “Mank” director David Fincher; and was nominated for an Emmy for the “Westworld” pilot, among other accolades.
The director and the rock star composer have now collaborated on four films and discuss their work on the overwhelming Oscar favourite, plus why Bird Box made no sense and whether Fight Club could come to Broadway
One of the US’s greatest living directors is keeping his camera switched off for our Zoom call, but he sounds so cheerful – “Hey! It’s Fincher!” – that he might as well be communicating in smiley-face emojis. Perhaps it is the effect of the 10 Oscar nominations announced a few days earlier for Mank, his acclaimed, affectionate film about the writing of Citizen Kane. Meanwhile, Trent Reznor – who, with his musical partner in Nine Inch Nails, Atticus Ross, has composed the scores for all the director’s movies since 2010 – joins the call a moment later, and proves less camera-shy. He pops up in a brown tracksuit, seated beside a keyboard in a bright, cluttered room. Fincher gives him a chipper greeting: “Trent-O!”
They are here to discuss a partnership that has spanned four pictures: the Facebook origin story The Social Network, the thrillers The Girl With the Dragon Tattoo and Gone Girl, and now Mank. It has also brought awards nominations for each of them, as well as an Oscar in 2011 for the baleful, festering music composed by Reznor and Ross for The Social Network, their first film score. I congratulate both men on their most recent nominations. Reznor has received two this year for his scores with Ross: one for Mank, the other for the Pixar fantasy Soul. “It’s brought the ratio down a bit,” he says softly. “It was always nice being able to say: ‘One film, one win.’”
Those 10 nods, which include Fincher’s third for best director, mean that Mank has more nominations than any other film in contention, though perhaps it doesn’t do to get carried away: The Irishman, another prestigious Netflix title, got the same number last year but left empty handed. It feels perverse, though, that a movie about an Oscar-winning writer (Herman J Mankiewicz, played by Gary Oldman) has been overlooked in the best original screenplay category.
“Listen, you can’t expect other people to see the exact same value in things that you do,” Fincher says. “That’s just childish. Ten’s nice. I got no complaints about 10. He won’t be upset.”
When the twist-filled cosmic horror mind-bender The Empty Manwas unceremoniously dumped in theaters last October, its writer and director David Prior wasn’t even sent a link to the final version of the film by the studio. More than four years before, he’d pitched the movie to 20th Century Fox, a perhaps unconventional home for such a strange project, and, after the company was acquired by Disney in 2019, Prior’s debut feature slipped through the corporate cracks. In the middle of a global pandemic, The Empty Man was released with one misleading trailer, which marketed the two-hour-plus saga as another urban legend-inspired teen thriller, and minimal promotional fanfare. Unsurprisingly, it bombed, grossing just over $4 million worldwide. Prior transmitted and almost no one received.
Adapted from a Boom! Studios comic by the writer Cullen Bunn and artist Vanesa R. Del Rey, The Empty Man was initially sold to Fox in 2016 as a stylish horror mystery infused with thematic ambiguity, existential dread, and a dash of Lovecraftian terror. James Badge Dale plays ex-detective James Lasombra, a grief-stricken widower whose friend Nora (Marin Ireland) enlists him to help find her daughter Amanda (Sasha Frolova) after she disappears. Amanda and her teenage friends may or may not have summoned the Empty Man, a mystical entity with an odd connection to a cult-like organization called the Pontifex Institute, led by a charismatic leader played by Stephen Root of Office Space and Barry. (I’ve been describing it to friends as The Girl with the Dragon Tattoo meets The Ring.) In his early conversations with executives, Prior compared it to Mulholland Drive rather than something in The Conjuring universe or the Blumhouse arsenal. In the writing stage, executives even encouraged him to expand the film’s lengthy opening, a snowbound tale of hikers in Bhutan’s Ura Valley who stumble upon a sinister cave.
The Empty Man‘s journey to the big screen quickly unraveled. In some ways, the story has all the hallmarks of classic Hollywood fiasco: a shoot plagued by bad weather, disastrous test screenings, fights over runtime, studio meddling, a breakdown in communication, and an ambitious first-time director threading potentially alienating material into familiar genre fare. (Not many horror movies have a prominent shot of a high school named after a famous French philosopher.) In other ways, it’s a uniquely modern tale of mounting corporate neglect, expiring tax rebates, confusing IP mismanagement, and slow-building social media advocacy.
Are audiences hungry for movies like The Empty Man? The movie’s box office performance would suggest a definitive no, but, since becoming available as a digital rental in 2021, the film has taken on a second life online, where podcast hosts and viewers on platforms like Twitter and Letterboxd have sung its praises, turning it into the rare 21st century studio project that earns the over-used descriptor of “cult movie.”
Prior, who began his career working on a DVD of the 1999 horror movie Ravenous and later directed special features for David Fincher films like Zodiac and The Social Network, has a keen awareness of how his movie plays into certain narratives. Over a Google Hangout, he spoke with the combination of weary cynicism and wounded pride that often accompanies someone who has been through an ordeal. “It’s amazing how trenchant Barton Fink is about the way the Hollywood system really works,” he noted early in the conversation.
As the Coen Brothers screenwriter protagonist knows, the “life of the mind” can be painful. While unpacking the jargon-heavy mythology of his debut and the turmoil-packed narrative of its production, Prior repeatedly emphasized how grateful he was that the movie has found an audience and often laughed at the absurdity of its fate. Who can be blamed for what happened to The Empty Man? As one of the movie’s grizzled detectives remarks in the film, “We can’t indict the cosmos.”
Last October, a horror movie came and went. It wasn’t the first time a Hollywood studio dumped a horror movie in the middle of Halloween; given the ongoing pandemic, few films with a theatrical release could have moved the needle in 2020. But in the case of David Prior’s The Empty Man, this release was just the tip of the iceberg, the near-final act in a first-time filmmaker’s multi-year struggle to bring his vision to the screen.
In this conversation, Prior explains how he went from being David Fincher’s protégé to the director of 2020’s most ambitious — and most abandoned — horror film. We also explore how a perfect storm of production problems and studio politics nearly killed the film, and how a passionate audience has already started to turn The Empty Man into a future cult classic.
From DVDs to David Fincher
History doesn’t repeat itself, but it often rhymes. If The Empty Man survives its troubled production and halfhearted theatrical release to become a household name for genre fans, then perhaps this story will serve as a fitting beginning to Prior’s career as a feature filmmaker. For years, Prior worked as a production documentarian for filmmakers such as David Fincher and Peter Weir, but one of his big breaks came with Antonia Bird’s Ravenous, itself a studio disaster that took years to find a passionate audience.
In the years before Ravenous’s theatrical release, Prior had built relationships in 20th Century Fox’s home video department thanks to his contributions to the isolated score track on the Alien DVD release. So when Prior stumbled across Ravenous in theaters — despite a trailer that he describes as a “piss-poor representation of the movie” — he saw an opportunity to build on those connections and bring some much-deserved love to Bird’s film.
His gamble worked. According to Prior, the special-edition release of Ravenous sold three times its initial projections, forcing 20th Century Fox to rush extra copies of the film into production. With his credentials established, Prior was given his pick of future home video releases, and his decision resulted in one of the most influential relationships of Prior’s professional career. “I said, ‘I don’t know what Fight Club is, but I really want to meet David Fincher, so I’ll do that one. And that led to a relationship with Fincher that goes on to this day.”
Over the next decade, Prior became a powerhouse in behind-the-scenes documentaries, shooting features for such films as Master and Commander, Zodiac, and The Social Network. It proved to be a successful and stable career, just not the one that Prior had in mind when he went to Hollywood. “I remember at the time thinking, ‘This is gonna be something where if I’m not careful, ten, fifteen years of my life is going to go by doing this instead of what I’d rather be doing,’” the director says. So Prior took another gamble, this time using some of his own money to produce the short film that would eventually land him his role with The Empty Man.
“In 40 short minutes, David Prior shows why he is one of the most promising directors I’ve ever seen. People always ask me what to do for a ‘calling card’ in Hollywood. Well do something like this, and try to do it half as well.”
Designing Hollywood Podcast new home edition with guest talented costume designer Trish Summerville known for her work on:
The Hunger Games ‘Catching Fire’ (2013) ‘The Girl with the Dragon Tattoo’ (2011) ‘Gone Girl’ (2014) & most recent ‘Mank’ (2020)
With Host Phillip Boutte Jr. Produced by Ceo & Founder Martika Ibarra.
Thank you to our sponsor Gardena Cinema, the only old-fashioned single-screen stand-alone neighborhood movie theater still in operation in the Los Angeles area. Owned and operated by Judy Kim and the Kim family since 1976.
Because We Love Making Movies is an ongoing conversation with filmmakers who work behind the scenes to make the movies we love. These are the invisible warriors we don’t think of: Production & Costume Designers, Cinematographers, Editors, Producers, and the whole family of artists who make movies with their hands and hearts.
In the very first episode of my podcast, I sit down with Production Designer Donald Graham Burt. We explore the role of the Production Designer, a life in the arts, working with David Fincher, and learn to talk less and listen more.
Recommended Viewing: The Joy Luck Club, The Curious Case of Benjamin Button, Gone Girl, The Girl with Dragon Tattoo, and Mank.
David Fincher and Ren Klyce came of age during a seminal time for Hollywood: when the pair were just kids, a group of ’70s filmmakers was reshaping what it meant to make movies, right from the pair’s native Bay Area. In a biographical detail almost too perfect to be true, George Lucas rented a house in Marin County to edit his “THX 1138,” that just so happened to be located right next door to the Klyce family’s home. A single suburban lawn is all that separated a then-9-year-old Ren from the great Walter Murch, just as he was starting to change modern movie sound forever, work he’d continue throughout the decade with another NorCal auteur, Francis Ford Coppola. And it would be on a Lucas-produced animated feature, “Twice Upon a Time,” that future sound designer Klyce would meet his Coppola, a then-19-year-old Fincher.
Over the last 25 years, as Hollywood has utilized the multi-channel surround technology pioneered by Murch to create bombastic soundtracks that all too often mask a lack of craft, Klyce has helped Fincher explore the subconscious underbelly of his own films, constantly refining how sound can be used to shape a viewer’s emotional response.
“To me, sound design is not about 96 channels all at 11, and two side cars giving you this sound pressure-gasm; to me, it’s very much about the detail and the nuance and maybe things that you wouldn’t even be aware that you heard until the second or third time you saw it,” said Fincher in an interview about his collaboration with Klyce. “I can’t talk more enthusiastically about someone [Klyce] I feel has very subtly pushed what sound designers do.”
Le grand film de Fincher débarque sur Netflix le 4 décembre. L’occasion d’un entretien avec le cinéaste, mais aussi avec ses collaborateurs les plus proches. 16 pages spéciales.
Scénario pour une critique par Nicolas Tellop
Filmopathe entretien avec David Fincher – par Nev Pierce
Collaborer avec Fincher entretiens avec Erik Messerschmidt (chef opérateur) – Donald Graham Burt (chef décorateur) – Trish Summerville (costumière) – Kirk Baxter (monteur)
2. Revisiter Fincher
Plongée exceptionnelle dans l’oeuvre de l’un des plus grands cinéastes contemporains. Filmographie commentée, analyses… 50 pages à lire.
4 nuances de Fincher par Jean-Sébastien Massart et Fabrice Fuentes
David Fincher en 14 titres Propaganda Films (clips) – Alien 3 – Se7en – The Game – Fight Club – Panic Room + les plans de Panic Room – Zodiac – L’Étrange histoire de Benjamin Button – The Social Network – Millénium + la musique hantée de Millénium – Gone Girl – Mindhunter
Démoniaque – la perfection du crime par Nathan Reneaud Fantômes et paranoïa par Jérôme d’Estais Solitude & obsession – Fincher Dogma par Alexandre Jourdain Poétique du suicide par Aurélien Lemant Le système des objets – design finchérien par Dick Tomasovic