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.
Chapters: 00:00 Intro — How David Fincher became a Filmmaker 02:01 Early Career & Return of the Jedi 03:18 Shot Composition and Blocking 06:19 “Relentless” Number of Takes 11:02 Directing with Precision 13:43 Color Theory & Creating the Look 15:48 Create a Feeling (Production Design & Music) 19:35 Final Takeaways
David Fincher is a director’s director. His reputation for having complete control over his work is well-known but many directors have had similar power. So, what makes his approach to film directing so captivating? In this David Fincher video essay, we’ll let the man speak for himself. Through a collection of interviews from throughout his career, Fincher guides us through some of the strongest characteristics of his directing style.
To date, over the past four decades, David Fincher has directed a plethora of music videos, commercials, and 11 feature films. Along the way, he has refined his directing style which can be summed up in two words: precise and purposeful. When watching any David Fincher movies, you would be hard-pressed to find an out-of-place camera movement, or a lazy frame composition. One lesson we learned from Fincher is how he balanced and imbalanced the frame during Nick and Amy’s first meeting in Gone Girl to show the “push and pull” of their flirting.
Another well-known staple of the David Fincher directing style is his predilection for shooting multiple takes. He famously shot 99 takes of the opening scene in The Social Network, for example. But there’s a method to his madness — he wants the actors to move “beyond muscle memory” especially in their domestic environments. In Fincher’s logic, when the actor sits on their couch, they need to have sat in it a hundred times to make it look like they’ve sat in it a hundred times.
Fincher also explains how he creates mood and tone with lighting, color, and music. With a darker frame, desaturated color, and the brooding tones of Atticus Ross and Trent Reznor, there certainly is a distinct experience watching David Fincher films. While all of this sounds extreme, the proof that he’s doing something right is visible on-screen.
♬ Songs used:
“Father / Son” — Makeup and Vanity Set “Subdivide” — Stanley Gurvich “Switchback” — Nu Alkemi$t “Battle in the Forest” — Charles Gerhardt – National Philharmonic Orchestra “Chasing Time” – David A. Molina “Sugar Storm” – Trent Reznor & Atticus Ross “Soul Sacrifice” – Santana “Graysmith Obsessed” – David Shire “Intriguing Possibilities” – Trent Reznor & Atticus Ross “Wendy Suite” – Jason Hill “Under the Midnight Sun” — Trent Reznor & Atticus Ross “14 – Ghosts II” – Nine Inch Nails “Corporate World” – The Dust Brothers “Appearances” – Trent Reznor & Atticus Ross “With Suspicion” – Trent Reznor & Atticus Ross “What Have We Done to Each Other” – Trent Reznor & Atticus Ross “Cowboys and Indians” – Trent Reznor & Atticus Ross “San Simeon Waltz” – Trent Reznor & Atticus Ross “Fool” – Ryan Taubert “Where Is My Mind” – The Pixies
We are so psyched to welcome transformational actor Damon Herriman to the show! Mr. In Between fans will know him as Freddy the Strip Club owner, but there rest of the world knows him for tons of other roles including playing Charles Manson (twice) in Mindhunter and Once Upon A Time in Hollywood, Dewey from Justified, Kim from Secret City and so many others. Damon talks about working with Scott Ryan and Nash Edgerton, about his background growing up in the business as a child actor and so much more!
The Santa Barbara International Film Festival Outstanding Directors of the Year Award is given to directors not afraid to push the envelope in the cinematic world, with an expertise that is both gracious and bold.
A disillusioned screenwriter in old Hollywood gets a shot at redemption in Director David Fincher’s biographical comedy-drama, Mank.
Fincher’s film takes place as film 24-year-old wunderkind Orson Welles hires scathing social critic and alcoholic screenwriter Herman J. Mankiewicz to write the screenplay for his masterpiece, Citizen Kane.
On February 6, Fincher discussed the making of Mank in a DGA Virtual Q&A moderated by Director Aaron Sorkin (The Trial of the Chicago 7).
During their conversation, Fincher spoke about his love for “the altar of cinema,” the communal aspect that can come through film. “For me, what I love about cinema is going into a big dark room with 700 people and through their laughter and through their surprise and through their shock and through their reactions you realize, I’m not alone. I’m the same. I’m wired into this group in the same way just organically and I’m picking up on all these other cues. That is what makes the cinema, or a great grand theater, an almost cathedral-like experience.”
Fincher’s other directorial credits include the feature films Se7en, The Game, Panic Room, Zodiac, Gone Girl; episodes of the television series House of Cards and Mindhunter; and countless commercials and music videos. He has been nominated for the DGA Award for Outstanding Directorial Achievement in Theatrical Feature Film for The Curious Case of Benjamin Button, The Social Network and The Girl with the Dragon Tattoo. In 2013, he was nominated for the DGA Award for Dramatic Series for House of Cards, “Chapter 1” and has twice been nominated for the DGA Award for his Commercial work with Anonymous Content in 2003 and 2008, winning the Award in 2003 for Beauty for Sale (Xelibri Phones), Gamebreakers (Nikegridiron.Com) and Speed Chain (Nike).
The counterculture movement of the 1960s clashes with the hostile Nixon administration in Director Aaron Sorkin’s historical drama, The Trial of the Chicago 7.
Set in the aftermath of what happened after a peaceful protest turned into a violent encounter with the police at the 1968 Democratic National Convention in Chicago, Sorkin’s film recounts the infamous 1969 trial of seven political activists – that included moderate Students for a Democratic Society led by Tom Hayden, militant Yippies led by Abbie Hoffman and Jerry Rubin, and Bobby Seale of the Black Panthers – who were all charged with conspiracy in an unfair trial that transfixed the nation and sparked a conversation about mayhem intended to undermine the U.S. government.
On January 23, Sorkin discussed the making of The Trial of the Chicago 7 in a DGA Virtual Q&A session moderated by Director David Fincher (Mank).
During the conversation, Sorkin spoke about how he came up with a plan to shoot the riot scenes despite his budgetary limitations.
“I find a constraint like that forces you to get creative,” said Sorkin. “It forces you to have an idea. So we came up with this plan, we were going to get a few wide shots and we were going to take advantage of the tear gas. We got smoke everywhere. I discovered what happens when you shoot light through smoke so I wanted smoke in every scene. I could not get enough smoke. It didn’t matter where we were.”
In addition to his directing work on The Trial of the Chicago 7, Sorkin was nominated for the 2017 DGA Award for Outstanding Directorial Achievement in First-Time Feature for his debut film, Molly’s Game. He was also part of the producing team (which includes DGA President Thomas Schlamme) that won multiple Emmy awards for “Outstanding Drama Series” for their work on the series The West Wing. Sorkin also took home an Academy Award for “Best Writing, Adapted Screenplay” for David Fincher’s feature The Social Network.
That’s how the actor-director framed his duty of leading a conversation with longtime friend and “Gone Girl” boss David Fincher, the esteemed director whose Netflix film “Mank” has emerged as a top awards contender for 2021.
“This is a real role reversal from having to just be Fincher bitch, having to go over and over again,” Affleck teased the director, alluding to Fincher’s notorious preference for many consecutive takes of the same scene.
Appearing in Variety‘s “Directors on Directors” conversation series, the pair recently held a virtual reunion where Affleck dug into the decades-long process of bringing the story of famed screenwriter Herman J. Mankiewicz to screen.
In perhaps the broadest conversation Fincher has had about the film’s themes, Affleck gets to the heart of the original script from the director’s father, the value of creative credit at the dawn of Hollywood’s golden age, and the rare glimmer of heart and hope in a David Fincher film.
When David Fincher sat down with Netflix executives in the spring of 2019, he did not expect to be handed the equivalent of a blank check. Sure, the 58-year-old filmmaker — a former music-video wunderkind best known for pushing the envelope with baroque serial-killer thrillers (Seven), toxic-masculinity satires (Fight Club) and social-media origin stories (The Social Network) — was a name-brand director, and had helped kick off the golden age of streaming with the outlet’s first original series, House of Cards. But Fincher was used to resistance. You can’t have this budget. You can’t tell that story. What do you mean, you’re doing a TV show, for a mail-order DVD company, and all the episodes come out at once?!
So when Fincher was told by his patrons at the company that they were interested in helping him make anything he wanted, he thought of a long-dormant labor of love: a script his late father, Jack Fincher, had written about the making of Citizen Kane. Not the tale of the brilliant director, producer, star and co-writer who, at a precociously young age, took Hollywood by storm with his rise-and-fall drama. This was the story of the alcoholic screenwriter who was hired to pen the script, originally titled American, and then inserted a personal grudge against the powers that be into the greatest movie of all time.
Fincher wanted to shoot it in black-and-white. He wanted to use a lot of old-fashioned stylistic nods to Hollywood movies of the ‘40s, as if the film had just been discovered in a vault after 80 years of gathering dust. Also it would involve an obscure chapter in California’s political history concerning Upton Sinclair’s 1934 run for governor and a disinformation campaign allegedly masterminded by studio execs. It was a shot in the dark. By his own admission, Fincher couldn’t believe it when Netflix said yes.
To see Mank, Fincher’s throwback ode to the Golden Age of Tinseltown USA, however, is to know why they did. Chronicling how the broken-down writer Herman J. Mankiewicz (played by Gary Oldman) helped permanently change film as an art form, his movie is an audacious, complicated, stylistically daring and thoroughly entertaining yarn — the kind of retro nod to a bygone era that makes you feel like you’ve injected a day’s worth of TCM programming into your veins. But it’s also a challenging drama about complicity, the price of speaking truth to power and the manipulation of modern media, which couldn’t make the film feel more urgent.
Over a two separate two-hour conversations from his home in Los Angeles, Fincher discussed bringing this tribute to his father (who died in 2003) to the screen, his reputation as a taskmaster on set, why he’s sorry Fight Club pissed off a fellow filmmaker, and more.