David Fincher, director of “The Killer“: “We thought it would be interesting if the ‘cool’ assassin movie tropes were all taken away”.
For his twelfth film, “The Killer“, in competition at the 80th Venice International Film Festival, the director David Fincher reunites with Andrew Kevin Walker, with whom he created the indelible serial killer thriller “Se7en” (1995).
Adapted from the acclaimed graphic novel written by “Matz” (Alexis Nolent), the film explores the boundaries of the revenge movie and sees Michael Fassbender in the role of a hitman failing at his main task and being threatened because of this.
In his production notes, David Fincher writes: “We thought it would be interesting if the ‘cool’ assassin movie tropes were all taken away”. The director describes how he decided to let the audience into the protagonist’s train of thoughts as to understand that “what he does and what he thinks do not match”.
“The Killer“ releases globally on Netflix November 10, 2023.
Executive Producer (and co-showrunner) J. Miles Dale joins us on the podcast to discuss the horror anthology series Guillermo del Toro’s Cabinet of Curiosities, which was recently nominated for seven Primetime Emmy Awards. Joining the conversation are nominees: Supervising Sound Editor Nelson Ferreira, MPSE, and Director of Photography Anastas Michos, ASC, GSC.
To avoid spoilers, be sure to watch “The Autopsy” before watching this podcast! But be forewarned, it is extremely dark — both thematically and visually — which was entirely by design. Anastas Michos:
“The genre is squarely within a horror/sci-fi mode. It is about what we don’t see in life. That’s what makes shooting horror films or thrillers so interesting. That we allow the audience to only see what we want them to see, and tease the rest of it into the blacks [of the image].”
Frame & Reference is a conversation between Cinematographers hosted by Kenny McMillan. 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.
Step into the fascinating realm of cinematography with our special guest, Anastas Michos, ASC, GSC. A seasoned expert in the field, Anastas unlocks the mysteries of television and feature film cinematography, highlighting the way technology is reshaping these two distinct mediums. We navigate the landscape of artificial intelligence and its impact on the world of filmmaking, as well as the unique perspectives of different unions and guilds.
In this engaging discussion, we venture into the realm of personalized creativity in cinematography. We grapple with the thorny issue of image authorship and the absence of laws in the United States that safeguard the creators of these images. Anastas enlightens us on how he navigates projects without relying on the safe and familiar, and what elements give a project an organic feel. We also explore the role of lenses, both physical and virtual, in crafting the look of an image.
As the conversation evolves, we explore the creative process of filmmaking. Anastas shares his insights on the influence of nostalgia and artificial intelligence on new ideas. We touch on the unique work of filmmaker Guillermo del Toro, delve into the intriguing concept of Guillermo del Toro’s Cabinet of Curiosities, and discuss Anastas’ experience working with actor F Murray Abraham. Brace yourself for a riveting expedition into the world of film production, full of collaboration, innovation, and a dash of humor. Don’t miss out!
Cinematographer Anastas MichosASC, GSC humbly calls himself a journeyman cinematographer. However, after 25 years and multiple awards, Anastas possesses expert skill and versatility that can be seen across all genres. Most recently, Anastas was nominated for an Emmy for “The Autopsy,” an episode of Guillermo del Toro’s Cabinet of Curiosities anthology TV series on Netflix.
Del Toro selected the directors for each episode of Cabinet of Curiosities, and he chose idiosyncratic directors who brought their own sensibilities to each piece. Anastas had worked with “The Autopsy” director David Prior before on a horror film called The Empty Man, and they enjoyed collaborating together again. Anastas enjoyed working on Cabinet of Curiosities because it felt like making a short film rather than a TV show, with each piece a crafted short story rather than a serialization. For a consistent look, each episode used the same production designer, Tamara Deverell, who also did the production design for del Toro’s Nightmare Alley. While shooting the episode, Anastas was always conscious that “The Autopsy” should fall under the look of del Toro’s brand.
Anastas has always enjoyed shooting horror films because they explore the human condition in a very specific way. The cinematographer can creatively stretch the imagination and the image in a way that can’t be done as much in dramas, comedies, or romances, since they’re usually based on our day-to-day reality. But Anastas likes to switch around among genres- after working on an intense horror film such as Texas Chainsaw 3D, a light rom-com might sound really good. He’s interested in any project that has a great story, script, director, and crew.
Before finding his way behind a camera, Anastas thought he’d go into the music business since he grew up in a musical family. Instead, he became a news cameraperson, learning visual storytelling on the job. He’s found that his music background has actually served him well as a cinematographer- he feels musicality is very much a part of camera movement. One memorable time early in his career, Anastas was working Steadicam for Born on the Fourth of July. Director Oliver Stone pulled him aside and had Anastas put on a Walkman so that he could move the camera to the pace of the music Stone wanted.
After working as a camera and Steadicam operator for several years, Anastas got to shoot his first feature as a DP for Man on the Moon. Anastas found director Milos Forman to be simultaneously generous and demanding, with the capability of recognizing someone’s potential and holding them to it.
Frame & Reference is a conversation between Cinematographers hosted by Kenny McMillan. 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.
Join me as I chat with Eigil Bryld, a hardworking Director of Photography, and we explore his recent projects – Extrapolations, The Machine, and No Hard Feelings, which had a very quick turnaround. Listen in as we share our thoughts on the writers’ strike against studios, its difference from the COVID-19 situation, and the luxury of being able to refuse work. We also discuss how saying no has sometimes led to even better opportunities.
We go on to discuss how Eigil’s background in documentaries has shaped his work in cinema, influencing his naturalistic approach to cinematography. His journey from documentary filmmaker to cinematographer is truly fascinating, as is his work on films like Wisconsin Death Trip. Hear about his approach to shooting films and the importance of placing the camera perfectly to capture the dynamics of a scene.
Bryld (left) operates one of the two cameras during the shot of a House of Cards Season 1 scene.
Finally, we spend a good chunk of time discussing his work with iconic director David Fincher and the lessons that came with it. Eigil shares his experience on House of Cards and the techniques he used to capture the perfect shot. We also discuss his approach to lighting, the importance of quick setup and breakdown of equipment, and the dance between the camera and the actors. All this and more in our enlightening conversation with Eigil Bryld!
Eigil Bryld won an Emmy Award for Outstanding Cinematography, for the episode “Chapter 1” of House of Cards (2013).
Because We Love Making Movies is an ongoing conversation with filmmakers who work behind the scenes to make the movies we love. These are the invisible warriors we don’t think of: Production & Costume Designers, Cinematographers, Editors, Producers, and the whole family of artists who make movies with their hands and hearts.
Today, I speak with Monika Gossmann (Instagram), an incredible actor, director, and acting teacher, who I first became of aware of after seeing her wonderful performance in David Fincher’s Mank. We discuss her collaboration with Fincher, Gary Oldman‘s inspiring professionalism and generosity, as well as the crucial role of Producer Ceán Chaffin in the creation of a nurturing working environment. We talk about how actors are storytellers and filmmakers, how she discovered her calling as an artist, and how she feeds her soul as an artist.
Trent Reznor is a musician, songwriter, and composer. As the creative force behind Nine Inch Nails, Trent has continuously pushed the boundaries of music, crafting powerful and innovative music that has captivated audiences worldwide. He has also scored numerous films, winning the Academy Award for Best Original Score and a Grammy for his work on both The Social Network and Soul.
Eric Weidt has worked as a Colorist on impressive projects such as Mindhunter and Mank. He spent 15 years in Paris working with fashion photographers and filmmakers (developing look-up tables) and has a BA in theatre arts.
Eric has worked exclusively with director David Fincher since 2015. We delve into his relationship with the famous director and explore his process for his incredible Black & White work in the motion picture ‘Mank’. We even talk about the one film he would watch if he only had one choice (stuck on a desert island with electricity).
Eric Weidt: “I’m remastering some of his old classics right now. Like, I remastered The Social Network [in 4K], I’m in the process of remastering Panic Room, and I’m also just starting on Seven“.
Tim Miller, creator of Love Death + Robots with David Fincher, and Director of Deadpool, attended the Cartagena de Indias International Film Festival (FICCI, Colombia), and he talked about science fiction, comics, animation, Terminator: Dark Fate, actress Natalia Reyes, Heavy Metal, James Cameron, and David Fincher.
Life in the Credits is an educational podcast where hosts Susan Swarner and Ben Blohm learn about the entertainment industry from the people who work in it. They discuss the guest’s career, a feature film, and play a game. For anyone who dreams of working on movies, wants to learn about film-making, or loves watching shows.
Danny González, Gaffer, joins Susan and Ben to discuss Mank, a 2020 biographical drama. Danny shares what it’s like having a career in the lighting department for movies, TV, and commercials. He discusses the process of building a lighting design for a show, the difference between lighting on a sound stage versus on location, executing a particularly difficult scene on the set of Devotion, and filming on Hawaii on the deck of Queen Anne’s Revenge from Pirates of the Caribbean: On Stranger Tides during a huge storm. We also get a behind-the-scenes look into Danny’s work on the Oscar-winning film Mank. Danny plays our “Fincher’s Familiar Films” game.
The Fincher Analyst 