“I thoroughly enjoyed the visual sensibilities and filmmaking techniques used in the first season of Mindhunter on Netflix. Here are 5 of my favorite cinematography and film editing techniques that I feel made it a very distinctive show. Created and directed by David Fincher, he used many of the stylistic choices from his feature films such as dark cinematography and glass-like camera movement but also added some new tools to his arsenal as well.”
I recently had the enormous pleasure of interviewing the actor Thomas Francis Murphy. Thomas has worked on movies and shows such as 12 Years a Slave, Free State of Jones, Mindhunter, The Walking Deadand American Horror Story. We talked about his unconventional path towards taking up acting in his mid 30s, Dayton, Ohio, his career, music and much more besides.
DB: Mindhunter, Detective McGraw, you were in the first episode which is the one that David Fincher actually directed. How did you get that role?
TFM: I taped for it when I was in Louisiana. Then I came out for the first full out LA premiere I had ever done, which was for the Free State of Jones, and then auditioned here for it, in person, with Laray Mayfield who was casting out here and from there I went to New York to audition with David [Fincher] and Julie Schubert– so there was quite a long audition process for that.
DB: What was your experience on-set of Mindhunter?
TFM: Well again, I didn’t know until we started shooting, that it was a re-shoot. They had shot that whole thing and then came back at the end of the season to re-shoot that [whole] section. The actors, by that time, had been acting together for a whole season so it was like coming into the lunch room mid-semester of the senior year.
DB: There are three big scenes: the one where Tench and Ford do that slightly disastrous presentation in front of everyone; then there’s another one in the diner where you are talking to them; and the final one where you show them the photographs. With that scene, where you are back at the station and are showing them the photos, when did you, and when did they, first see the photographs that you were using?
TFM: Then. I’m sure they saw them before, but I saw them then.
DB: So, they had already seen them because of the re-shoot, but that was the first time you had seen them, because they are pretty gruesome.
TFM: That is an interesting question. That’s really an interesting question, you know – because I had never really thought of it before, kind of shame on me, but that’s alright. Even if I had thought of it, just letting this thing come over me…
DB: Did you have to smoke on set?
TFM: Yes! And that was a bitch when it came to continuity. You do it and then the next take you get, ‘No, your hands were like this!’
DB: No one else has mentioned that and it’s really interesting because I had never thought of that.
TFM: If you are a smoker, right, you don’t do it… I mean that’s the whole point of it. If you’re a smoker it just let it flow through you and proceeds according to your internal state. So to come back on a scene and go, ‘No your hand was just like that!’ That’s what I’m hired to do. I’m not hired to think about it. I’m hired to smoke!
DB: But you wouldn’t have felt quite so ill as the ones who don’t normally smoke who said they would smoke some real cigarettes!
What was it like working with Holt and Jonathan?
TFM: Well I had a high regard for both of them, but you know David does a lot of takes, everybody knows that, right. So again, you’re the new kid, that scene in the diner… that was us meeting each other as actors. I got their attention (laughs) and then we did the scene. That’s how often actors meet each other, as actors, and then you know that you’re going to be able to do the scene.
DB: Was that the first scene then, the one in the diner?
TFM: No. The first stuff we shot was the meeting. We shot that particular thing in chronological order.
DB: So, what is David Fincher like working for when he’s directing?
TFM: Well he’s obviously a guy who knows what he wants. Clearly. So that’s always good! I guess the thing you know is that, if he didn’t get what he wanted, you’d still be shooting! (Both laugh) You take your gratification where you can. My comparison that I have in my mind is that now you’re working with an NBA coach, you were in college basketball, it just has that kind of feeling to it. I’d certainly seen his films and I had certainly paid attention.
Again, it’s another story about having lived through that time, having lived through a period of time where the political colouration of the country, the kind of cultural colouration of the country that went along with that storyline. When I went back and watched Mindhunter I was just completely amazed at how it caught the spirit of that particular, in small ways, period of time.
While I was finishing the fourth season of House of Cards, David Fincher called me to say he was planning another series with Netflix and to ask if I would be interested in designing it. Of course I jumped at the chance, not knowing exactly what Mindhunter would be, but certain that with Fincher involved it would be a quality project. I soon found out that it was based on the John Douglas book of the same name and that it would be shooting in Pittsburgh, a city I knew quite well since I received my graduate degree from Carnegie Mellon University there, and where I got my start in the film business while still a student in the CMU theater department.
The series is somewhat different than many crime shows in that it’s not a who-done-it, or even how’d they do it, but more of a psychological exploration of why’d they do it.
Mindhunter is a period show set in the late 1970s, so I knew the choice of Pittsburgh as a location would simplify much of the exterior design work. Many rust belt cities like Pittsburgh were hit particularly hard by the collapse of the steel industry, and all the ancillary businesses that supported steel have suffered as well. The small towns that surround a city like Pittsburgh are often stuck in the past, sometimes for forty years or more. A lot of the exterior street sequences required were possible and looked appropriate with a minimal amount of redesign because there just hasn’t been an influx of business dollars to do architectural upgrades; there were very few modern structures to modify extensively or hide. This, and the fact that there is a wealth of great period dressing elements to be had at reasonable prices at the many local flea markets, estate sales and antique stores, made the task of recreating the period much more manageable.
One of the first things I remember David Fincher saying about the look of the series was that he did not want it to look like other films or series set in this same period where the style of the time is pushed so far that it becomes exaggeratedly over the top and starts to seem camp. The focus would be on the more mundane and ordinary look of American life in the late 1970s. I knew a lot of the characters were from the lower social strata, so there were few places for high style or the cutting edge fashion of the time. One big influence on the design was photographs from the time by people like Stephen Shore, particularly for our many on the road scenes in motel rooms.
Emmy-nominated actor Cameron Britton mesmerised us all with his portrayal of serial killer Ed Kemper, on hit Netflix show Mindhunter. In this interview we discussed everything from romance to his preparation for the role and working with director David Fincher, the real Ed Kemper and so much more.
PC: When you were sat in that room with Fincher, was it hard not to show your nervousness, what did you do to combat those feelings or were you not nervous?
CB: It was back and forth that I thought, ‘Oh I’m doing a terrible job, he’s going to fire me,’ and Jonathan would talk me down from the ledge. There were days when we had done 50 takes – let’s do 50 more, 70 more I don’t care, I’m having a blast, I’m just lost in the moment, because it’s not just the takes it’s how quickly we get back to the top of the scene. Often when someone says ‘Cut!’ you know you don’t actually get to start the scene again until 10 minutes later, with him it’s 15 seconds! We are back in it. I’d never done that in my life before and that in character, for that long for a whole day of, since you’ve been awake you’re in character. It just starts becoming this sort of spiritual experience where you kind of forget what you planned on doing, you’re surprising yourself, you’re going, ‘Oh oh God! I’ve never delivered it that way before! Where did that come from?’
PC: I was talking about that with Adam Zastrow and he said by the time you do the 50th take you feel like it’s going through the motions, you don’t have to think about it but by then you are delivering something that is more natural, or organic, and that is what Fincher is looking for: that very moment when you are not acting, you are being it, doing it, aren’t you?
CB: You are! And day one I thought, ‘Are they going to fire me? Am I going to get too tired to do this?’ And that is just not the case. I met a few people playing killers who were nervous – anyone who’s worked on Mindhunter and worked with Fincher – they all think, ‘Ah, they’re going to fire me!’ But when you are in there, man you just keep going. Being fired is the last thing you’re thinking about, you are just alive. It’s a hell of an experience and honestly is moving forward my career. I’ve been fortunate enough, because of my character, to get to do bigger projects now, like that’s sort of my standard. When I go to other projects now I go, ‘Okay, are they living up to what Mindhunter taught me and are they making good art?’ And if they are not then I sort of politely find a way to come off what’s going on.
PC: What about learning your lines: how easy is that for you? Obviously you had quite a bit of dialogue: how do you make it stick?
CB: There’s knowing all your lines, that’s fine and that comes really quickly, what really takes repetition is to do it enough so you don’t need to think about them. There just coming out and that is so necessary to me, if I’m just thinking about the line then I’m not living ‘in the moment’ and that’s just the kind of acting that I do. I need to have nothing happening to distract me. I just take every opportunity to be where I need to be ‘in the moment’ because I’m still working on it. If I don’t feel connected to the scene, or ‘the moment’, I can kind of panic and then you can sort of see me acting. Some actors, they are able to go, ‘Well I’m not connected right now but I can sort of fake my way through this,’ and that’s just part of life: if you have a job there’s some days you are just not feeling it even if it’s your favourite job in the world. I’m still working on that but no matter what, I have to know the lines backwards and forwards.
PC: With regards to David Fincher’s style of directing, is there any room for a bit of give? Do you feel you could suggest to him that perhaps you’d like to try something different or is it all very controlled by him or the other directors?
CB: With David there’s a line here, a line there, in this big, giant script where he says, ‘I want this to be arrogant,’ or, ‘I want this in a form of a question.’ And I think, when he says ‘arrogant’ there are many, many, many ways to do that so it’s up to you how you want that to be conveyed – the rest of the script is all yours. And maybe that’s just my experience. David puts you in: he guides you in the right direction. So if an actor strays too far this way or that way he’ll sort of put you back on track, but the point of all those is not to do anything you’ve prepped and just be truly alive ‘in the moment’. If you’re over-directing somebody then it won’t be that: then you’re just using all those takes to get this exact delivery or performance out of them, which is fine, but it’s not allowing… like he’s so trusting that inspiration will come; you know if he has too much vision for a moment he’s not allowing for a better vision to show up. If he’s saying it has to be this way then how do you know if something better wouldn’t have come along? He’s very trusting and it empowers you; you can tell [when] your director is letting you do your job. There’s been times he’s had to put me back on track: the hospital scene in the final episode when I stand up and turn around he let me go two or three takes where I just went ballistic. When we first started shooting that part I stood up like a maniac and then by the third he said, ‘I can’t think it up with the rest of that part of the scene. You can’t do that’. It needed Kemper to stay calm and collected but, in a way, I needed to go crazy for a second, I needed to really feel that wild, impulsive energy, that’s sort of Kemper though isn’t it: even when he’s calm you can feel his urge to hurt; he’s almost masking a lot of violence, no matter how mellow he looks.
David Fincher’s work is full of fine details. You could conceivably watch his entire back catalogue without realising, for instance, that the camera tends to mimic the actors’ smallest movements. But during the editing process for his 2017 TV drama Mindhunter, he had an idea that nobody can have failed to notice. “I’m not sure which episode we were watching,” editor Tyler Nelson told the Art of the Cut website, “but he said, ‘Let’s fill the frame with a big location card.’”
Whenever Jonathan Groff’s behavioural psychologist Holden Ford visits a new town, we’re told which one it is in massive letters that take up the whole screen: welcome to (eg) BOSTON, MASSACHUSETTS, and to a trend in TV and film for enormous location titles.
Mindhunter fans are split between loving its colossal captions and hating their overbearing presence, but they’ve caught on.
Fincher hasn’t just upped the stakes by making his location titles fill the entire screen, rather than merely a large proportion of it: the size of the text, combined with the chosen typeface (it’s Heroic Condensed, font fans) recalls tabloid newspaper headlines of the 1970s, when the show is set. It also evokes pulp/noir detective films from a few decades earlier.
Thrilling, dark, gripping and tense are just some of the words used to describe the hit Netflix series Mindhunter. Playwright Jennifer Haley is a writer and co-producer on the series, and joins us this week to share her experience getting into the minds of FBI agents and serial killers.
Mindhunter is a meticulously paced crime drama based on the writings of the pioneering serial killer profiler John E Douglas. Along with his team, they interviewed the likes of Ted Bundy, Charles Manson, and Ed Kemper during the seventies and eighties which resulted in a redefining of criminal profiling forever.
The series has wonderful casting, beautiful cinematography, and some of the creepiest conversations you will hear this year. Lead by David Fincher who is Executive Producer and director of four of the episodes, the writers on Mindhunter have delivered an amazing array of characters.
L.A. Not So Confidential. S1 Ep. 4: Writing Minds – Jennifer Haley Interview
Forensic psychologists, Dr. Scott and Dr. Shiloh, interview award-winning playwright Jennifer Haley who was a writer on Season 1 of Netflix‘s 2017 hit Mindhunter. In their first interview episode, they dive into the excitement and obstacles of bringing John Douglas‘ book to life and dish on several story arcs that leave us not-so-patiently waiting for Season 2! What’s with Wendy and that cat? Will there be a musical episode to see Jonathon Groff in action?