Fight Club Cinematographer Jeff Cronenweth, ASC

Jeff Cronenweth in the set of The Social Network (Merrick Morton, 2010)

Alan Schaller & Christopher Hooton
February 7, 2020
Candela: Photography & Cinematography masters

Fight Club cinematographer Jeff Cronenweth talks us through this iconic shot and many others in David Fincher‘s masterpiece. We also discuss how the relative naturalism of The Social Network was just as difficult to achieve, and whether something is lost with VFX even when it looks perfect.

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ASC Welcomes Erik Messerschmidt as a New Active Member

Samantha Dillard
February 5, 2020
ASC (American Society of Cinematographers)

Erik Messerschmidt, ASC had a childhood dream of becoming a cinematographer, which he began pursuing at Emerson College, where he studied film production. While in school, he hit the ground running, working on film sets as an electrician, which then led to work as a gaffer in features, television and commercials. Before he graduated, he was able to join the IATSE Local 481 in Boston. During this time, he also served as a lighting technician and lighting director for many well-known photographers, including Gregory Crewdson, Mike and Doug Starn and Larry Sulton.

Following graduation, Messerschmidt relocated to Los Angeles to further his career in the industry. Shortly thereafter, he met Mark Doering-Powell, ASC and Mark Weingartner, ASC, who served as early mentors. Doering-Powell hired Messerschmidt on several smaller feature projects as a grip and later gaffer, which allowed him to join Local 728 as a gaffer. He developed relationships with numerous ASC members, including Claudio MirandaJeff Cronenweth and Tami Reiker, who Messerschmidt calls his “closest mentors.”

Gordon Lonsdale, ASC hired Messerschmidt as his gaffer on the television series Bones, and the two worked together for six seasons. During this time, Messerschmidt also gained experience as a director of photography, shooting several commercials, short films and documentaries.

Erik Messerschmidt, ASC on the set of the Netflix series Mindhunter.

Cronenweth hired Messerschmidt as his gaffer on David Fincher’s Gone Girl, and subsequently encouraged the director to hire Messerschmidt to photograph his next project, the Netflix series Mindhunter. Since then, the cinematographer has shot the bulk of episodes on both seasons. (See story here.)

Messerschmidt has also photographed several episodes of the television series Legion as well as second-unit work on the feature Sicario: Day of the Soldado, shot by Dariusz Wolski, ASC. On the recommendation of Wolski, Messerschmidt was hired to photograph the HBO Max series Raised by Wolves.

His upcoming credits include Fincher’s latest feature, Mank, depicting the life of screenwriter Herman J. Mankiewicz and the writing of the script to Citizen Kane.

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It’s in his blood! Jeff Cronenweth, ASC Tells His Story

Jeff Cronenweth on the set of Gone Girl (2014, Merrick Morton)

Christine Bunish
October 11, 2019
Creative Content Wire

Cinematographer Jeff Cronenweth, ASC lensed his first feature, “Fight Club,” in 1998.  He earned Best Cinematography nominations from the Academy of Motion Picture Arts and Sciences and the American Society of Cinematographers for two more collaborations with director David Fincher, “The Girl With the Dragon Tattoo” (2011) and “The Social Network” (2010).  Cronenweth also shot Fincher’s “Gone Girl” (2014), Kathryn Bigelow’s “K-19: The Widowmaker” (2002) and Sasha Gervasi’s “Hitchcock” (2012).  He recently completed director Sam Taylor-Johnson’s “A Million Little Pieces,” based on the literary hit.

In addition to his feature career, Cronenweth is known for his stylish and CLIO Award-winning music videos and commercials.  In the last two years he shot music videos for Katie Perry, Jennifer Lopez, Pink, Maroon 5 and Taylor Swift.  A native Angelino, Cronenweth studied filmmaking at the University of Southern California (USC) and began his professional career apprenticing to some of the industry’s greatest cinematographers, including Sven Nykvist, ASC, John Toll, ASC, Conrad Hall, ASC and his father, the late Jordan Cronenweth, ASC.

Cronenweth, behind the camera A on left, and his crew set up double coverage for a scene between Tyler Durden (Brad Pitt) and the film’s nameless narrator (Edward Norton). On the right, B camera operator (and future Panic Room cinematographer) Conrad W. Hall. (1999, Merrick Morton)

What was your pathway into this field? 

“My great-grandfather owned a photo store in Pennsylvania.  My dad’s dad won the last Oscar given for portrait photography: He was a staff photographer for Columbia [Pictures]. My grandmother was a Ziegfeld Follies dancer.  My dad [Jordan Cronenweth, ASC] won a BAFTA for ‘Blade Runner’ (1983) and got an Oscar nomination for ‘Peggy Sue Go Married’ (1987).  So as a child I often visited sets and went on location for extended stays.  I felt like I wanted to be part of that great experience, that camaraderie.  Each day was like a military unit battling to bring back great images.

“I knew I wanted to do something in the industry: I had been around it all and found it all so exciting.  I made many Super 8 films in high school and decided USC (the University of Southern California) was where I wanted to attend film school.  But two years into school Film Fair, a commercial production company my father had collaborated with, had a position open for a staff loader and that job offered the opportunity to get into the union.  I visited my dad as often as I could when he was shooting ‘Blade Runner’ and assisted him on other movies as a camera operator and on second unit.  A lot of relationships I formed then carried over when my dad retired.

“I met [director] David Fincher on a Madonna video my father photographed and I shot second unit for in the heyday of music videos – it was a very creative and innovative time, and I was grateful to be there.  I was his camera assistant on the documentary ‘U2: Rattle & Hum’ (1988) and the film ‘State of Grace’ (1990), both directed by Phil Joanou, a former USC film school classmate.  Then I got my first feature as a cinematographer, ‘Fight Club,’ with Fincher.  Not a bad credit for the first time out of the gate!”

Read the full interview

David Fincher Revives One of His Longtime Dream Projects, “Mank”

David Fincher has reportedly signed on to direct his first feature film since Gone Girl in 2014, a biopic about the contentious development of the script for Citizen Kane, one of Fincher’s favorite films, by the brilliant and prolific but troubled screenwriter Herman J. Mankiewicz and legendary director Orson Welles. They both shared the Academy Award for Best Original Screenplay.

And he is doing it for Netflix, the streaming service and production company that has granted him artistic freedom and for whom he has developed and produced the series House of Cards and Mindhunter, and executive produced the animated series Love, Death, and Robots.

Master Actor Gary Oldman will play the titular role, Mankiewicz, or “Mank“, as he was nicknamed.

The film project inception dates back to 1993 and is based on a script by Fincher’s late father, Howard “Jack” Fincher. Jack Fincher was a journalist, writer and essayist specialized in science, a former San Francisco bureau chief for LIFE magazine, and a devoted cinephile. In 1997, he was commissioned to draft a screenplay for a Howard Hughes biopic, with Kevin Spacey attached to direct. But this project was later absorbed by The Aviator project scripted by John Logan, which ended up being directed by Martin Scorsese.

Mank will be shot in black and white, as Fincher always intended. This caused the project to stall in the past, but Alfonso Cuarón’s recent success with Roma, also for Netflix, has reinforced the limited commercial appeal of this aesthetic option.

Fincher has shot many commercials and music videos in black and white, including Oh Father for Madonna (1989), notably inspired by Citizen Kane. His last music video, Suit & Tie (ft. JAY Z) for Justin Timberlake (2013), and last two commercial campaigns, for Calvin Klein (2013) and Gap (2014), were gorgeously shot using RED Cameras with monochrome sensors, perhaps with Mank in mind.

The film will be produced by the traditional power couple David Fincher & producer Ceán Chaffin, this time alongside Oldman’s business partner and producer Douglas Urbanski. Urbanski is an occasional actor who played President of Harvard University Lawrence Summers in The Social Network.

Production is scheduled to begin in November in Los Angeles.

James Swallow wrote about the original project on his essential chronicle of the first half of Fincher’s career, Dark Eye. The Films of David Fincher (Reynolds & Hearn Ltd, 2003):

As far back as 1997, this biographical story of Herman J. Mankiewicz, the writer of Orson Welles‘ epic motion picture Citizen Kane, was rumored as a pet project for David Fincher. From a script written by his father, Howard Fincher, the director’s black and white biopic targeted Seven star Kevin Spacey as the lead, with Panic Room‘s Jodie Foster in a co-starring role as movie actress Marion Davies. In production at the same time was HBO‘s telemovie RKO 281, which also covered the backstory of Citizen Kane (casting John Malkovich in the Mankiewicz role and Melanie Griffith as Davies). Still, the true story behind the creation of this mould-shattering movie and the writer behind it has enough scope for the production of a further feature by Fincher and his father.

Mankiewicz was a cynical but extremely talented scriptwriter, a former theatre critic for the New Yorker and the New York Times who left his job for the glitter of early Hollywood. Dropping out of the elite circle of New York’s high society, specifically the so-called “Algonquin Round Table“, Mankiewicz began with scripts for silent films, starting with The Road to Mandalay in 1926, working on more than 70 features during his lifetime. He once famously described Hollywood to a fellow writer in NYC by saying: “Millions are to be grabbed out here and your only competition is idiots. Don’t let this get around”. As film technology evolved in the late twenties, Mankiewicz changed gears and moved seamlessly into talkies, continuing to write stories or dialogue for films like Man of the World (1942), The Lost Squadron (1932), Dinner at Eight (1933) and It’s a Wonderful World (1939), as well as an uncredited rewrite on The Wizard of Oz; he also worked with the Marx Brothers as an executive producer on movies like Horse Feathers (1932) and Duck Soup (1933).

With his career flagging as the thirties ended and with his comedic hits behind him, Mankiewicz’s Oscar-winning success with Welles’ Citizen Kane in 1942 gave him a brief respite. However, his alcoholism and large gambling debts eventually got the better of him and he died, penniless, of uremic poisoning in 1953. Remembered for Welles’ powerfully directed feature about a ruthless newspaper mogul, Mankiewicz no doubt drew on his personal experiences as a former associate of real-life magnate William Randolph Hearst and as a partygoer at Hearst’s huge Hollywood mansion. Although Mankiewicz was forced to share Citizen Kane‘s Academy Award for Best Writing with Welles, the great majority of the script was the writer’s own work, and it was not only a source of friction between the two men but of debate among film critics to this day.

Last mooted as a Propaganda Films movie, Howard and David Fincher’s Mank may yet be produced as a project at Indelible Pictures. Fincher has previously spoken of his intent to use a special film stock to shoot Mank, a black and white negative type no longer used in the contemporary industry that would have to be recreated from the original “recipe”. For the director, this feature represents an opportunity to produce a fundamentally different film from his earlier works in a genre he has yet to explore; at the same time, the life of Herman J Mankiewicz retains the streak of darkness that has always appealed to Fincher’s sensibilities. “Mank is a script that I’ve been working to get exactly right for ten years”, said Fincher, “and I hope, some day, to make it as one of the definitive ‘writer in Hollywood’ stories”.

Nev Pierce asked Fincher about the project during his 2009 career interview for Empire Magazine:

Pierce: Your dad was a journalist and a writer. He wrote a script called Mank, about the Citizen Kane screenwriter Herman J. Mankiewicz. Did you consider making that?

Fincher: We tried. It was too expensive. Because if you’re going to make a Hollywood insider movie—it’s nothing to do with Hollywood really, it’s Hollywood in the late thirties, early forties—you’ve got to make it really cheaply. We had a chance to make the movie for, like, $13 million, back in 1998 and, um, [guiltily] I wanted to make it in black and white. [Laughs] And that fucked up all those home video and video sellthrough and cable deals. I haven’t read it in a while. I probably should.

Pierce: Did your dad write a few screenplays?

Fincher: Yeah, he wrote a couple. That was the best of them, I think. He wrote a screenplay once about a divorce case. It was kind of based on the Keanes. Remember in the sixties, the guy who painted those pictures of the children with the giant eyes? They were in this bitter divorce. It was a very, very sardonic screenplay about two parents trying to prove what bad parents they are, so the other will get stuck with the kids! It was pretty funny! [Laughs] But it had an awful sentiment! But it was funny. It was a good script.

Pierce: There’s an element of your work—in Se7en, The Game, Zodiac— that is about professionalism and obsession. Is that something you think you got from your dad?

Fincher: My dad wasn’t very obsessive. Slightly compulsive, but not obsessive. You know, my dad did used to say, “Learn your craft; it will never stop you from being a genius.” It’s like, “Do the hard work, figure out how it works…” My dad worked a lot, but he paced himself. He paced himself a lot more than I think I probably do. […] My dad… he was an intellect and sort of a Monday-morning quarterback.

Thanks to Joe Frady and Andrew Moore.

The Treatment: David Fincher, “Mindhunter”

David Fincher (Merrick Morton, 2011)

“I guess I’m allowed to say it, but yeah, it’s gonna be the 16th [of August].”

Hosted by Elvis Mitchell
July 12, 2019
The Treatment (KCRW)

Having been handed the true crime book “Mindhunter” by friend Charlize Theron, executive producer David Fincher began the collaboration and long developed project we now know as Netflix‘s “Mindhunter“. Today on The Treatment, Fincher announces the release of season two of the series where discussion of serial killers became common place among American mainstream and how the soundtrack plays with the timeline of this eerie American history.

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This week on The Treatment, David Fincher.

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Colorist Ian Vertovec’s Instagram Notes on His Work for David Fincher

Ian Vertovec & Michael Cioni
March 17, 2019
Ian Vertovec (Instagram)
Michael Cioni (Instagram)

Ian Vertovec is Supervising Colorist at Light Iron, which he co-founded, a Panavision company specialized in dailies, digital intermediate, archival, and data services for projects originated on file-based motion cameras.

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Reposted from @ianvertovec – The Girl with the Dragon Tattoo Dir: David Fincher DP: Jeff Cronenweth One of the best technical and creative accomplishments of our team's career was collaborating on this film. GDT included scenes shot on the first RED Epic camera (mixed in with lots of RED ONE MX) and was the first 5K RAW DI. We had to work with Quantel at the time to innovate a new way to do DI in a 5K extraction and display in 4K. It was our first time making 5K DSM non-scaled 2.40 and 1.78 masters so no blow-up was required for deliverables. It also means there is a 4K 4:3 version somewhere! The creative techniques and technology discovered on this film went into hundreds of films we did thereafter. Sometimes I travel the world and people ask, "How do you get RED cameras to look so good?" I tell them, "Don't worry so much about it. We all have access to the exact same technology to make these pictures look great. The difference is in who actually touches the tech." Colorist @ianvertovec is the key to these images and leads the Light Iron creative team to bring the best color regardless of the camera. Now you can follow his colorful journey on Instagram. Follow @ianvertovec #thegirlwiththedragontattoo #davidfincher #rooneymara #danielcraig – #regrann #regrann  #redcamera #redepic #redcamerausers #lightiron #lightironcolor #digitalintermediate #colorcorrection #cinematographer #cinematography #resolution

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