Cinema director David Fincher created one of the first original streaming series with House of Cards, and his innovative spirit infuses the Netflix original series Mindhunter, now in its second season.
In this podcast episode, the sound team discuss Fincher’s unique approach to the sound of serial killer interrogation scenes, a hallmark of this fascinating, dark series. The team discuss setting the acoustic tone of the series, including the oppression of the FBI agents’ basement office (and a very special door), why it was important to Fincher to always hear trainee agents at Quantico at target practice, and the joy of receiving Fincher’s incredibly detailed mix notes.
Steve Bissinger – Sound Effects Editor Scott Lewis – Re-Recording Mixer Stephen Urata – Re-Recording Mixer
Erik Messerschmidt (Mindhunter) is an American cinematographer. Erik chats with Portbox about his transition into cinematography with Netflix Original Series: Mindhunter. Madhav inquires about how Erik studies human behavior, both professionally and personally. Erik highlights how working with great cinematographers and highly disciplined directors has informed his workflow and why director-cinematographer relationships work across different films. He also breaks down one of Madhav’s favorite scene from the second season of Mindhunter, while giving us details on his next project with David Fincher, Mank.
On Netflix‘s drama “Mindhunter,” FBI Agent Bill Tench keeps his emotions close to the vest, so actor Holt McCallany was “grateful to the writers and to David Fincher for deciding to allow the audience to get to know Bill a little bit more deeply, and obviously his domestic life is a big part of who he is.” So in season two of the series, which streamed in August 2019, Tench faced traumas both at work and on the home front. Watch our exclusive video interview with McCallany above.
Season two of “Mindhunter” explored the real-life Atlanta child murders that terrorized the city’s Black community from 1979 to 1981, with a death toll of at least 28 victims. But while Tench and his partner Holden Ford (Jonathan Groff) try to get to the bottom of that mystery, Tench’s young son is involved in the disturbing death of a toddler, a crisis that strains his marriage.
“Tench is really being pulled in two different directions,” McCallany explains, “because he wants to be a good husband and a good father, but at the same time he wants to be a good detective, and he wants to live up to his responsibilities as an FBI agent … but never really able to do it.”
Unfortunately, Netflix announced in January 2020 that a third season of “Mindhunter” was on indefinite hold, though not cancelled outright. But for McCallany, hope is not lost. “I’m still optimistic that there can be another season of ‘Mindhunter,’” he says. “I think it’s not too late for us to come back, so my hope is that we haven’t seen the last of Bill Tench and Holden Ford … I’m keeping my fingers crossed.”
Director David Fincher’s Mindhunter series on Netflix is as calculated as the serial killers it fictionalizes. Fincher locks down all the details on a nanoscopic level, including the sound. Here, Skywalker Sound supervising sound editor Jeremy Molod talks about his collaboration with Fincher and how they deliver a finely-crafted show.
Having spent so much time as a Foley editor in his early career, award-winning supervising sound editor Jeremy Molod, at Skywalker Sound, appreciates the value of that performance art, as does his long-time collaborator director David Fincher. So much so, that Fincher even requests samples of potential footstep sounds for his characters before the Foley is shot. With all the details that a director has to attend to, it’s rare that one allocates so much attention to sound — even down to the Foley footsteps.
In Season 2, Ep. 2 of Netflix’s Mindhunter series — which is up for Emmy consideration for sound editing and mixing — Fincher and Molod used Foley and sound design to communicate the nervousness and discomfort of BTK-survivor Kevin Bright (Andrew Yackel) as he recounts details of the attack to detectives Tench (Holt McCallany) and Drowatzky (Jeb Kreager). Kevin is in the backseat of Drowatzky’s truck, and because of the camera angle and depth-of-field, he’s not clearly seen by the audience. His movements are implied through Foley, and those increasingly agitated movements reflect Kevin’s emotional state.
Here, Molod discusses the sound team’s work on Mindhunter, focusing on several key scenes in Season 2, Ep. 2, and their use of Foley and loop group as a storytelling tool that adds unique detail to the soundtrack.
How has your experience of working on Mindhunter Season 1 impacted your approach to Season 2? Any lessons learned on that first season that sparked ideas for this new season?
Jeremy Molod (JM): Once we got through the first season, our crew had a rhythm down. That made things a lot easier for Season 2 just in terms of our workflow and how we do it.
We didn’t take a new approach to the second season. We treated Season 1 and Season 2 as one long, huge movie. We continued exactly what we were doing before. David [Fincher] would give us his spotting notes and we’d work on it and then he would give us notes on what he liked and didn’t like. We just proceeded that way.
Since you’ve worked with David Fincher before, did he just give you general notes and let you do your thing?
JM: No. He’s very hands-on, more so than any other director I’ve worked with. He cares about every little aspect. Before we start working on it, he’ll tell us what he has in mind sound-wise, but every single day he is chiming in with more information, more detailed notes, and more ideas of things he’d like us to try. It’s a back-and-forth all the time. I send things to David almost every day for him to listen to and make notes on. It’s a very collaborative effort.
Often directors are so busy handling everything else that they don’t have time for sound collaboration. It’s good to hear he’s very involved in that…
JM: Absolutely. It’s a rare thing for a director to be this involved in sound, but that’s one of the reasons his movies are so good. He cares about every little aspect of it.
Learn how the new movement toward reanimating camera movement, stabilizing, and reframing shots in post is taking shape! Chad Peter and Tai Logsdon have been on the forefront of this change and will discuss how it all began and how it’s being done today, with lots of details and examples from Mind Hunter, Bird Man, Homecoming & Mr. Robot.
Writer / Director (DGA) / VFX Supervisor originally from Colorado – Chad Peter has worked as VFX supervisor & additional director (inserts) on the final season of “Mr. Robot”, as well as VFX Super on Amazon’s “Homecoming” season 1. Previously, Chad had served as an in-house VFX on “Mindhunter” s1 & s2, “House of Cards” s2 thru s4, “Gone Girl” and more.
Tai Logsdon grew up in the Central Valley of California, graduated from Chapman University in 2006, and has worked as in-House VFX Manager for shows such as Amazon’s “Homecoming” and USA’s “Mr.Robot” (the final season).
The cinematographer of David Fincher’s hit Netflix series, Mindhunter, Erik Messerschmidt ASC takes us behind the scenes the show.
Erik and Go Creative Show host, Ben Consoli, discuss how he created the distinct look of Mindhunter, why David Fincher shoots so many takes, mastering good camera movement, how Erik preps for shoots, and more!
What you will learn in this episode:
Importance of film school and on-set experience (02:22)
What Erik is watching during COVID-19 (12:08)
Visual approach to MINDHUNTER (15:48)
Mastering good camera movement (20:08)
Camera and lens package (22:22)
Why David Fincher shoots so many takes (27:28)
Compositing multiple takes together (42:05)
Approach to lighting (44:57)
Shot diagrams and storyboarding (54:18)
Lighting the prison scenes (01:01:59)
Exposing for dark cinematography (01:04:25)
Color theory and how it affects the audience (01:05:21)
Mike Bauman & Paul Royalty April 24, 2020 LiteGear
Welcome to LiteGear Live, our community outreach portal where we host panel discussions, educate, and discuss all things related to Set Lighting. Join us for weekly conversations with Cinematographers, Gaffers, Rigging Gaffers, Fixtures Technicians, Programmers, and many more. We’ll be sharing behind-the-scenes photographs, production stills, and clips, all while chatting in real-time with the filmmakers who made it happen.
Our second edition of LiteGear Live presents a conversation with Cinematographer Erik Messerschmidt, Chief Lighting Technician Danny Gonzalez, and Rigging Gaffer Bobby Dechellis, discussing their most recent work on the popular Netflix series Mindhunter.
Hosted by Co-Founder of LiteGear Mike Bauman and Vice President of Sales at LiteGear, Paul Royalty, they delve into a wide range of questions for each guest intended to dig deep into the style choices and challenges faced on the show. The group also shares some behind-the-scenes photographs, production stills, and clips from Mindhunter.
Watch Mindhunter exclusively on Netflix.
Thank you to Netflix for allowing the use of Mindhunter stills and clips.
“I was fortunate enough to meet David Fincher on Panic Room in 2001 when I was working as a sound editor and the relationship I developed with him and his No. 13 production company has carried through until today with Mindhunter. He’s someone I can bounce ideas off and he’s constantly challenging us. For the second season of Mindhunter he asked to design a real-time telestration solution that would enable him to communicate the thoughts and ideas he came up with during production via annotations attached to the image captured by the camera. We came up with PIX RT it immediately creates clips of the take and presents this clip to the director and certain other approved crew members via a tablet, so he or she can make annotations and notes on the image. This media, metadata and the notes are then securely synchronized with the PIX cloud to all the approved members of the production who can review them. And of course, it is completely secure and integrated with all of our other services. And now we’re working with the CODEX team on the next evolution of these tools.”
“Sometimes it takes working with the most demanding and yet most exceptionally talented people to push you to design the best products. That’s certainly the case with cinematographers like Bob Richardson and Emmanuel “Chivo” Lubezki. On Gravity we worked with Chivo and his crew along with our services company to design an efficient, color critical, ARRIRAW workflow that would support this complex, multi-camera shoot which involved “The Cage”. The Cage was a lightbox consisting of 196 2’x2′ LED panels which simulated the light coming from stars and the sun and reflected light from Earth, but could also project images of Earth, distant stars, or, images of Sandra Bullock‘s child character, as the actor was suspended within. It was ground-breaking. And funnily enough, I recall that Chivo talked to David Fincher before the shoot and he thought that it was a couple of years too early to pull it off. Projects like Gravity inspire us to push the boundaries of what is possible.”
Read the full interview (part one) on the X2X magazine app (App Store & Google Play). You’ll find interviews and Q&A’s with some of the world’s leading DITs, directors, and cinematographers. Best of all, it’s free!
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 Miranda, Jeff 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.
Some might consider high-dynamic-range (HDR) displays a technology of the future, but the reality is it’s here now and very much a contemporary delivery format. At the forefront of this delivery is Netflix, the streaming and production giant, which reports that roughly a quarter of the devices used to access its service monthly — more than 165 million — are configured for HDR. As a result, Netflix is making a concerted effort to provide HDR content and currently has more than 1,000 hours of such programming available.
One of these titles is David Fincher’s gritty, period procedural Mindhunter, which earned Christopher Probst, ASC an ASC Award nomination for its pilot in 2017. The series is photographed by Erik Messerschmidt, who notes that production incorporated HDR into the second season. “With Mindhunter, we try to be very subtle with the photography,” says Messerschmidt. “The story and themes of the show are complex and nuanced, so it’s really important that the photography never draws attention to itself. HDR helps because it enables me to be very subtle in my use of color and contrast, particularly in the toe of the exposure. Everyone likes to talk about the bright whites in HDR, but I think perhaps the added range in the shadows is more interesting and more important than added range in the highlights.
“I think cinematographers have always advocated for a better experience for the audience, whether it’s fast film stocks with tighter grain, better projection technology, or higher quality digital-capture and display technologies,” he continues. “HDR is just another step in that direction. Standard-dynamic-range video distribution can only show a narrow exposure band of the modern digital sensor’s dynamic range. The opportunity to use more of the sensor’s range when we want to is a very exciting development.”