Love, Death + Robots: The Official Anthology. Volume One
The sixteen stories and two screenplays that make up Volume One of the Emmy® award-winning Netflix Original series Love, Death & Robots. Featuring best-selling authors and screenwriters from all over the globe, curated by filmmakers Tim Miller and David Fincher.
Stories and screenplays by: Alastair Reynolds, Alberto Mielgo, Claudine Griggs, David W. Amendola, Joe Lansdale, John Scalzi, Ken Liu, Kirsten Cross, Marko Kloos, Michael Swanwick, Peter F. Hamilton, Steven Lewis, and Vitaliy Shushko.
Love, Death + Robots: The Official Anthology. Volumes Two & Three
The seventeen stories and screenplays that make up Volumes Two and Three of the Emmy® award-winning Netflix Original series Love, Death & Robots. Featuring best-selling authors and screenwriters from all over the globe, curated by filmmakers Tim Miller and David Fincher.
Stories and screenplays by: Neal Asher, Paolo Bacigalupi, J. G. Ballard, Alan Baxter, Justin Coates, Harlan Ellison, Joachim Heijndermans, Joe Lansdale, Richard Larson, Alberto Mielgo, Jeff Fowler & Tim Miller, John Scalzi, Bruce Sterling, and Michael Swanwick.
Love Death + Robots is a Netflix series like no other—a breath-taking journey of mature, high-concept tales told with seductive characters, astounding plots, and explosive action. With each episode crafted by different animation teams across the globe, the thought-provoking anthology covers a vast range of animation styles from edgy 2D to stop-motion to anime to hyper-realistic 3D CG.
In this luxury book, discover the wealth of artwork and stories behind the creation of the series’ first three volumes. Includes interviews with key artists and creatives such as series creators Tim Miller and David Fincher, and is full to the brim with everything from beautiful concept art, character studies, costume sketches, paintings, vehicle designs, storyboards, and early vision decks, through to finished frames. Perfect for any fan of animation.
Imprint:Titan Books Publication Date: July 26, 2022
HARDCOVER ISBN-10: 1789098645 ISBN-13: 978-1789098648 Page Count:256 Dimensions: 9.06 x 11.63 inches (23 x 29.5 cm) Weight: 1.25 pounds (0.57 Kg) Price: $40.50, £34.99
The Art of the Frame Podcast brings in-depth conversations with the top creators of your favorite films and shows into your car, living room and beyond. In each episode, we talk with creators ranging from emerging stars to Oscar and Emmy winners. Hear from the top editors, cinematographers, directors and more about their careers and about their work on some of the biggest films and TV shows of the year.
On todays episode of the Art of the Frame Podcast, Damian Allen talks with Cassidy Shipley about his work on the Oscar winning film “Mank.” Cassidy has had an illustrious career having worked as a set designer on films such as “La La Land”, and the upcoming film “Thor: Love and Thunder” as well as shows like “Mindhunter”, “Them” and the new Amazon series “Solos.”
Make sure to check out Cassidy’s full IMDb for more info about his career and head over to Amazon to watch “Solos!”
Todays episode of the Art of the Frame Podcast is brought to you by Filmtools.com, Hollywoods trusted one-stop shop for all things production and post.
Mehruss Jon Ahi and Armen Karaoghlanian January 13, 2021 Interiors
David Fincher’s Mank (2020) depicts 3 incredibly unique locations in California with a multitude of interior and exterior architectural spaces. The visual presentation of the film, combined with the Art Direction and Set Decoration, creates a masterful, multifaceted level of Production Design that is rarely seen in cinema. It is a film that warrants multiple viewings and its attention to architectural details should be commended.
In an exclusive interview with Interiors, we spoke with Donald Graham Burt, who is the Production Designer for Mank.
INT: You’re a longtime collaborator of David Fincher‘s but what was it about Mankspecifically that interested you in taking on the project?
DGB: First and foremost it was an opportunity to work on a project that was a period Los Angeles project – and even more specifically a period project about the film industry. To be able to delve into the history of the studios and the roots of the industry in its early years in Los Angeles – when portions of the city were still undeveloped – was an experience to cherish. David’s projects are always of high caliber and there is a professional level at which he works that is rewarding to be a contributor to.
While I was finishing the fourth season of House of Cards, David Fincher called me to say he was planning another series with Netflix and to ask if I would be interested in designing it. Of course I jumped at the chance, not knowing exactly what Mindhunter would be, but certain that with Fincher involved it would be a quality project. I soon found out that it was based on the John Douglas book of the same name and that it would be shooting in Pittsburgh, a city I knew quite well since I received my graduate degree from Carnegie Mellon University there, and where I got my start in the film business while still a student in the CMU theater department.
The series is somewhat different than many crime shows in that it’s not a who-done-it, or even how’d they do it, but more of a psychological exploration of why’d they do it.
Mindhunter is a period show set in the late 1970s, so I knew the choice of Pittsburgh as a location would simplify much of the exterior design work. Many rust belt cities like Pittsburgh were hit particularly hard by the collapse of the steel industry, and all the ancillary businesses that supported steel have suffered as well. The small towns that surround a city like Pittsburgh are often stuck in the past, sometimes for forty years or more. A lot of the exterior street sequences required were possible and looked appropriate with a minimal amount of redesign because there just hasn’t been an influx of business dollars to do architectural upgrades; there were very few modern structures to modify extensively or hide. This, and the fact that there is a wealth of great period dressing elements to be had at reasonable prices at the many local flea markets, estate sales and antique stores, made the task of recreating the period much more manageable.
One of the first things I remember David Fincher saying about the look of the series was that he did not want it to look like other films or series set in this same period where the style of the time is pushed so far that it becomes exaggeratedly over the top and starts to seem camp. The focus would be on the more mundane and ordinary look of American life in the late 1970s. I knew a lot of the characters were from the lower social strata, so there were few places for high style or the cutting edge fashion of the time. One big influence on the design was photographs from the time by people like Stephen Shore, particularly for our many on the road scenes in motel rooms.
In the late 1970s two FBI agents expand criminal science by delving into the psychology of murder and getting uneasily close to all-too-real monsters.
Catching a criminal often requires the authorities to get inside the villain’s mind to figure out how he thinks. That’s the job of FBI agents Holden Ford [Jonathan Goff] and Bill Tench [Holt McCallany]. They attempt to understand and catch serial killers by studying their damaged psyches. Along the way, working with Boston University psychology professor Wendy Carr [Anna Torv], the agents pioneer the development of modern serial killer profiling.
The crime drama has a strong pedigree behind the camera, with Oscar-nominated director David Fincher and Oscar-winning actress Charlize Theron among the show’s executive producers, and Fincher directing the first episodes. — Netflix
Add in Production Designer Steve Arnold and Set Decorator Tracey Doyle SDSA, and you know it will have a carefully curated stylized realism mixed with fully realized layered reality. Sets that could be paintings, except they seem so real.
We checked in with the duo for snippets about the making of MINDHUNTER, Season 1…
–Yertle the Turtle and Other Stories (1958) by Dr. Seuss –The Code Breakers (1967) by David Kahn –Codes and Ciphers: Secret Writing Through the Ages (1964) by John Laffin –Secret Writing: The Craft of the Cryptographer (1970) by James Raymond Wolfe –The Beast from 20,000 Fathoms (1953) film directed by Eugene Lourie –Dick Tracy Lunchbox, 1967 – Animal Crackers (cookie) –The Most Dangerous Game (1932) film directed by Irving Pichel and Ernest B. Schoedsack –Hair, original musical poster, show debut in 1967 –They Laughed When I Sat Down: An Informal History of Advertising in Words and Pictures (1959) by Frank Rowsome, Jr. –McElligot’s Pool (1947) by Dr. Seuss –TIME Magazine “Race and Reform on Campus,” Volume 93 No. 16, April 18, 1969 –The Asphalt Jungle (1950) film directed by John Huston –The Wrong Man (1956) film directed by Alfred Hitchcock –The Celebrated Cases of Dick Tracy, 1931-1951 (Anthology, 1970) by Chester Gould –Fox in Socks (1965) by Dr. Seuss –Curtain and The Mysterious Affair at Styles (1975) by Agatha Christie –An Artist in America (1951) by Thomas Hart Benton –Drawing: Seeing and Observation (1973) by Ian Simpson –Drawing the Female Figure (1975) by Joseph Sheppard –Mainstreams of Modern Art: David to Picasso (1961) by John Canaday –Homicide Investigation (first published 1944) by Lemoyne Snyder –Rescued in the Clouds (1927) by Franklin W. Dixon –LIFE Magazine “Confrontation in Harvard Yard,” Vol. 66 No. 16, April 25, 1969 – Slinky Toy Commercial from the 1960s – Slinky Toy –I Died A Thousand Times (1955) film directed by Stuart Heisler –Star Trek, Season 3 Episode 4 “And the Children Shall Lead” (1968) guest starring Melvin Belli, portrayed by Brian Cox in Zodiac – Aquavelva (alcoholic drink) – Reprise: The Code Breakers (1967) by David Kahn – Reprise: Codes and Ciphers (1964) by John Laffin –Richard Nixon Presidential Campaign Button, 1968 – “I Am Not Avery” button – 6 extremely rare first edition covers of Ian Fleming James Bond Novels: Dr. No (1958), For Your Eyes Only (1960), Moonraker (1955), On Her Majesty’s Secret Service (1963), You Only Live Twice (1964), The Spy Who Loved Me (1962) –Six Crises (1962) by Richard M. Nixon –San Francisco (first published 1969) edited by Jack McDowell and Dorothy Krell –The Selling of the President, 1968 (1969) by Joe McGinniss –Rubber Life Magazine, Vol. 01, No. 01, (1972) –Dirty Harry (1971) film directed by Don Siegel –Pong (1972) video game by Atari – I Looked and Listened: Informal Recollections of Radio and TV (1970) by Ben Gross – The Crime Vaccine: How to End the Crime Epidemic (1996) by Jay B. Marcus –The FBI in Our Open Society (1969) by Harry & Bonaro Overstreet – Kidnap: The Story of the Lindbergh Case (1961) by George Waller –The Property Man (1914) film directed by Charlie Chaplin – McCall’s Sewing Book (1968) by McCall Corporation – Them! (1954) film directed by Gordon Douglas –Illegal (1955) film directed by Lewis Allen – The World Almanac – Centennial Edition (1968) – The Rink (1916) film directed by Charlie Chaplin – Conquest (1937) film directed by Clarence Brown and Gustav Marchaty –Key Largo (1948) film directed by John Huston – Zodiac: The Shocking True Story of the Nation’s Most Bizarre Mass Murderer (1986) by Robert Graysmith
Zodiac (2007) Credits:
Directed by David Fincher
Production Design by Donald G. Burt
Art Direction by Keith Cunningham
Set Decoration by Victor J. Zolf0
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.
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:
Comment by Kenneth Palkow (Kenney’s Custom Props) in Techmoan’s video 2020
Very nicely done, Techmoan. It’s amazing to see how many people fell in love with that recorder.
Working for David Fincher and having the opportunity to work with some very talented individuals was amazing. About 40% of the prop was recreated. We had acquired a couple machines. There was also one we found in a museum but did not get that one. In the end, I had 2 machines to work with. Some logos you noticed were not present anymore and that’s because that was a part I machined… like the head roller cover. The original had some deep gouged marks.
Since the recorder needed to look new from that time period, it was best to make a new one. I machined that part aluminum. There were other parts I needed recreate and machine. As you know, these machines are rare and it was just easy to tear the recorder down to every nut and bolt and give it a complete restoration. The hardest part was the housing and lettering. Some of it I had to recreate while other parts was just a refinish. In the end, I decided to match the original finish using ceramic based gun coatings. It was a durable finish and the color match ended up being perfect. So, the entire housing and misc parts, like the head/roller cover I totally refinished with this coating.
The next challenge was the reels themselves. David wanted a .005″ chamfer specifically on all edges of the reels. This was mainly because he was going to do plenty close ups and the details and the details had to be spot on. Again, I created a CAD model based on metal reels of that time period and machined them out of aluminum. I had to make custom fixtures to machine these parts because they are so thin. The center hubs a created a CAD model and 3D printed. I then wet polished the hubs down to 2000 grit. The hubs in the sequence were placed upside down. I did not intend or ask for my company initials to be visible…. that just happened by chance or intentional by the prop master or even possibly David was happy enough with my work that he did this for me. Either way, I was really excited to see that in the sequence.
I think The Fincher Analyst is correct about the tape having a cg overlay done. There were many other details I recreated as well…. like the rubber seal between the clear cover and housing. That part I did a cad model, printed a master, pulled a mold, and cast the recreated seals in rubber. The clear cover is also custom made. I did modify the locking knob on the cover to a magnetic one so the actor would just have to pull up vs trying to fidget with trying to get it to release… or worrying about it locking up and not release fluidly for the camera. Remember, the seen had to be very fluid.
Anyway, I hope this gives you some insight as to how much effort David wanted put into that opening sequence. Another friend of mine, Max Burman did the corpse stills you see.
Comment by Kenneth Palkow (Kenney’s Custom Props) in Adam Savage’s Tested video May 16, 2023
Hey brother, thank you for the shout out.
Yes, yes, and yes…. David Fincher 100% was extremely meticulous about detail on this reel to reel. His specifications was .005 of an inch chamfer on the reels edges alone. We had two machines at our disposal and I took one to create a superhero prop for that opening sequence alone.
Since a good portion of the recorder had damages, such as deep scratches, gouges, etc etc, I had to re-create those parts by CNC machining. The seal for the top cover I 3-D print it and even the top cover is not original. I had to make a new one from scratch. The top cover where the pick ups are that says Sony, I did not remove the logo, because that part as well I had to remake from scratch. Again, CNC machining. There were areas of machining that I was holding half a thou tolerance. Lol, I know, crazy. But, I was instructed that this would be an extreme close-up scene. The rest of the machine I tore down, refinished the side panels the back panel to take out all of the scratches gouges and then did a refinish using KG gun coatings. There was some Cerakote as well in there.
The reels were probably the most pain in the butt. Machining, thin metal like that can be problematic with vibration so I had to form a custom jig that sandwiched the reels down so I can machine the chamfers. The center hub is 3-D printed and if you look closely on the Opening sequence when he is tightening the reel knob, you will see my company initials KCP. That actually was an accident and no one was supposed to see that but someone put the reels upside down. I’m not gonna complain. Lol.
Truth be told this task of refinishing/fabricating. This reel to reel went in front of two other prop shops before it ultimately ended up in my hands. David was extremely adamant about the quality of this prop that the Prop Master took it to two shops. One of the shops tried, but could not give the quality level of work David was asking for.
That second shop gave me a call one day and said “Kenney don’t be mad at me but I’m sending somebody your way. They are being truly anal about the detail and I told them if you’re looking for someone that’s anal, you need to go to Ken shop“. Not five minutes later Prop Master called me at about 20 minutes later I was on a flight to Pittsburgh for a morning meeting the next day. I looked at the previous work done by the last shop, and thought to myself this is some pretty good work and question whether I could pull off with David wanted. Ultimately, that opening sequence is a project I’m most proud of being a part of and definitely one of the most beautifully done.
And last, I did make mention to the art department that in exchange for the hard work, David needed to bring me on for World War Z 2. Lol there was a lot more to this project but that’s pretty much the gist of it. Thanks again, brother, for the shout out.
If by any chance, you would like files to the the reel to reel or any of the other parts, let me know.
The Fincher Analyst 