Nev Pierce, one of the finest British film journalists, with a career of 20 years, and now a thriving Filmmaker, has revamped his website, NevPierce.com.
Aaron Sorkin is lauded as one of the best screenwriters of our time whose films have generated more than $350 million dollar at the box office. A seasoned writer of twenty five years penning classics such as The West Wing, and A Few Good Men, it comes as no surprise that Sorkin would get the urge to direct. At one point he was attached to direct The Social Network until David Fincher came along, and Sorkin ended up taking home as Oscar for Best Adapted Screenplay. Seven years later he was sent Molly Bloom’s autobiography, Molly’s Game, and became fascinated with the former high stakes poker queen after meeting with her.
The film adaptation chronicles Molly Bloom’s journey from Olympic skier to running a high stakes poker game in both Los Angeles, and New York. Apparently, A-List celebrities such as Leonardo DiCaprio, Ben Affleck, and Tobey Maguire were frequent players. However, things get ugly fast as soon as the Russian mob gets involved.
Producers Mark Gordon and Amy Pascal ran down a list of possible directors with Sorkin, but offered him another chance to take the director’s chair. He took it. With a tight turnaround from casting to wrapping, Aaron Sorkin’s feature film debuts on Christmas Day. Screen Rant sat down with the first time director and touched base on which director he has learned from the most, and about his quickfire dialogue.
The Netflix original series Mindhunter, from director David Fincher, has been delivered in 4K and high dynamic range (HDR).
Co-produced by Peter Mavromates and graded by colorist Eric Weidt, it is set in the late 1970s, and sees two FBI agents expand criminal science by delving into the psychology of murder. Grading took place on the Baselight X color grading system from FilmLight, alongside editorial and VFX, in Fincher’s Hollywood finishing facility.
In this exclusive interview, Peter Mavromates and Eric Weidt tell us more about how they created the desired look for the series, their collaboration with the director, editorial and VFX, and much more…
One unused attempt at a running chestburster in Alien 3 included this adorable whippit. It didn’t quite work on camera the way that we hoped, though and the effect was scraped.
A video essay analysing what makes Mindhunter so creepy.
Mindhunter is a Netflix original crime drama series executive produced by David Fincher set in the late 1970s in which two FBI agents expand criminal science by delving into the psychology of murder and getting uneasily close to all-too-real monsters.
Features portrayals of real-life serial killers such as Ed Kemper, Richard Speck, Monte Ralph Rissel and Jerry Brudos.
In the first scene of the Netflix crime show Mindhunter, the camera trails a car through the run-down streets of small-town Braddock, Pennsylvania. We don’t know that it’s 1977, or that someone will be offed in the next five minutes—but the setting provides clues. It’s a rainy night lit only by moody street lamps and the beams of an AMC Matador police car. The nearby buildings ooze seediness.
The scene is lonely, unglamorous, and wildly intriguing. It’s also resolutely American—and whisks viewers swiftly back to the 1970s.
It’s perhaps unsurprising, then, that the show’s creators were inspired by the pioneering U.S. photographers of that decade—namely, the great Stephen Shore, whose career spent capturing backroads, motel rooms, and lunch counters across America is currently being celebrated in a retrospective at the Museum of Modern Art. “Since Mindhunter is a period piece, photography from the era was hugely helpful to all of us,” the show’s cinematographer, Erik Messerschmidt, tells me from Los Angeles.
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The Fincher Analyst 