Category: 2023. The Killer

“The Killer” Costume Designs by Cate Adams: The Expert

Cate Adams, Costume Designer
Edited by Leonard Zelig
Behind the Scenes photos by Miles Crist
March 5, 2024

Illustrations by Richard Merritt
(Click to view in full resolution)

During my first talks with David Fincher to discuss the script, one of the first notes he gave me was that maybe “The Expert” should be in an Ann Taylor suit. Ann Taylor is a small US chain of clothing stores for fashion-forward career women. Put together, but not flashy. Very understated despite her wealth. That was my first impression.

When we got closer to shooting the scenes with Tilda Swinton in Chicago, there was correspondence between her and David about shaping the character, what she would wear, what her house looks like, that he shared with me and Gigi Williams, Head of Makeup.

She lives in a beautiful, mid-century modern home, and she has money from her occupation, but she is very under the radar. She indulges herself with smaller luxuries like fine-dining restaurants, where she keeps her own bottle of whisky, and Swiss ultra-luxury vintage watches like an Audemars Piguet. A masseuse could be seen leaving her home with a table.

David suggested a simple but beautiful dress with a flow, with a sway. It had to be warm because it was going to be really cold since we were shooting at night in Chicago in February. So, maybe wool. And nice shoes, but not so tall as to risk hurting anyone when she topples. He wanted something that was in a lighter tone, similar to “The Killer” in Paris. It’s funny how there are these hidden Easter eggs, everything connected. And all the light tones couldn’t have a touch of pink in them. If you look at some khakis on the color wheel they will lead to pink. And he doesn’t like pink. I also had to avoid greens. And patterns. So, it had to be muted tones like off-white, ecru, eggshell, cement… She shouldn’t be menacing when you first see her. You want a bit of compassion or empathy for her.

I knew I wasn’t going to have a lot of time with Tilda. So, we just started doing a lot of research. After scouring the internet for dresses and looking for reference photos of her films and press appearances, we started to think that we should make our own dress.

Read the full exclusive article here, on The Fincher Analyst

“The Killer” Costume Designs by Cate Adams: The Dominatrix

Cate Adams, Costume Designer
Edited by Leonard Zelig
March 5, 2024

Illustrations by Richard Merritt
(Click to view in full resolution)

“The Dominatrix” is played by the gorgeous and fearless Monique Ganderton, a top Hollywood Stunt Performer, Stunt Coordinator, Actress, and Director.

We started to research for the looks of The Dominatrix in Los Angeles, around July/August of 2021. From the script and David’s notes, I knew we wanted her to be elegant with a hint of sexy the first time we see her, but not revealing as we didn’t want to give away what was to come. The inspiration for this look came from images of the classic vintage style of vedettes and fashion icons from France, such as Carine Roitfeld, formerly of Vogue Paris, Victoria Beckham, and vedette, burlesque dancer, and model Dita Von Teese in public:

Read the full exclusive article here, on The Fincher Analyst

Frame & Reference Podcast: “Ferrari” and “The Killer” DP Erik Messerschmidt, ASC

Kenny McMillan
February 22, 2024
Frame & Reference

Frame & Reference is a conversation between Cinematographers hosted by Kenny McMillan. 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.

Our third ever returning guest and a crowd favorite, Erik Messerschmidt, ASC is here! In this episode we talk about his work on Michael Mann‘s “Ferrari” as well as David Fincher‘s “The Killer“. Enjoy!

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Not a Long Tail, Not by a Long Shot, for “The Killer”

Trevor Hogg
February 20, 2024
VFX Voice (VES)

Producer and long-time David Fincher collaborator Peter Mavromates extend their partnership in The Killer where an assassin seeks revenge after a botched assignment. The Netflix feature consists of 900 digitally-augmented shots that range from shortening the tail of a dog to CG airplanes, tasked to a vendor list that includes Ollin VFX, Artemple-Hollywood, Savage VFX, and Wylie Co. as well as an in-house team. “Visual Effects Compositor Christopher Doulgeris and I will go into the color bay with [Colorist] Eric Weidt and talk about some issue that we had,” Mavromates explains. “Even sometimes if it’s an outside vendor, we’ll focus to help problem-solve. It’s this wonderful and fluid atmosphere, and it works for David Fincher because he’s always got ideas flowing. He doesn’t want to be on a clock at a facility where you’ve got from 2 p.m. to 5 p.m. and then it’s overtime. There’s none of that. David will walk the halls and stop in on people to check on stuff.”

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Pieces of Flare: On David Fincher’s The Killer

With his latest thriller, Fincher further develops his practice of digitally molding the real world in his own image.

Vadim Rizov
February 8, 2024
downtime

In chapter one of The Killer (2023), Michael Fassbender sits in a Paris WeWork office, rented as the base of operations for his nameless hitman’s latest job. While waiting for the target, pigeons fly past, their wings loudly breaking his forced concentration. The odds they entered the frame at a serendipitous moment are low, and there’s no reason to pay for a bird wrangler given the advanced state of CG. Once you see them, they’re impossible to unsee as they follow Fassbender’s character from city to city, segment to segment. It’s clear that they must be a digitally created motif, a fresh reminder of David Fincher’s unwillingness to let the real world preclude his very precise vision.

Initial responses to The Killer included many variants on “minor Fincher,” which raises an obvious question: what’s the perceptible gap between a major and minor David Fincher film? Surely it’s not a question of craft; second for second, Fincher’s films have to be in the top 0.5% of technically-worked-over products. Control, famously, is his thing, to the extent that even The Killer’s seemingly handheld shots were, in fact, static shots made shaky to a exact degree in post. “Minor,” then, refers to the ostensible worthiness of the material: why all this effort to so little end, i.e., the umpteenth variant on “hitman cleans up after a job gone wrong”? When you’ve begun your directing career coming up with compelling images for lower-tier Rick Springfield singles everything after is, presumably, a breeze to elevate. Still, that doesn’t answer the “why bother” question.

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The Killer: Storytelling Through Sound

February 2, 2024
Failure On Command

David Fincher’s The Killer is a masterclass in filmmaking, particularly through its sound design, which does much to distinguish itself from modern mainstream movies. In this video essay, I discuss how The Killer’s sound design aids in its storytelling, allowing it to communicate information in a unique, gripping manner. I’ll also briefly touch on what makes this movie so competent and effective on a technical level.

Creative Industry Insight Podcast: “The Killer” with VFX Editor Casey Curtiss

Bobby Miller
January 11, 2024
Creative Industry Insight

In this episode, we welcome VFX Editor Casey Curtiss who joins us to talk about his work on The Killer. Casey walks us through what the role of a VFX editor entails and how those skills were used on The Killer.

Listen to the podcast:

Apple Podcasts
Spotify

Executive Produced by Daniel Miller and Monika Ditton. Artwork Designed by Piotr Motyka. Music by ELPHNT.

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Ollin VFX: The Killer VFX Breakdown

January 19, 2024
Ollin VFX

Visual Effects By: Ollin VFX

Executive Producer: Alejandro Diego
Visual Effects Supervisor: Yabin Morales
Visual Effects Executive Producer: Álvaro González Kuhn
Visual Effects Producer: Denisse Garcés
Visual Effects Sequence Supervisor: Isaac Camacho
Visual Effects Project Manager: Edgar Ortiz
Visual Effects Production Coordinators: Andrea Manzano, Luis González, Ursula Salas
CG Lead: Oscar Paz
CG Artists: Aislinn Alcaraz, Tlacaellael Cedillo, Alberto Gaona, Jerónimo Martínez
Lead Artist: Argenis Dionisio
Associate Visual Effects Supervisor: Xany Méndez
Compositors: Ramón Monsanto, Francisco Contreras, Eduardo Grandizo, Gabriel Zamora, Alberto Carmona, Alejandro Saavedra, Ariel Picone, Elena Amador, Martin Villareal, Dereek Alcubilla, Edwin Leger, Jonathan Silverio, Paula Andrada, Nikita Guliaev
Matte Painting Artist: Wellinthon Simeón
Visual Effects Editors: Daniela Ramírez, David Malvaez, Héctor Ramírez
Head of IT: Alejandro Gutierrez
Pipeline Developer: Eric Campos
Systems Administrator: Manuel Macedo
Systems Assistant: Luis Urrutia
Accounting Manager: Claudia Domínguez
Talent Acquisition Manager: Alicia Álvarez

Composers for “The Zone of Interest,” “Poor Things” and “The Killer” Detail Crafting Strange But Memorable Scores

Jon Burlingame
January 13, 2024
Variety

Sometimes directors don’t want you humming the music as you leave their film.

More than ever, filmmakers are seeking fresh musical approaches, especially when the subject matter is dark or fantastic. Three late-2023 releases demonstrate this with music that catches the ear in unusual ways. […]

For “The Killer,” their fifth film with director David Fincher, double Oscar winners Trent Reznor and Atticus Ross (“The Social Network,” “Soul”) faced a new and unexpected challenge: Fincher informed them that he wanted to see “how far we can go in the edit with no music at all,” Reznor recalls.

So the composing partners from Nine Inch Nails were on standby for months until the call came to supply music — but in only high and low frequencies, leaving the middle portion of the audio spectrum for the ongoing narration of the assassin played by Michael Fassbender.

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Wylie Co.: The Killer VFX Breakdowns

January 9, 2024
Wylie Co.

The Killer digi-double visual effects sequence & breakdown. This is our first of many breakdown reels we’re going to post on X for our VFX work on The Killer.

For this particular sequence in The Killer, Eric Barba, Peter Mavromates and David Fincher approached us with an extremely difficult task, to create close-up, photoreal digi-double shots of Michael Fassbender riding a scooter.

The quality of the work had to seamlessly cut back to back between live-action shots of The Killer on set. Extra complexity was added because the original plan to shoot these shots on a virtual stage didn’t live up to what Fincher had envisioned.

Because of this, there were no HDRI’s or usable array footage and sparse reference photos. The lighting and lookdev had to be dialed in by eye. We began with the Killer asset, adding fine facial detail and cloth simulations.

We then used photogrammetry to assist with cascading streetlight timing and travel speed. The final result was high res meticulously crafted nearly full CG shots cut into the live-action sequence with the ultimate goal of nobody noticing.

Advancements in software, hardware, and artist skill enabled us to create The Killer digi-double with a team of 7 artists using Lenovo workstations, AMD processors, NVidia GPUs, Nuke, Maya, Houdini & Redshift software. And months of time!

All of our work in David Fincher’s The Killer involved digi-doubles. Here are 3 breakdowns of digi-double gore that we provided for the film. Full CG shots, cut between live-action shots. They include particle fx, fluid dynamics, various hair, cloth, and bone simulations, and good old-fashioned animation by hand.

Visual Effects By: Wylie Co. Culver City, California

Visual Effects Supervisor: Jake Maymudes
Visual Effects Executive Producer: Kris Drenzek
Digital Effects Supervisor: Josh Hatton
Visual Effects Animation Supervisor: TJ Burke
Lighting & FX Artist: Liam Jurkowich
Animation Lead: Sashdy Arvelo
Animators: Li Li, Taylor Cooke
Compositor: Nick Kaye
Lookdev Artists: Bora Jurisic, Richard Bridge
3D Tracking Artists: Tommy Ibanez, Nallely Gomez
Pipeline TD: Roberto Cadena Vega
Coordinator: Sofia Beroud