We speak with Beverly Wood, former Executive VP at Deluxe and Managing Director at eFilm. We discuss the transition in Hollywood from Film to Digital with one of the industries foremost experts on the science behind it all. We discuss how film emulsion actually works, color science, her work with Roger and James, and films like SkyFall, O Brother, Where Art Thou and more.
She’s been with us through our journey from film to digital and is a great source of information in general!
Although mainstream audiences may not be consciously aware of the use of special processes when they watch a film in a theater, they certainly felt the effect while watching David Fincher‘s horrific thriller Seven (AC Oct. ’95), which was photographed by Darius Khondji. A number of the film’s release prints were treated with Deluxe‘s Color Contrast Enhancement (CCE) process to heighten the film’s blacks and add a palpable texture and tonality.
Made in between Seven and Fight Club, David Fincher’s edge-of-your-seat thriller The Game remains arguably his most underappreciated film, bolstered by an exceptional star performance by Michael Douglas.
Despite his large mansion and intimidating bank balance, multimillionaire Nicholas Van Orton is haunted by the childhood memory of his father’s suicide. On the day he reaches the same age his father was when he died, Nicholas receives an unconventional birthday present from his estranged brother Conrad (Sean Penn): an invitation to play a mysterious “game”, the aim and rules of which are kept secret. As the game unfolds, Nicholas suddenly finds himself in a fight for his life, assisted by the enigmatic Christine (Deborah KaraUnger, Crash) but unsure of where to turn and who to trust.
Presented in a director-approved remaster available for the first time in the UK, the twisty mysteries of Fincher’s pulse-pounding paranoiac puzzle are explored in an exciting array of new and archive bonus features.
TWO-DISC LIMITED DELUXE EDITION CONTENTS
Limited to only 3,000 units
Deluxe packaging including a 200-page hardback book housed in a rigid slipcase, illustrated with newly commissioned artwork by Corey Brickley
200-page book exclusive to this edition includes a newly-commissioned full-length monograph by Bilge Ebiri, and selected archive materials, including an American Cinematographer article from 1997, a 2004 interview with Harris Savides by Alexander Ballinger, and the chapter on the film from Dark Eye: The Films of David Fincher by James Swallow
Arrow Academy Blu-ray including new bonus features and UK home video premiere of director-approved 2K restoration
Universal Special Edition DVD featuring archive extras with cast and crew
DISC ONE – BLU-RAY
2K restoration from the original negative by The Criterion Collection supervised and approved by director David Fincher and cinematographer Harris Savides
High Definition Blu-ray™ (1080p) presentation
Original 5.1 & 2.0 DTS-HD Master Audio
Isolated Music & Effects track
Optional English subtitles for the deaf and hard-of-hearing
New audio commentary by critic and programmer Nick Pinkerton
Fool’s Week: Developing The Game, a newly filmed interview with co-writer John Brancato
Men On The Chessboard: The Hidden Pleasures of The Game, a new visual essay by critic Neil Young
Archive promotional interview with star Michael Douglas from 1997
Alternatively-framed 4:3 version prepared for home video (SD only), with new introduction discussing Fincher’s use of the Super 35 shooting format
DISC TWO – DVD
Standard definition DVD (PAL) presentation
5.1 Dolby Digital audio
Optional English subtitles for the deaf and hard of hearing
Audio commentary with director David Fincher, actor Michael Douglas, screenwriters John Brancato and Michael Ferris, director of photography Harris Savides, production designer Jeffrey Beecroft and visual effects supervisor Kevin Haug
Behind The Scenes featurettes – Dog Chase, The Taxi, Christine’s House, The Fall (with optional commentary by Fincher, Douglas, Savides, Beecroft and Haug)
On Location featurettes – Exterior Parking Lot: Blue Screen Shot, Exterior Fioli Mansion: Father’s Death, Interior CRS Lobby and Offices, Interior Fioli Mansion: Vandalism, Exterior Mexican Cemetary (with optional commentary by Fincher, Savides, Beecroft and Haug)
Theatrical trailer (with optional commentary by Fincher)
Teaser trailer CGI test footage (with optional commentary by designer/animator Richard Baily)
Erik Messerschmidt, ASC had a childhood dream of becoming a cinematographer, which he began pursuing at Emerson College, where he studied film production. While in school, he hit the ground running, working on film sets as an electrician, which then led to work as a gaffer in features, television and commercials. Before he graduated, he was able to join the IATSE Local 481 in Boston. During this time, he also served as a lighting technician and lighting director for many well-known photographers, including Gregory Crewdson, Mike and Doug Starn and Larry Sulton.
Following graduation, Messerschmidt relocated to Los Angeles to further his career in the industry. Shortly thereafter, he met Mark Doering-Powell, ASC and Mark Weingartner, ASC, who served as early mentors. Doering-Powell hired Messerschmidt on several smaller feature projects as a grip and later gaffer, which allowed him to join Local 728 as a gaffer. He developed relationships with numerous ASC members, including Claudio Miranda, Jeff Cronenweth and Tami Reiker, who Messerschmidt calls his “closest mentors.”
Gordon Lonsdale, ASC hired Messerschmidt as his gaffer on the television series Bones, and the two worked together for six seasons. During this time, Messerschmidt also gained experience as a director of photography, shooting several commercials, short films and documentaries.
Erik Messerschmidt, ASC on the set of the Netflix series Mindhunter.
Cronenweth hired Messerschmidt as his gaffer on David Fincher’s Gone Girl, and subsequently encouraged the director to hire Messerschmidt to photograph his next project, the Netflix series Mindhunter. Since then, the cinematographer has shot the bulk of episodes on both seasons. (See story here.)
Messerschmidt has also photographed several episodes of the television series Legion as well as second-unit work on the feature Sicario: Day of the Soldado, shot by Dariusz Wolski, ASC. On the recommendation of Wolski, Messerschmidt was hired to photograph the HBO Max series Raised by Wolves.
His upcoming credits include Fincher’s latest feature, Mank, depicting the life of screenwriter Herman J. Mankiewicz and the writing of the script to Citizen Kane.
Some might consider high-dynamic-range (HDR) displays a technology of the future, but the reality is it’s here now and very much a contemporary delivery format. At the forefront of this delivery is Netflix, the streaming and production giant, which reports that roughly a quarter of the devices used to access its service monthly — more than 165 million — are configured for HDR. As a result, Netflix is making a concerted effort to provide HDR content and currently has more than 1,000 hours of such programming available.
One of these titles is David Fincher’s gritty, period procedural Mindhunter, which earned Christopher Probst, ASC an ASC Award nomination for its pilot in 2017. The series is photographed by Erik Messerschmidt, who notes that production incorporated HDR into the second season. “With Mindhunter, we try to be very subtle with the photography,” says Messerschmidt. “The story and themes of the show are complex and nuanced, so it’s really important that the photography never draws attention to itself. HDR helps because it enables me to be very subtle in my use of color and contrast, particularly in the toe of the exposure. Everyone likes to talk about the bright whites in HDR, but I think perhaps the added range in the shadows is more interesting and more important than added range in the highlights.
“I think cinematographers have always advocated for a better experience for the audience, whether it’s fast film stocks with tighter grain, better projection technology, or higher quality digital-capture and display technologies,” he continues. “HDR is just another step in that direction. Standard-dynamic-range video distribution can only show a narrow exposure band of the modern digital sensor’s dynamic range. The opportunity to use more of the sensor’s range when we want to is a very exciting development.”
Alex Thomson, BSC — one of Britain’s premier cinematographers — creates images of dazzling perfection, richness and clarity, images which have graced some of the most exquisite-looking films in recent memory: Legend, Ridley Scott‘s epic fairytale; Eureka, Nicholas Roeg‘s influential retelling of Citizen Kane; and Excalibur, John Boorman‘s visually magnificent approach to the King Arthur legend.
Though Alien3 is ideal subject matter for Thomson’s rich photographic style, he might never have lent his expertise to the project had it not been for one of the greatest triumphs and tragedies of his career. Late in 1990, Thomson had been chosen by one of the world’s undisputed filmic masters to photograph what promised to be his final masterpiece: the director was David Lean; the project was Joseph Conrad‘s Nostromo.
Unfortunately, Lean took ill and died, Nostromo shut down and a saddened Alex Thomson returned to London, wondering what he would do next. “I came back from France on a weekend and they called me on Monday to see if I could take over on Alien3,” Thomson recollects. “I started work on Tuesday, which was about a week and a half into production. I was happy to do it; it kept my mind off what might have been.” (There is a certain karmic irony to Thomson’s twist of fate. As fans of the first Alien film will recall, the spaceship in that picture was dubbed the Nostromo.)
Behind the camera, Alex Thomson, BSC watches intently as operator David Worley lines up a shot on Charles Dance as Sigorney Weaver stands by.
The production history of Alien3 is a troubled one. Before Thomson joined the film, its first director, New Zealander Vincent Ward — one of a slew of directors who had been attached to the project during its lengthy pre-production phase — had been replaced by rock video director David Fincher. Thomson was hired when the film’s original cinematographer, Jordan Cronenweth, ASC (Blade Runner) left the production.
Many cinematographers might feel stifled by a production where the original look had already been determined, but not Thomson. “I had no problem with following in Jordan’s footsteps because his approach was so right,” he enthuses. “It was marvelous to be pointed in the right direction by a man of his caliber.”
First-time feature director Fincher, for his part, is an award-winning rock video director with a background in visual effects storyboarding at ILM. “To take something over like this at 28 must’ve been quite awe-inspiring, but he handled it as if he’d done 20 pictures,” Thomson relates.
In his 1996 novel Fight Club, writer Chuck Palahniuk posed this question: What do you do when you realize the world is not destined to be your oyster, when you recognize the innocuous banalities of everyday life as nothing more than a severely loosened lid on a seething underworld cauldron of unchecked impulses and social atrocities?
Director David Fincher is no stranger to this theme. All of his previous films, Alien3 (see AC July ‘92), Seven (AC Oct. ‘95) and The Game (AC Sept. ‘97), have explored the dark side of the human psyche. With Fight Club, Fincher once again demonstrates his affinity for this bleak and foreboding realm, displaying a deft cinematic sensibility and a gift for taut visual execution.
Fight Club opens as its disenfranchised — and nameless — narrator (Edward Norton) feigns illness and begins attending cancer-patient support group meetings in a vain attempt to find purpose within his lonely, mundane existence. Through a chance encounter on an airplane, he meets the enigmatic Tyler Durden (Brad Pitt), the organizer of Fight Club, an underground group of young men who take part in bare-knuckle brawls concocted to vent their pre-apocalyptic angst.
Fincher has worked with a score of prominent cinematographers on commercials, music videos and feature films. Interestingly, he began shooting Alien3 with the late Jordan Cronenweth, ASC — who left the production due to his battle with Parkinson’s disease, and was replaced by Alex Thomson, BSC. For Fight Club, Fincher enlisted Jordan’s son, Jeff Cronenweth [ASC], to realize his uniquely dystopian vision.
When I visit Darius Khondji, ASC, AFC, in his home in Paris recently for coffee, tea and talk about his art and craft, we speak in his dark living room, with a small pool of light from a lamp on a nearby table, and soft daylight coming through French windows that give on to a snowy courtyard.
Darius’ wife, photographer Marianne Chemetov, kindly agrees to shoot a still of her husband for me near a window. They discuss the lighting. Darius asks to be in silhouette, and, afterwards he darkens Marianne’s photo on his iPhone even further. I ask him about this, and he says: “I like the radical quality of this chiaroscuro.”
The following is an excerpt from the new book Conversations with Darius Khondji, written by The Hollywood Reporter film critic Jordan Mintzer and published in a French-English bilingual edition by Synecdoche in Paris. The excerpt is taken from the chapter “Out of the Shadows,” which begins with Khondji describing his work on David Fincher’s Se7en (1995) — the first feature he shot in Hollywood.
Throughout 2019, the Society will honor the best-photographed films of the 20th century, as voted on by ASC members.
Founded on January 8, 1919, the American Society of Cinematographers celebrates its 100th anniversary today.
As part of the centennial festivities, the Society released their members’ list of the 100 milestone films in the art and craft of cinematography of the 20th century. Organized by Steven Fierberg, ASC (The Affair, Good Girls Revolt, Entourage) and voted on by ASC members, the list is the first of its kind to showcase the best of cinematography as selected by professional directors of photography. […]
The 100 films list will serve as a library of influential, key titles that all cinematographers should see as well as an educational tool for students, teachers and film lovers to better understand and appreciate the importance of cinematography. “It is our hope that the list will help cinematography to be better understood by the public — the audience — [and to showcase] each of us as an artist who is an essential contributor to the magic of cinema,” offers Fierberg.
The list represents a range of styles, eras and visual artistry, but, most importantly, it commemorates films that are inspirational or influential to ASC members and have exhibited enduring influence to generations of filmmakers.
The list culminates in a Top 10 by number of votes, while the other 90 titles are unranked.“We are trying to call attention to the most significant achievements of the cinematographer’s art,” Fierberg assures. “We do not presume to call one masterful achievement ‘better’ than another.”
Members chose to frame this list around the 20th century to ensure that enough time has passed for the titles and work to reasonably exhibit enduring influence.
The process of cultivating the 100 films began with ASC members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the ASC, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles. […]
Detailed essays and historical information on each title will be published over the coming months, celebrating the diverse, global art form of cinematography throughout the ASC’s Centennial year. […]
Most people remember the San Francisco Bay Area of the late 1960s for “flower power” and the Summer of Love. But as the decade came to a close, a grim nightmare unfolded in the counterculture mecca. On the night of December 20, 1968, two teens in the San Francisco-adjacent town of Benicia were brutally slain by a lone gunman. At midnight on July 4, 1969, another young couple was attacked in nearby Vallejo. On July 31, cryptic letters arrived at three Bay Area newspapers, including the San Francisco Chronicle; each contained part of a complex cipher. The writer warned that unless his coded messages were printed on the front page of each publication, “I will go on a kill rampage.” A followup letter soon arrived at the newspaper. Opening with the sentence “This is the Zodiac speaking,” the missive detailed the particulars of both crimes. The killer had given himself a name and stated his purpose: to taunt and terrify. The three-part cipher was soon solved, revealing a hate-filled manifesto. In all, he would communicate with such letters and codes on more than 20 occasions.
One front-line observer to the unfolding story was Chronicle editorial cartoonist Robert Graysmith, who began investigating the case after it became clear that harried law-enforcement officials — hampered by jurisdictional regulations, misleading evidence, and the emergence of more than 2,500 suspects — were powerless to unmask the killer. In 1986, Graysmith published his true-crime book Zodiac, which connected disparate clues for the first time and presented theories on the killer’s identity. This book formed the basis of the recently released film, photographed by Harris Savides, ASC for director David Fincher.
In the film, Graysmith (Jake Gyllenhaal), SFPD inspectors Dave Toschi and Bill Armstrong (Mark Ruffalo and Anthony Edwards, respectively), and Chronicle reporter Paul Avery (Robert Downey Jr.) are sucked into the Zodiac’s vortex. All four try to manage their growing obsession with the case, but soon find their lives inextricably intertwined with that of a madman. The case remains unsolved to this day.
Hello and thanks for the warm welcome! I’m honored to be hosting this month and look forward to posting a variety of images/topics. Being a nerd, there’ll be plenty of technical posts about cameras/lenses, but I’d also like to draw on my teaching at Global Cinematography Institute and writing/editing for American Cinematographer for the last 24 years. To begin, I’ll start with a little Mindhunter anecdote.
Over the past few months I’ve been asked, “What’s it like shooting for David Fincher?”
Coming up the camera department as a 1st AC/operator then shooting music videos and commercials, I’ve operated most of my projects. Simultaneously, I’ve also been writing for AC since 1994 and its Technical Editor since 98. That enabled me to literally corner many of the DPs I admired and pick their brains under the guise of some altruistic journalistic cause (but always with the underlying motive to learn from idols like Conrad Hall, Deakins, Chivo, Khondji, Harris Savides; and directors like Spielberg, Bay, the Coen bros., and Fincher). Like many of you, I’ve admired/studied David’s work, so thinking myself somewhat clever and not without operating skills, I opted to operate A-camera on my episodes.
Early in the schedule, we were shooting a prison corridor as Jonathan Groff is led to meet the serial-killer Ed Kemper. We had 2 cameras on 150’ of dolly track: a 65mm locked-off closeup and a 29mm low 2-shot I operated remotely. We did a take and David said, “That’s great, but pan a little to the right.” Ok… note taken. Next take. “Pan to the left…” What the hell? Ok, what’s he looking at? We shot Mindhunter in 6K framing for a 5K extraction, so I was mainly looking where to place our lead in this low 3/4 shot. You know, rule-of-thirds kind of thinking:
Then it dawned on me. David’s looking for balance/symmetry in all aspects of his work. Forget what books say. He’s looking at the shot as a whole. Not just the actors. As the two walk, if I framed only for Ford, the guard may be at the edge or even cut off. Anything but symmetrical! But once I got in David’s head, I moved back from the monitor and tried to NOT look at the actors and just balance the sides of the frame.
That level of symmetry/precision permeates all aspects of a Fincher film. Working with David is full of moments that strengthen you as a filmmaker if you are open to challenging yourself and your preconceived ideas.