David Fincher (Director & Executive Producer), Laray Mayfield (Casting Director), Jennifer Starzyk (Costume Designer), Erik Messerschmidt (Director of Photography), Steve Arnold (Production Designer), Cameron Britton, Anna Torv, Holt McCallany, Jonathan Groff.
The Dust Brothers: John King (left) and Mike Simpson. By Mr. Bonzai / SOS (2005)
The first rule of Fight Club is: You do not talk about Fight Club. The second rule of Fight Club is: YOU DO NOT TALK ABOUT FIGHT CLUB! – Tyler Durden
We are going to talk about Fight Club _ the score, that is. Since the film was first released in theaters almost 20 years ago, it has managed to stay afloat in the pop culture atmosphere thanks to a strong cult following. The subject matter and performances were and still are a big part of the movie’s appeal, but the film’s standout score, created by legendary writer-producer duo The Dust Brothers, has a lot to do with it, too. This Saturday night, for the first time ever, both Brothers (who aren’t actually related) will present the score live at the Wiltern.
Sampling, Remixing & The Boat Studio
SOS (Sound on Sound)
May 5, 2018
A ‘joyously nerdy’ video in which I attempt to assemble all the components to recreate the reel-to-reel title sequence from the Netflix Show Mindhunter.
The Tapeheads forums: “Looking for the sony tc-510”
The RPF forums: “The Tape Recorder from Netflix MINDHUNTER” (“David wants perfect”)
New Mindhunter style metal 5″ reels can be bought from Righteous Reels.
Special thanks to Jason Moore (on Patreon) for the tip regarding The Professionals episode.
The music used in my recreation of the title sequence is ‘Spirit Of the Dead‘ – by Aakash Ghandi and is from the youtube audio library (Download link).
NOTE: The TDK tape leader was created specifically for the sequence with CGI to hide the original Sony one:
Ollin VFX 2018 Demo reel
Ollin VFX (vimeo)
December 12, 2017
Thanks to Andrew Moore
In 2014, Trent Reznor and Atticus Ross scored Gone Girl, the duo’s third collaboration with director David Fincher (following 2010’s The Social Network and 2011’s The Girl With the Dragon Tattoo).
Gone Girl’s music consists of dark ambient pieces with layered synths, guitars, and electronic noises, and was inspired by the background music Fincher heard at a chiropractor’s office that was “inauthentically trying to make him feel alright,” according to Reznor.
To this end, the soundtrack juxtaposes lush new-age synths and percussion with distortion, noise, and stuttery beats. I’ll explore the synth behind many of the film’s sounds, as well as how to create these tones using software instruments in your own DAW.
May 3, 2018
Over the last few years, 8K has become accepted as an acquisition format for 2K & 4K delivery. Michael Cioni, of Panavision & Light Iron, believes that it is time to start pushing 8K as a distribution format. Listen as he challenges common misconceptions about the validity of 8K exhibition.
Cioni uses Moore’s Law to explore the idea that the resolution of our capture and delivery of video will continue to grow far into the future. In the early years of Light Iron, Michael and his team faced many challenges in moving from a 2K to 4K digital intermediate for their customers. But they overcame those challenges and are now working toward supporting 8K distribution.
La-La Land Records, Twentieth Century Fox, Fox Music and Universal Music Special Markets present the expanded and remastered re-issue of the original motion picture score to the 1992 feature film ALIEN 3, starring Sigourney Weaver, Charles S. Dutton, and Charles Dance, and directed by David Fincher.
Renowned composer Elliot Goldenthal (Batman Forever, Pet Semetary, Heat) composes an astounding musical tapestry of suspenseful atmospherics and pulse-pounding action – featuring some of the most effective cues ever composed for the legendary ALIEN franchise. Goldenthal’s artistic triumphs here would propel him into a series of acclaimed scores to important genre films that continues today.
Expanded by more than 40 minutes beyond the original 1992 album assembly (which appears here remastered on Disc 2), the presentation showcases the film score in all its glory, along with bonus alternates. Produced by Nick Redman and Michael Matessino, associate produced by Neil S. Bulk, and remastered and mixed by Matessino from original digital masters, this special 2-CD set is limited to 3500 units and features exclusive in-depth liner notes by writer Jeff Bond and sharp art direction by Mark Banning. Starts Shipping May 3.
Goldenthal himself once called the score to be his “Symphony No. 1”. Whilst creating the score in Los Angeles, the Los Angeles riots of 1992 were going on and he has noted that the wild and tempestuous atmosphere in the city was an influence on the music’s dark and visceral sound.
Rodrigo Perez has revealed on The Playlist the new two directors that will accompany David Fincher in the directorial labors for the eight episodes of the second season of MINDHUNTER (and confirmed its release in early 2019).
Fincher will direct the two-hour long season premiere and finale:
Andrew Dominik (“The Assassination of Jesse James,” “Killing Me Softly”) will helm another two, and filmmaker Carl Franklin (“Devil In A Blue Dress,” “One False Move”), who’s become something of a journeyman director on TV in recent years (“House Of Cards,” “The Leftovers,” “13 Reasons Why,” “Vinyl” and more), will direct the rest and bulk of the show.
Fincher is currently in Pittsburgh doing prep on season two which starts at the end of the month. It should keep him busy for most of the year and regardless, I’m told Netflix intends to hold it for an early 2019 release. The “Mindhunter” filmmaker directed all the reshoots for every episode of season one and he’ll be doing the same for season two; they’ll be baking in time for that as well.
Dominik was apparently a big fan of Fincher, and their connection is through Brad Pitt who starred in the aforementioned ‘Jesse James’ and has obviously led many a Fincher movie including “Seven,” and “Fight Club,” “The Curious Case of Benjamin Button,” and possibly the “World War Z” sequel if they can ever figure out the script.
This means the “Worl War Z” sequel shooting has been, once again, postponed: