The Treatment: David Fincher, “Mindhunter”

David Fincher (Jean-Baptiste Mondino, 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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NetWorkWise: Holt McCallany, Bringing Hollywood Down to Earth

Adam Connors
July 10, 2019
NetWorkWise

Audio version:
NetWorkWise Presents: Conversations with Connors (PodBean)
Holt McCallany: Bringing Hollywood Down to Earth

Original Post

In Conversation with Actor Joe Tuttle

Paula Courtney
March 23, 2019
Absolute Music Chat

Joe Tuttle is well known amongst the fans of David Fincher’s Netflix show Mindhunter, for his role as FBI Agent Gregg Smith in both seasons 1 and 2. He has also appeared on other top-rated shows such as The Blacklist and Unforgettable. Joe and I had an in-depth conversation discussing his influences growing up, his career, and so much more.

[…]

JT: My secret weapon is my wife, she’s not an actress but she does have a writing background, so sometimes I think I can get caught up looking at these scripts as an actor like, ‘Oh this could be a really beautiful moment,’ but my wife is always about the writing, sort of, ‘Don’t forget these are human beings.’ It’s nice to have your moment as an actor, but don’t forget, are you really serving the story?

PC: And from speaking to many of the actors on Mindhunter that’s exactly what David Fincher wants when he shoots take after take of the same scene, for you not to play them out as an actor but to be, or react, as you would naturally in real life, and that really ties in to what your wife is saying.

JT: I think that’s part of it… I wish just for one day I could get in the head of David. I don’t think I’ve ever met anyone like him before; I probably won’t meet anyone like him again. He’s sort of brilliant at all these different things. I think that’s true he does a lot of takes for a lot of different reasons. One of them is certainly because it’s, ‘Okay let’s make the performances kind of finely crafted in a way, sort of uncrafted in a way. We don’t want to see the actor, we want to see a human being having the experience’.

PC: Yeah exactly!

JT: Also another reason David Fincher does a lot of takes is because I think he has a vision and he wants it to be exactly how he visualises it. It’s not always about the actor, sometimes it’s: we are slightly out of focus; it’s the wrong moment; actually I want to change one word, or the lightning is slightly different, or l want to frame up the camera in a different way, or I don’t like the coffee cup you are using, or that chair, we need to switch that out, or the background actors weren’t perfectly in sync. He notices everything, things that no one else would notice!

PC: In shooting numerous takes he wants the scenes to be the best of the best and to be fair it pays off doesn’t it.

JT: I think so. I don’t think David is making movies or TV shows for the 95%. I think people universally love his work and for good reason. He’s not making them for the 95%, he’s making them for that top 5, that top 2% even, who are going to notice these kinds of things. They are going to say, ‘That cup doesn’t make sense in this world. The lighting was a little bit off in that shot,’ or, ‘that background actor didn’t see his mark exactly.’ He’s making it for people like him, who are going to really notice that stuff. And when you do notice a glaring error or mistake, or something that doesn’t seem right, it takes you out of the story. I think he just wants a total immersive experience. He wants you, I presume, to be so involved that you almost forget, so that you really do feel like a fly on the wall, watching these people having these experiences.

PC: I have just interviewed Garry Pastore and his other job, when he’s not acting, is as a set dresser (leadman). He said he notices stuff like a blank wall behind a person which would clearly have a piece of art or a photograph on it in real life.

JT: The trouble with David is it means we notice that stuff now too; he’s sort of a force of nature; he raises everybody’s game. I’ve really noticed that about him – and not just with the actors, but the cinematographer, the technicians, the dolly grip, the sound folk – because he’s operating at such a high level you have rise to the occasion. I think that’s why people are drawn to working with him and will pass up other job opportunities, just to be able to work with David.

PC: I have arranged to have an interview with a guy called Dwayne Barr who operates the A camera dolly grip, because I’m just as interested to get his take on the technicalities of Mindhunter and Fincher, not just actors. I would love to talk to Erik Messerschmidt about cinematography.

JT: He’s a talented guy. It’s the first time in my working life as an actor I’ve been like ‘Wow!’ I wish my education had included more about cameras, editing and lighting. We touched on a lot of that stuff in acting school but wow, the technical aspects of making a TV show or film is frankly probably more important than some stuff we were taught. Just being able to ask the DP or the cinematographer why this, why now? Because I’ve had this work opportunity, I’ve started to notice.

Read the full interview

Joe Tuttle (David Noles)

Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come):

Jonathan GroffHolt McCallanyCameron BrittonCotter SmithJack ErdieAdam ZastrowAlex Morf, Jesse C. Boyd, Tobias SegalThomas Francis MurphyChris Dettone.

David Fincher Wants to Destroy the Concept of the Half-Hour and Hour-Long Show

David Fincher (Patrick Lewis/Starpix for Netflix/REX/Shutterstock, IndieWire)

SXSW: Fincher and Tim Miller talk about their decade-long journey to making the new Netflix animation anthology “Death, Love and Robots.”

Chris O’Falt
Mar 9, 2019
IndieWire

The concept of an anthology animated short series, made by different artists from around the world, was a near-impossible pitch for executive producers David Fincher and Tim Miller to sell. Following the SXSW premiere of six of their 18 shorts — which will air on Netflix under the “Love, Death and Robots” banner — the duo revealed they had received countless rejections (though one unnamed studio said yes, before, as Miller described it, “they chickened out”) until the show eventually landed at Netflix.

“It was a very difficult thing to pitch a movie studio because it’s not often we’ll see it with all the credits in the middle,” said Fincher, referring to the fact that the 90-minute program the SXSW audience had just watched included end credits following each of the six shorts. “You want to move on to the next. For a streaming service it’s perfect.”

The idea that the shorts could be different lengths and have no narrative connective tissue was perfect for the on-demand nature of a subscription streaming service. According to Fincher, dating back to “House of Cards” and “Mindhunter,” his conversations with Netflix, including Chief Content Officer Ted Sarandos, have been centered around the need to break free of the half-hour and hour-long format.

“We have to get rid of the 22-minute [length of a half-hour show with commercials] and 48-minute [length of an hour-long show with commercials] because there’s this Pavlovian response to this segmentation that to me seems anathema to storytelling,” said Fincher. “You want the story to be as long as it needs to be to be at maximum impact or entertainment value proposition.”

Read the full profile

In Conversation with Jesse C. Boyd (Mindhunter, Day 5, TURN)

Davina Baynes
March 9, 2019
Absolute Music Chat

Jesse C. Boyd has graced our screens playing roles such as Frank Janderman in David Fincher’s Mindhunter, the lead role of Jake in Day 5, a Queen’s Ranger in TURN and a wolf in The Walking Dead. We had an in-depth, and really fun conversation, about his childhood in rural North Carolina, his career and roles, upcoming projects, music, his love of hot sauce and lots more besides.

[…]

JCB: For Mindhunter I auditioned for it for, I think, a year – it was really long time. I remember I did my first tape when I was at a film festival in Idaho and, I think, while I was there I found out that I got Day 5. Then when I was filming Day 5 season 1 I got my second audition and they added another 8 pages to it. That was just ongoing and ongoing over time until, finally (and I think I was wondering whether it was actually happening) they were like, ‘They want you to come in to the office and do another read.’ I went in for another read. I think that Laray Mayfield (who does the casting) she actually does prefer self-tapes because she wants to weed through and see what she gets. They did just such an incredible job with that casting. When I saw it myself I just thought, ‘Wow! This is just so authentic and good!’ Laray is so talented too. Getting finally into the room you’re like, ‘Don’t screw this up!’

DB: When you were in the room was it just one or two run-throughs, or did she tweak how she wanted you to play it?

JCB: She did tweak. I know she did a version where she wanted it really fast. You’ve got to realise we’ve been doing these auditions over a year and the names are changing and the dialogue changes so you are consistently reframing what you’ve already learned. And then you’re finally going into the room and they’re like, ‘Can you do a fast version?’ (I think they want to see how [actors] can be on their feet, because of the way they filmed that show. When I ended up filming it they had so many different versions that we did of dialogue, I think they wanted to see whether you could handle these quick switches). There was one take that was super-fast and one that was more slowed down.

DB: How did you prep for that role? For who Frank Janderman actually is.

JCB: First of all I [had] spent a lot of time in Pittsburgh which was great (I did work and lots of things there), so that Pittsburghian accent was all around me. Then I just saw Frank as just like so many people that I feel that I already kind of know in life. This ‘nobody-fucking-asked-you’ kind of guy, but also he believes he’s a hotshot. He was accessible to me through so many other people I had met in my life that I know, that I think are really so much about the façade of not showing who they really, truly are – some of that, broken-downness in them.

DB: There’s a long interrogation scene and then a shorter one: how many takes did they do?

JCB: Oh my God! I wish I could tell you! Can I say a million takes? They did that big interrogation scene – we had three cameras running at all times – I think we filmed it for 12 hours the first day (it’s a 9-and-a-half page scene) three cameras, so you’re getting every angle on either side, and you’re doing it over, and over, and over, and over, and over… and just when you’re done, you’re doing it over, and over, and over again. Then I think the next day we went back and did another 6 hours. So it was a really long time of doing which is, I think, what makes it so great. First of all you’re breaking down a lot; you’re coming back; you’re refreshing with new things; you’re constantly finding new things to play with; and also you have so much coverage that when he [David Fincher] chooses what he’s going to put together he really has every colour of the box to paint his picture with.

Read the full interview

Jesse C. Boyd (Janet Adamson / JA Images)

Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come): Jonathan Groff, Holt McCallany, Cameron Britton, Cotter Smith, Jack Erdie, Adam Zastrow, Alex Morf, Tobias Segal, Thomas Francis Murphy, Chris Dettone.

Joe Penhall on the Nature of Criminality in MINDHUNTER and The King of Thieves

Joe Penhall (2018, Richard Mildenhall / Independent)

John Bucher
January 25, 2018
LA Screenwriter

Joe Penhall has been telling stories in theaters, across TV screens, and on stages for almost 20 years. His screenplay based on Cormac McCarthy’s The Road, starring Viggo Mortensen and Charlize Theron, brought him acclaim and opened up doors that would lead to his most celebrated project to date, Netflix’s Mindhunter.

Penhall has returned to the world of cinema with his newest project. Starring Michael Caine, The King of Thieves is a crime story based on real events about a retired crew of criminals who attempt to pull off a heist in London’s jewelry district.

[…]

John Bucher: With both Mindhunter and King of Thieves, you really get into the psychology of criminals and you have deep insights here into the way that people who have committed and plotted crimes look at the world. How do you approach these characters to understand their psychology?

Joe Penhall: The first and only regular job I ever had was as a crime reporter in my early twenties, and occasionally, the detectives would give me a transcript to read. One of them was an interview with a serial killer and we would analyze it and we would talk about it and they would give me their insights, and over the years, I’ve just become more and more interested in psychology and the kind of pathology of people’s behavior, because the only way to know anything about people is to try and develop a proper kind of psychological perspective.

What fascinated me about Mindhunter was how these FBI agents are expected to get crew cuts and lock people up and they’re at a time in history when that’s not good enough anymore. We have to develop a more nuanced, more academic, psychological understanding of this and I think that that’s true. People accept criminals. They accept politicians. They accept the bad people and the good people in society without ever really analyzing or pathologizing them in any way at all.

These things are an opportunity for me to try and dig down and understand what makes criminals tick. These criminals are a big part of our society, and certainly when I was doing Mindhunter, I know David Fincher and I were both fascinated with psychopathy and narcissism and personality disorders because I think we felt, somewhere on the grapevine, there were other people out there who weren’t serial killers who were high-ranking politicians who had psychopathy, who had personality disorders that resembled very closely the kind of villains in our piece.

And it came to pass. Since Mindhunter was written, there’s been this book about Donald Trump’s personality disorder. It’s well known that many of history’s dictators had personality disorders. They had psychopathy. They had sociopathy. They had antisocial personality disorder.

And it strikes me as self-evident that there is a pathological way of understanding these things without just calling it evil or without just calling them monsters or without just ringing your hands, you know. I think we were on a mission with Mindhunter to show that these people were actually ordinary people, sad to say.

King of Thieves is a much lighter version of that, but it’s the same thing. It’s not Warren Beatty in a heist film. It’s not George Clooney in a heist film. They’re banal people. They’re banal people that can’t be socialized the way most people can and they end up doing odd things like robbing vaults. I just find it fascinating but fascinating for slightly different reasons than people generally find heists fascinating or criminality fascinating in the movies.

Read the full interview

5 Visual Aesthetics of David Fincher’s MINDHUNTER: A Video Essay

Vashi Nedomansky
November 28, 2018
VashiVisuals

“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.”

More by Vashi Nedomansky:

All 25 Subliminal Shots in David Fincher’s MINDHUNTER Title Sequence