Sean Parker (Illustrator) and Steve Goldberg (NY Nets Content Manager) discuss the horror genre; interviewing the amazing people who contribute to it and discussing our love for horror films, television and more!
In this episode, they talk about The Last Of Us, Infinity Pool, The Boogeyman, and the super secret stuff they have coming up.
Then, they’re joined by director David Prior. They discuss horrifying formative childhood memories, his Fincher featurettes, the video clerk to director pipeline, and more!
Film critic Bilge Ebiri (Vulture, New York Magazine) joins us to discuss David Fincher‘s often diminished 1997 thriller, ‘The Game‘. It’s a fascinating, intricate follow-up to the hit ‘Se7en‘ that showcases Fincher at his most technically adept and stepping outside of his thematic comfort zone for the first time.
We discuss the star power of Michael Douglas and why he is the perfect match for the movie’s stark vision of trial and catharsis, uncover the film’s prophetic vision of the inescapable and constantly surveilling eye of big tech, and tease out the myriad pleasures of its controversial “happy” ending; a rarity in Fincher’s oeuvre.
It’s been a good two years for Rooney Mara. The Oscar nominee has received strong reviews for her back-to-back appearances in Guillermo del Toro’s “Nightmare Alley” and Sarah Polley’s “Women Talking,” but those films were preceded by a multi-year hiatus from acting. Fans of the actress have had to make peace with her sporadic work habits, given that she has become famously selective about the roles she’s willing to take.
In a new appearance on the LaunchLeft podcast, Mara explained that her selectivity is partially a result of an unpleasant on-set experience in the late 2000s that almost led her to quit acting.
Now, Christmas week is just about to get a whole lot cooler, as we welcome Trent Reznor and Atticus Ross to Soundtracking for a second time
Edith LOVES talking to this dynamic duo about film music, and the good news is we have two of their scores to unpack: the first being for Luca Guadagnino‘s Bones And All and the second for Sam Mendes‘ Empire Of Light.
They also confirm that they have scored The Killer for David Fincher.
Frame & Reference is a conversation between Cinematographers hosted by Kenny McMillan of OWL BOT. Each episode dives into the respective DP’s current and past work, as well as what influences and inspires them. These discussions are an entertaining and informative look into the world of making films through the lens of the people who shoot them.
In this episode, Kenny talks with cinematographer Erik Messerschmidt, ASC, about the new film “Devotion.” Erik has had a very interesting career including work on series such as “Mindhunter”, “Legion”, “Fargo” and as the DP of “Mank” for which he won an Oscar.
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Filmtools, the West Coast’s leading supplier of film equipment. From cameras and lights to grip and expendables, Filmtools has you covered for all your film gear needs.
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Award-winning director of photography Erik Messerschmidt, ASC has a natural eye for arresting and spellbinding images, thriving in a role that allows him to combine his love of art, craft and science. Recently, he lensed Devotion for director J.D. Dillard, based on the real-life story of a Black naval officer who befriends a white naval officer during the Korean War, with both becoming heroes for their selfless acts of bravery.
He also finished shooting Michael Mann’s biographical film Ferrari, starring Adam Driver, Shailene Woodley, and Penélope Cruz, and David Fincher’s The Killer, starring Michael Fassbender and Tilda Swinton.
Previously, Messerschmidt shot Fincher’s passion project Mank, chronicling the screenwriter Herman Mankiewicz’s turbulent journey to write Citizen Kane alongside Orson Welles. Messerschmidt’s meticulous and striking black and white recreation of the period’s aesthetic earned him the Academy Award for Best Cinematography, an ASC Award for Outstanding Cinematography in a Feature Film, a BSC Award for Best Cinematography in a Theatrical Feature Release, a BAFTA Award nomination for Best Cinematography, as well as Best Cinematography award nominations from the San Francisco Bay Area Film Critics Circle, the Broadcast Film Critics Association Critics Choice, and the Alliance of Women Film Journalists.
In addition, Messerschmidt co-lensed several episodes of the HBO Max original series Raised by Wolves from producer Ridley Scott. He also shot the first and second seasons of Fincher’s hit thriller series Mindhunter for Netflix, earning a 2020 Emmy Award nomination for Outstanding Cinematography for a Single-Camera Series (one-hour) for episode 206.
With a background in the fine arts world, Messerschmidt honed his skills while working with such renowned cinematographers such as Dariusz Wolski, ASC, Jeff Cronenweth, ASC, Phedon Papamichael, ASC, Claudio Miranda, ASC, and Greig Fraser, ASC. Messerschmidt now lives in Los Angeles and is a member of IATSE Local 600. He is represented by DDA.
Starting her career producing commercials Lisa Beroud transitioned to James Cameron‘s famous VFX house Digital Domain, where she worked on titles including TRON: Legacy, Oblivion, Her, 47 Ronin, and a multitude of David Fincher projects including Zodiac, The Curious Case of Benjamin Button, The Girl with the Dragon Tattoo, and Gone Girl. Since leaving DD, she has been a VFX producer of hits such as Black Panther, Terminator: Dark Fate, and Sonic the Hedgehog 2.
Over the past five years, Love, Death & Robots has completely resculpted the landscape of animation, feeding Netflixviewers bite-size chunks of violence, sex, and gore. Supervising Creative Director Jerome Denjean is a key player behind-the-scenes, giving Love, Death & Robots’ talented directors the freedom to execute their visions (literally!) while ensuring that each episode fits in with the series’ overall vision and tone.
In his second podcast with Chris, Jerome breaks down some of the amazing episodes in series three: David Fincher’s “Bad Travelling,” Alberto Mielgo’s “Jibaro,” Patrick Osborne’s “Three Robots: Exit Strategies,” and Emily Dean and Polygon Pictures’ “The Very Pulse of the Machine.” Jerome also reveals how episodes are researched and produced, and how Japanese animation has influenced their direction.
0:00:00: Intro 0:06:03: Five years of Love, Death & Robots 0:09:12: Jerome’s role and how he works with different directors and international teams 0:14:28: Working with David Fincher on “Bad Travelling“ 0:18:23: Fincher, mocap, virtual production, and gore 0:23:48: Old friends return: “Three Robots: Exit Strategies” 0:30:19: The style of “The Very Pulse of the Machine“ 0:35:36: The influence of anime and working with Polygon 0:40:16: Alberto Mielgo’s “The Witness” and “Jibaro“ 0:52:39: Nurturing new talent 0:55:17: Producing “Love Death & Robots”
Tim Miller is a Film Director, Animator, Creative Director, and VFX Artist. He was nominated for the Academy Award for Best Animated Short Film for the work on his short film Gopher Broke. He made his directing debut with Deadpool. He is also known for creating opening sequences for The Girl with the Dragon Tattoo and Thor: The Dark World.
In 1995, Tim co-founded Blur Studio with David Stinnett and Cat Chapman. Blur is where animators and artists can collaborate and be in control of their creative destinies. Since then, the Studio has evolved into an award-winning production company with work spanning the realms of game cinematics, commercials, feature films, and more. Committed to their clients, artists, and the telling of great stories, Blur continues to grow as a high-end animation studio and original content creator, having recently helmed Netflix’s first animated anthology Love Death + Robots.
In this Podcast, Allan McKay interviews Tim about the history of launching Blur, its legacy, Tim’s ongoing collaboration with David Fincher, directing Deadpool and Terminator: Dark Fate, and creating Love Death + Robots.
Season 3 of the eleven-time Emmy winning series LOVE DEATH + ROBOTS hit Netflix on May 20th and we are delighted to sit down with creator Tim Miller, supervising director Jennifer Yuh Nelson, and supervising sound editor Brad North to discuss how they managed to succeed where so many others have failed — creating a hit anthology television series.
“It really comes down to who’s doing the shorts. There’s been a lot of care trying to match-make: The shorts, the stories, the directors, and the studios. You’ve got a whole lifetime of experience with people and studios that Tim has worked with at Blur. People that have been doing incredible content, that maybe haven’t had the opportunity to do a feature yet, because of the size and experimentalism of that particular place. And to be able to hook them up with really good, solid stories that they can put all of their effort into making that, actually, great. You’re not spinning a lot of wheels here. You’re doing amazing. Everything goes right to the screen.” — Jennifer Yuh Nelson, Supervising Director, LOVE DEATH + ROBOTS