Mank (Original Musical Score) Deluxe Edition 3xLP

nin.com
Release date: February 2, 2023

The critically acclaimed score for David Fincher‘s Mank from Academy Award™ winners Trent Reznor & Atticus Ross. Featuring 90 minutes of new compositions in the style of orchestral, big band, and foxtrot music of the 1940s.

3xLP pressed on 180-gram vinyl in a deluxe hinged box set. Foil-stamped canvas spine.

Tracklist

Side A
1. Welcome to Victorville
2. Trapped!
3. All This Time
4. Enter Menace
5. First Dictation
6. A Fool’s Paradise
7. Once More unto The Breach
8. About Something
9. Glendale Station
10. What’s at Stake?
11. Every Thing You Do

Side B
12. Cowboys and Indians
13. Presumed Lost
14. (If Only You Could) Save Me
15. Means of Escape
16. All This Time (A White Parasol)
17. M.G.M.
18. A Respectable Bribe
19. I, Governor of California
20. A Leaden Silence
21. San Simeon Waltz
22. Time Running Out

Side C
23. Mank-Heim
24. Lend Me A Buck?
25. You Wanted to See Me?
26. In Your Arms Again
27. The Dark Night of The Soul
28. Clouds Gather
29. Way Back When
30. An Idea Takes Hold
31. Marion’s Exit
32. Absolution

Side D
33. Scenes from Election Night
34. Election Night-Mare
35. All This Time (Dance Interrupted)
36. All This Time (Victorious)
37. I’m Eve
38. A Rare Bird
39. Look at What We Did
40. Menace Returns
41. Forgive Me
42. Final Regards
43. Where Else Would I Be?

Side E

44. The Organ Grinder
45. All This Time (Not No More)
46. Costume Party
47. Dulcinea
48. Shoot-Out at The Ok Corral
49. The Organ Grinder’s Monkey
50. An Act of Purging Violence
51. All This Time (Happily Ever After)
52. A Rare Bird (Reprise)

Order the Mank (Original Musical Score) Deluxe Edition 3xLP

Mank marked the fourth collaboration between Fincher, Reznor & Ross.

They will reunite again for The Killer, out November 10 on Netflix.

Microsalón AEC: Erik Messerschmidt, ASC

Fotografía de Suwon Lee. Gentileza de AEC.

José Val Bal, AEC
26 noviembre, 2022
Microsalón AEC

El director de fotografía Erik Messerschmidt, ASC, habla sobre su trabajo en Devotion (J. D. Dillard, 2022), Mank (2020), y la serie de TV Mindhunter (2017, 2019).

Entrevista en inglés con interpretación simultanea al español.

Director of Photography Erik Messerschmidt, ASC, talks about his work on Devotion (J. D. Dillard, 2022), Mank (2020), and the TV series Mindhunter (2017, 2019).

Interview in English with simultaneous interpretation to Spanish.

Entrevista a Erik Messerschmidt ASC

Julio Gómez
Diciembre 30, 2022
Camera & Light

Durante el MicroSalón Madrid 2022 tuvimos la oportunidad de charlar con el invitado especial de la AEC, el director de fotografía Erik Messerschmidt ASC.

Os ofrecemos la conversación que mantuvo con Julio Gómez (al que hemos cortado porque no le pusimos micro) sobre sus trabajos con David Fincher (“Mank“, “Mindhunter“) y también trabajaos recientes en colaboración con Dana Gonzáles, como “Fargo” o “Legión“.

Entrevista filmada y montada por Juan Esparza Cevallos para Camera & Light.

Frame & Reference Podcast: “Devotion” DP Erik Messerschmidt, ASC

Kenny McMillan (Twitter, Instagram)
December 8, 2022
ProVideo Coalition, Frame & Reference (Twitter, Instagram)

Frame & Reference is a conversation between Cinematographers hosted by Kenny McMillan of OWL BOT. Each episode dives into the respective DP’s current and past work, as well as what influences and inspires them. These discussions are an entertaining and informative look into the world of making films through the lens of the people who shoot them.

In this episode, Kenny talks with cinematographer Erik Messerschmidt, ASC, about the new film “Devotion.” Erik has had a very interesting career including work on series such as “Mindhunter”, “Legion”, “Fargo” and as the DP of “Mank” for which he won an Oscar.

Frame & Reference is supported by:

  • Filmtools, the West Coast’s leading supplier of film equipment. From cameras and lights to grip and expendables, Filmtools has you covered for all your film gear needs.
  • ProVideo Coalition, a top news and reviews site focusing on all things production and post coming out of the industry.

Listen to the podcast:

Apple Podcasts
Google Podcasts
Spotify
YouTube

Erik Messerschmidt: “El principal enemigo de un director de fotografía es el tiempo”

Fotografía de Suwon Lee. Gentileza de AEC.

Arnau Martín Camarasa
30 noviembre, 2022
Industrias del Cine

Entrevistamos a Erik Messerschmidt, director de fotografía estadounidense, en el marco del evento MicroSalón AEC, con sede en Madrid. Messerschmidt es habitual colaborador del cineasta David Fincher y obtuvo un premio Óscar a la mejor fotografía por Mank.

Me gustaría preguntarte si consideras que el cine proviene de la fotografía, si te parece que el cine proporciona movimiento a las fotografías o si proviene de una transformación técnica más compleja.

Es una gran pregunta. Creo que el cine es storytelling extendido en el tiempo. Es esculpir en el tiempo, como decía Tarkovski. La fotografía tiene que ver con la historia de un momento singular. El cine manipula y hace progresar el tiempo. Tiene más en común con la literatura y los sueños que con la fotografía.

Lee la entrevista completa / Read the full interview in Spanish

Indie Film Hustle: Erik Messerschmidt, ASC

Lighting for David Fincher & Michael Mann

Alex Ferrari
November 29, 2022
Indie Film Hustle

Award-winning director of photography Erik Messerschmidt, ASC has a natural eye for arresting and spellbinding images, thriving in a role that allows him to combine his love of art, craft and science. Recently, he lensed Devotion for director J.D. Dillard, based on the real-life story of a Black naval officer who befriends a white naval officer during the Korean War, with both becoming heroes for their selfless acts of bravery.

He also finished shooting Michael Mann’s biographical film Ferrari, starring Adam Driver, Shailene Woodley, and Penélope Cruz, and David Fincher’s The Killer, starring Michael Fassbender and Tilda Swinton.

Previously, Messerschmidt shot Fincher’s passion project Mank, chronicling the screenwriter Herman Mankiewicz’s turbulent journey to write Citizen Kane alongside Orson Welles. Messerschmidt’s meticulous and striking black and white recreation of the period’s aesthetic earned him the Academy Award for Best Cinematography, an ASC Award for Outstanding Cinematography in a Feature Film, a BSC Award for Best Cinematography in a Theatrical Feature Release, a BAFTA Award nomination for Best Cinematography, as well as Best Cinematography award nominations from the San Francisco Bay Area Film Critics Circle, the Broadcast Film Critics Association Critics Choice, and the Alliance of Women Film Journalists.

In addition, Messerschmidt co-lensed several episodes of the HBO Max original series Raised by Wolves from producer Ridley Scott. He also shot the first and second seasons of Fincher’s hit thriller series Mindhunter for Netflix, earning a 2020 Emmy Award nomination for Outstanding Cinematography for a Single-Camera Series (one-hour) for episode 206.

With a background in the fine arts world, Messerschmidt honed his skills while working with such renowned cinematographers such as Dariusz Wolski, ASC, Jeff Cronenweth, ASC, Phedon Papamichael, ASC, Claudio Miranda, ASC, and Greig Fraser, ASC. Messerschmidt now lives in Los Angeles and is a member of IATSE Local 600. He is represented by DDA.

Listen to the podcast and read the transcript

Play, Watch, Listen: Troy Baker talks Love, Death + Robots’ episode Bad Travelling

Alanah Pearce, Troy Baker, Mike Bithell, and Austin Wintory
June 10, 2022
Play, Watch, Listen (Alanah Pearce)

Join Alanah Pearce (game writer), Troy Baker (voice actor), Mike Bithell (game director), and Austin Wintory (game composer) as they talk about all the games, movies, TV and ‘whatever else’ that took their interest that week, from four unique perspectives in the games industry.

Play, Watch, Listen is also available on Apple Podcasts, Google Podcasts, Stitcher, Spotify, and more. Follow it on Twitter and Instagram.

Alanah Pearce: Twitter, YouTube, Instagram, Twitch, Facebook, Patreon
Troy Baker: Twitter, YouTube
Mike Bithell: Twitter, Steam
Austin Wintory: Twitter

The David Fincher Process: 1st Assistant Editor’s POV

Sven Pape, ACE
June 11, 2022
This Guy Edits

The editing and post-production of David Fincher‘s Mank.

Netflix’s Mank was leading 2021 Oscars nominations with 10 nominations, including Best Picture and Best Director. First assistant editor Ben Insler opens up the editing timeline of the film and shares insights on the editing and workflow process.

The first 1000 people to use the link will get a one-month free trial of Skillshare Premium Membership.

Grab my Secret Editing Hacks for FREE.

This Guy Edits on Patreon, YouTube, Instagram, Twitter, Facebook.

Pixel Perfection

Jarred Land / RED Digital Cinema

Adrian Pennington
April 2022
British Cinematographer

Jarred Land has spent his career in close collaboration and connection with filmmakers, supporting the execution of their vision with powerful and ground-breaking tools.

Jarred Land runs RED Digital Cinema, the company whose 4K camera went from scepticism to admiration on a run of prestige movies like David Fincher’s Oscar-winning Mank and series like The Queen’s Gambit. Since 2013, Land has led a team focused on precedent-setting technology for filmmakers.

Land didn’t found RED but joined Jim Jannard before the launch of the first camera and during the hardcore, technology banging sleepless nights part of the story, where a small group failed, learned, succeeded. From the first conversation Land had with Jannard and still today, the focus is on providing a more complete tool for filmmakers.

Born in Edmonton, Canada, Land’s father ran gas stations and shopping malls, imbuing in him an entrepreneurial spirit. The teenage Land’s passion was mountain biking which he segued into his own bike courier company in Vancouver.

A chance encounter with a client inspired him to take up videography using the Panasonic tape camcorder DVX100. “I couldn’t go to film school because I was running my company and biking 100km a day, so I set up a bulletin board for help,” he says.

Read the full profile

Soundstage Access: Gwen Yates Whittle, Supervising Sound Editor

Brando Benetton
June 6, 2022
Soundstage Access

For this masterclass on the Art of Sound in film and TV, we welcome on the show Gwen Yates Whittle, a 2-time Oscar-nominated sound professional whose credits include this summer’s Jurassic World: Dominion, Saving Private Ryan, Top Gun: Maverick and the upcoming Avatar: The Way of the Water.

In today’s conversation, the Skywalker Sound member and I break down some of Hollywood’s biggest sound moments. We discuss Gwen’s beginning in the industry and why the prospect of sound editing intrigued her in ways that sound mixing never did; her relationship with detail-oriented directors like Steven Spielberg, James Cameron, and David Fincher (Fight Club, Panic Room, Zodiac, Benjamin Button, Gone Girl); the process of layering animal sounds to create the dinosaur voices in the Jurassic World franchise—as well as how the pandemic suddenly impacted Gwen’s work. All of this… and much more!

Gwen’s newest movies Jurassic World: Dominion and Top Gun: Maverick are now in theaters across the world, with Avatar: The Way of the Water opening in December 2022.

Listen to the podcast on:

Apple Podcasts
Spotify

Soundcloud
Google Podcasts
Stitcher

Soundstage Access on Facebook, Twitter, and Instagram.

Conversations with Sound Artists: Dialogue Editing and ADR with Gwen Whittle

Glenn Kiser, Director of the Dolby Institute
September 21, 2015
SoundWorks Collection / The Dolby Institute

Editing dialog and working with the original recordings from the set is one of the most under-appreciated arts in cinema sound. In this episode of “Conversations with Sound Artists,” two-time Academy Award nominee Gwen Yates Whittle talks with the Dolby Institute’s Glenn Kiser about why George Lucas thinks dialog editing is one of the most important parts of the process, why she loves working on low-budget independent films (“They talk more,”), and why David Fincher and Meryl Streep love doing ADR.