American Cinema Editors (YouTube)
May 6, 2018
Editors on Editing: Glenn Garland, ACE talks to Kirk Baxter, ACE about editing the film, GONE GIRL.
Merrick Morton / Netflix
Fincher was very particular about conveying control and dominance through lighting and production design in his Netflix FBI crime drama.
David Fincher brilliantly pushes his cinematic formalism in “Mindhunter,” Netflix’s 10-episode crime drama that explores the FBI’s fledgling Behavioral Science Unit in Quantico, Virginia, in the late ’70s. But, for the dialogue-heavy creepy interrogations with imprisoned serial killers by agents Holden Ford (Jonathan Groff) and Bill Tench (Holt McCallany), executive producer/co-director Fincher manages to visually convey constant power shifts.
“It’s about control and dominance and also about misogyny,” Fincher said. “People forget that this goes all the way back to Jack the Ripper.”
And Fincher’s collaboration with production designer Steve Arnold (“House of Cards”) and gaffer-turned cinematographer Erik Messerschmidt (“Mad Men”) was crucial to the authentic ’70s look and dynamic blocking of the interrogation scenes, particularly those involving Ed Kemper (Cameron Britton), who captivates and mentors Holden.
Erik Messerschmidt first worked with David Fincher as a Gone Girl gaffer—in collaboration with DP Jeff Cronenweth. But Messerschmidt got his chance to mine the auteur’s rich, iconic aesthetic as cinematographer of Netflix’s crime drama Mindhunter.
Created by Joe Penhall, with Fincher on as a director and executive producer, the 1970s-set series follows two FBI agents (played by Jonathan Groff and Holt McCallany) who look to expand criminal science by delving into the psychology of murder, coming uncomfortably close to the real-life monsters who would later be deemed “serial killers.”
Messerschmidt has been praised this season for the striking, atmospheric visuals he brought to Mindhunter—his first full series as a DP— though he prefers that his work remain invisible, operating beneath the surface:
“The second the audience is aware that a human is operating the camera, subconsciously there’s an awareness that someone else is in the room. Hopefully, the audience doesn’t notice the operating, they don’t notice my work, they are only seeing what’s happening on-screen between the characters. That’s the goal.”
Erik Messerschmidt with Camera Operator Brian Osmond, SOC (Patrick Harbron / Netflix)
Merrick Morton / Netflix
The Netflix original series Mindhunter is, by far, one of the best new shows currently running. The true story-based, 1977-set drama chronicles the early days of criminal psychology and criminal profiling primarily through the eyes of three people at the FBI’s Behavioral Science Unit: eager newcomer Holden Ford (Jonathan Groff), somewhat jaded veteran Bill Tench (Holt McCallany), and brilliant psychology professor Wendy Carr (Anna Torv). That this show is immaculately crafted from top to bottom will come as no surprise to those aware that it’s the brainchild of David Fincher, who serves as executive producer and directed nearly half of the series’ first season.
This is without doubt one of the best looking pieces of entertainment released in 2017, regardless of medium, with classical framing, motivated camera movement, and a tremendous palette that gives a mere peek into the darkness inside the minds of the criminals and serial killers who are the subject of the Behavioral Science Unit’s interviews.
So when I got the chance to speak with cinematographer Erik Messerschmidt about his work on the series, I was thrilled. Messerschmidt shot eight of the first season’s 10 episodes, including the Fincher-directed closing installments, and as he revealed during our interview, this was essentially his first major gig as a cinematographer. Messerschmidt had worked previously as a gaffer on shows like Mad Men and Bones, and then later the feature film Gone Girl where he first came into contact with Fincher. Based on their work together on that film, Fincher called Messerschmidt up when they were looking for a new DP for Mindhunter after the show’s original cinematographer exited over creative differences.
This promotion from gaffer to DP is a familiar refrain with Fincher’s cinematographers, as he did the same with his The Game and Fight Club gaffer Claudio Miranda, who was brought on as DP for The Curious Case of Benjamin Button and went on to win the Oscar for Best Cinematography for his work on Life of Pi.
Messerschmidt’s rise to the primary cinematographer of Fincher’s brand new TV show elicits similarly spectacular results, as the DP’s work on Mindhunter is elegantly classical and incredibly motivated by character and theme. During the course of our conversation, Messerschmidt talked about the road that led to him becoming the cinematographer on Mindhunter, the specifics of his working relationship with Fincher, what it’s like to serve as a DP in the world of episodic television, how the work of production designers and costumes designers goes under-appreciated, and trying to maintain a consistent aesthetic with multiple directors. He also teased a bit about Mindhunter Season 2, including revealing their extensive shooting schedule.
Erik Messerschmidt with Episodes 3 & 4 Director Asif Kapadia (Merrick Morton / Netflix)
Operator Brian Osmond, SOC and dolly grip Dwayne Barr push in on a dialog scene between Anna Torv and Jonathan Groff (Merrick Morton / Netflix)
With Brian Osmond, SOC.
With Mindhunter, Netflix reunites with director David Fincher for the first time since he helped the streaming service launch into original programming with their first series, House of Cards. In Mindhunter, Fincher’s attention to detail proved a perfect match for creating the dark world of obsession and intrigue that is the true story of the origin of the FBI Behavioral Science Unit. Based on the real-life experiences of FBI special agent, John Douglas, who pioneered the practice of psychological profiling, Mindhunter takes place in the 1970’s and follows two FBI agents who radically expand criminal science as the study the methods and motivations of serial killers. But getting so close to real world monsters has consequences, and their encounters with the darkest of humanity begin to change them and the way they work.
Read the full interview:
Thanks to Andrew Moore
May 3, 2018
Over the last few years, 8K has become accepted as an acquisition format for 2K & 4K delivery. Michael Cioni, of Panavision & Light Iron, believes that it is time to start pushing 8K as a distribution format. Listen as he challenges common misconceptions about the validity of 8K exhibition.
Cioni uses Moore’s Law to explore the idea that the resolution of our capture and delivery of video will continue to grow far into the future. In the early years of Light Iron, Michael and his team faced many challenges in moving from a 2K to 4K digital intermediate for their customers. But they overcame those challenges and are now working toward supporting 8K distribution.
David Fincher went looking for the 1970s — and found them in Pittsburgh. but that was just the start for the esteemed producer-director and his team, who recreated the era for Mindhunter, the Netflix series about two pioneering FBI profilers.
Watching the Netflix series Mindhunter, you may shudder as convicted serial killer Ed Kemper (Cameron Britton) casually chats about his string of brutal murders, or flinch when — spoiler alert! — a bird hits the fan courtesy of mass murderer Richard Speck (Jack Erdie).
What you’re less likely to notice is the precision with which the show’s late-’70s landscape has been created. David Fincher considers that a win.
“It’s really important that it feels like two people having a conversation — and that 40 people aren’t on their iPhones simultaneously just outside of frame,” says Fincher, who is executive-producing the series with Joshua Donen, Charlize Theron and Ceán Chaffin. “The great news is, I lived through the ’70s, so I remember what that looks like.”
Created by Joe Penhall — and based loosely on FBI agent John Douglas‘s book Mindhunter: Inside the FBI’s Elite Serial Crime Unit — the series explores the birth of criminal profiling.
Special agent Holden Ford (Jonathan Groff, playing a fictionalized version of Douglas) and his partner, Bill Tench (Holt McCallany), work alongside psychologist Wendy Carr (Anna Torv) to dig into what makes murderers tick. Shot in Pittsburgh, the show is a window on a time before the term serial killer had been coined, much less become the focus of TV shows and casual conversations.
While that seemingly more innocent time is reflected partly in the show’s relative lack of gore, the decade’s thornier complexities required a critical eye (or, in this case, eyes) to see past the polyester-covered clichés.
“David is the most holistic filmmaker I’ve ever met,” director of photography Erik Messerschmidt says. “The tone of every scene is important, and [so are] how the costumes and lighting and set decoration and everything play a part in creating the finished product.”
Fincher, who directed four of the first season’s 10 episodes, is famously meticulous, but he says the secret to getting it right is finding the right people.
“I don’t think you keep a project in a kind of design and aesthetic wheelhouse by being a dictatorial influence. Just stomping your feet and holding your breath is not going to make stuff work,” he says. “A lot of times, you have to empower people who are the advance troops and the follow-up troops to make decisions that are based on conversations that you have.”
In this case, one of the first decisions — where to shoot — was daunting.
“Our biggest issue,” Fincher says, “was: where do we find 1978?”
Thanks to Mindhunter News