The Fincher Analyst

In telling the story of screenwriter Herman J. Mankiewicz, Mank director David Fincher worked from a script by his late father, Jack Fincher.

Maureen Lee Lenker
November 19, 2020
Entertainment Weekly

The project had been in the family for decades: Jack conceived of the script in the late 1980s, and his son has been emotionally tied to the material since his father first showed him Citizen Kane at age 12. “It was only over time and with many, many conversations that we agreed there was something in this idea of a man finding his voice,” Fincher, 58, tells EW. “His voice was his entrée into Hollywood, and his voice was the thing that he was convinced didn’t really matter. How do we dramatize for the audience this dawning awareness of somebody who is self-immolating? That seemed like a ripe area of the garden to plant in.”

Fincher worked on the project with his father on and off for many years before his death in 2003, as can be seen in this exclusive annotated story sequence outline that arose from their countless conversations. “The pages are pre the draft,” the director says. “This is the outline from 1990 and has all of Jack’s scribblings on it as we were talking on the phone once a week and saying, ‘Well, what about if this happened?’ You can see the story was very different. It was a more complicated thing.”

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Gary Oldman, Amanda Seyfried, Lily Collins, and Charles Dance break down their Old Hollywood epic Mank.

Devan Coggan
November 18, 2020
Entertainment Weekly

There’s a moment in Mank, David Fincher’s incisive portrait of Herman J. Mankiewicz, where the irascible Hollywood genius is weighing the task before him. Already an accomplished screenwriter, Mankiewicz (played by Gary Oldman) has been tapped to script Orson Welles’ first film, an ambitious screenplay about newspaper titan William Randolph Hearst — the basis for Citizen Kane, now widely considered the greatest film of all time. “You cannot capture a man’s entire life in two hours,” Mankiewicz muses. “All you can hope is to leave the impression of one.”

It’s an apt commentary on Hearst and Kane, of course — but it’s also a mission statement for Mank itself: How do you tell the story of one of the greatest storytellers in Hollywood history?

Fincher’s sweeping black-and-white epic attempts just that, starting with its stylistic homage to the era. The long-gestating script, by Fincher’s late father, Jack Fincher (who worked as a journalist and died in 2003), follows the acerbic and alcoholic screenwriter throughout his career. And it was up to Oldman to breathe life into Mankiewicz’s story. “There is not a lot to work with in bringing Herman to life,” Oldman, 62, says. “However, we knew two things: We knew what he did, and we knew what others thought of him. Here was a man regarded as the smartest, the wittiest, and the best writer by the most notable writers of his day.”

Mank follows its protagonist as he struggles to complete what would become his Oscar-winning magnum opus, assisted by stenographer Rita Alexander (Lily Collins). As he writes, he reflects on his career throughout the 1930s, with flashbacks detailing his meetings with Hearst himself (Charles Dance) and Hearst’s longtime mistress Marion Davies (Amanda Seyfried).

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