To be updated
Charles Dance plays newspaper tycoon William Randolph Hearst in Mank.
Dance appeared as prison doctor Clemens in Fincher’s first film Alien3 (1992):
“First of all, I’m a huge fan of his. And I don’t say that about all directors that I’ve worked with. But when I first worked with David, the minute he walked onto the set and started to talk, I thought ‘right, this guy is clever'”.
November 13, 2020
Christina Jeurling Birro
November 13, 2020
Pop Culture Confidential
Don’t miss this exclusive and compelling conversation with actor, writer, and director Arliss Howard (Full Metal Jacket, Natural Born Killers, The Lost World: Jurassic Park, Amistad, Moneyball, Manhunt)
A journey into his process, his brilliant performance as MGM’s Louis B Mayer in David Fincher’s new epic feature ‘Mank’, working with Fincher, Kubrick, Spielberg and Stone and so much more!
‘Mank’ premieres theatrically in some territories on Nov 13th. On Netflix Dec 4.
Arliss Howard (2001, Evan Agostini)
“It does feel like Groundhog Day”
There are few directors as infamously meticulous as David Fincher. Amanda Seyfried – who appears in Fincher’s upcoming movie Mank, about the writing of Citizen Kane – previously revealed that one scene took around 200 takes to capture properly. For the latest issue of the magazine, Total Film asked the team behind Mank about working with Fincher, with the director himself being the first to admit that he can be quite demanding.
“It was exhausting in the beginning, I think, for him,” Fincher says of leading actor Gary Oldman. “Because I’m fairly didactic about, ‘These are the things that the scene needs to accomplish for me, and we will continue to play, to look for ways to underline these ideas that are as subtle as we can make them.’
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On the cusp of the 25th anniversary of Se7en and the 10th anniversary of The Social Network, The Ringer hereby dubs the next five days David Fincher Week. Join us all throughout the week as we celebrate and examine the man, the myth, and his impeccable body of work.
The first few minutes of David Fincher’s ‘The Social Network’ is a thesis statement on its protagonist—and a harbinger for a decade defined by assholes
“The scene is stark and simple,” reads the first page of the screenplay. A young couple sits bickering at a campus pub, a tale as old as time. They speak quickly and sharply about pressing student concerns: SAT scores, summer jobs, a cappella groups, and whether one of them used to sleep with the establishment’s bouncer. (He’s just a friend named Bobby, she insists.)
Each character feels increasingly insulted by the other. By the end of the conversation, their relationship is through. “A fuse has just been lit,” notes the script at the scene’s conclusion, describing a dynamic—college breakup as launching pad—that is broadly familiar to audiences yet is also, in this telling, a portal to a great and eventually unrelatable unknown. That’s because this movie is no rom-com; it’s The Social Network, the 2010 deep dive into the hectic and ultimately litigious early days of Facebook that was written with snide perceptiveness by Aaron Sorkin, directed with bold ambition by David Fincher, scored with staccato generosity by Trent Reznor, nominated for eight Oscars, and received by audiences worldwide to the tune of nearly a quarter of a billion dollars.
A collection of things to listen to, read, and watch about the director behind ‘Fight Club,’ ‘The Social Network,’ ‘Mindhunter,’ and more
Actor Damon Herriman talks about tackling the role of Charles Manson (again) in Netflix‘s Emmy®-nominated series Mindhunter. Oscar®-winning makeup designer Kazu Hiro, meanwhile, details the actor’s physical transformation from mild-mannered Aussie to iconic cult leader.
It was amazing to sit down and chat with Writer/Director/Producer James Vanderbilt, whose credits include Sony‘s ‘The Amazing Spiderman‘, ‘White House Down‘ and David Fincher‘s masterpiece ‘Zodiac.’
In our conversation we talk about James’ early success selling his first script just days away from graduating at USC, his relationship with pitching films to studios, becoming a first-time director on ‘Truth‘ and much more.
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Joe Tuttle is well known amongst the fans of David Fincher’s Netflix show Mindhunter, for his role as FBI Agent Gregg Smith in both seasons 1 and 2. He has also appeared on other top-rated shows such as The Blacklist and Unforgettable. Joe and I had an in-depth conversation discussing his influences growing up, his career, and so much more.
JT: My secret weapon is my wife, she’s not an actress but she does have a writing background, so sometimes I think I can get caught up looking at these scripts as an actor like, ‘Oh this could be a really beautiful moment,’ but my wife is always about the writing, sort of, ‘Don’t forget these are human beings.’ It’s nice to have your moment as an actor, but don’t forget, are you really serving the story?
PC: And from speaking to many of the actors on Mindhunter that’s exactly what David Fincher wants when he shoots take after take of the same scene, for you not to play them out as an actor but to be, or react, as you would naturally in real life, and that really ties in to what your wife is saying.
JT: I think that’s part of it… I wish just for one day I could get in the head of David. I don’t think I’ve ever met anyone like him before; I probably won’t meet anyone like him again. He’s sort of brilliant at all these different things. I think that’s true he does a lot of takes for a lot of different reasons. One of them is certainly because it’s, ‘Okay let’s make the performances kind of finely crafted in a way, sort of uncrafted in a way. We don’t want to see the actor, we want to see a human being having the experience’.
PC: Yeah exactly!
JT: Also another reason David Fincher does a lot of takes is because I think he has a vision and he wants it to be exactly how he visualises it. It’s not always about the actor, sometimes it’s: we are slightly out of focus; it’s the wrong moment; actually I want to change one word, or the lightning is slightly different, or l want to frame up the camera in a different way, or I don’t like the coffee cup you are using, or that chair, we need to switch that out, or the background actors weren’t perfectly in sync. He notices everything, things that no one else would notice!
PC: In shooting numerous takes he wants the scenes to be the best of the best and to be fair it pays off doesn’t it.
JT: I think so. I don’t think David is making movies or TV shows for the 95%. I think people universally love his work and for good reason. He’s not making them for the 95%, he’s making them for that top 5, that top 2% even, who are going to notice these kinds of things. They are going to say, ‘That cup doesn’t make sense in this world. The lighting was a little bit off in that shot,’ or, ‘that background actor didn’t see his mark exactly.’ He’s making it for people like him, who are going to really notice that stuff. And when you do notice a glaring error or mistake, or something that doesn’t seem right, it takes you out of the story. I think he just wants a total immersive experience. He wants you, I presume, to be so involved that you almost forget, so that you really do feel like a fly on the wall, watching these people having these experiences.
PC: I have just interviewed Garry Pastore and his other job, when he’s not acting, is as a set dresser (leadman). He said he notices stuff like a blank wall behind a person which would clearly have a piece of art or a photograph on it in real life.
JT: The trouble with David is it means we notice that stuff now too; he’s sort of a force of nature; he raises everybody’s game. I’ve really noticed that about him – and not just with the actors, but the cinematographer, the technicians, the dolly grip, the sound folk – because he’s operating at such a high level you have rise to the occasion. I think that’s why people are drawn to working with him and will pass up other job opportunities, just to be able to work with David.
PC: I have arranged to have an interview with a guy called Dwayne Barr who operates the A camera dolly grip, because I’m just as interested to get his take on the technicalities of Mindhunter and Fincher, not just actors. I would love to talk to Erik Messerschmidt about cinematography.
JT: He’s a talented guy. It’s the first time in my working life as an actor I’ve been like ‘Wow!’ I wish my education had included more about cameras, editing and lighting. We touched on a lot of that stuff in acting school but wow, the technical aspects of making a TV show or film is frankly probably more important than some stuff we were taught. Just being able to ask the DP or the cinematographer why this, why now? Because I’ve had this work opportunity, I’ve started to notice.
Joe Tuttle (David Noles)
Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come):
Jesse C. Boyd has graced our screens playing roles such as Frank Janderman in David Fincher’s Mindhunter, the lead role of Jake in Day 5, a Queen’s Ranger in TURN and a wolf in The Walking Dead. We had an in-depth, and really fun conversation, about his childhood in rural North Carolina, his career and roles, upcoming projects, music, his love of hot sauce and lots more besides.
JCB: For Mindhunter I auditioned for it for, I think, a year – it was really long time. I remember I did my first tape when I was at a film festival in Idaho and, I think, while I was there I found out that I got Day 5. Then when I was filming Day 5 season 1 I got my second audition and they added another 8 pages to it. That was just ongoing and ongoing over time until, finally (and I think I was wondering whether it was actually happening) they were like, ‘They want you to come in to the office and do another read.’ I went in for another read. I think that Laray Mayfield (who does the casting) she actually does prefer self-tapes because she wants to weed through and see what she gets. They did just such an incredible job with that casting. When I saw it myself I just thought, ‘Wow! This is just so authentic and good!’ Laray is so talented too. Getting finally into the room you’re like, ‘Don’t screw this up!’
DB: When you were in the room was it just one or two run-throughs, or did she tweak how she wanted you to play it?
JCB: She did tweak. I know she did a version where she wanted it really fast. You’ve got to realise we’ve been doing these auditions over a year and the names are changing and the dialogue changes so you are consistently reframing what you’ve already learned. And then you’re finally going into the room and they’re like, ‘Can you do a fast version?’ (I think they want to see how [actors] can be on their feet, because of the way they filmed that show. When I ended up filming it they had so many different versions that we did of dialogue, I think they wanted to see whether you could handle these quick switches). There was one take that was super-fast and one that was more slowed down.
DB: How did you prep for that role? For who Frank Janderman actually is.
JCB: First of all I [had] spent a lot of time in Pittsburgh which was great (I did work and lots of things there), so that Pittsburghian accent was all around me. Then I just saw Frank as just like so many people that I feel that I already kind of know in life. This ‘nobody-fucking-asked-you’ kind of guy, but also he believes he’s a hotshot. He was accessible to me through so many other people I had met in my life that I know, that I think are really so much about the façade of not showing who they really, truly are – some of that, broken-downness in them.
DB: There’s a long interrogation scene and then a shorter one: how many takes did they do?
JCB: Oh my God! I wish I could tell you! Can I say a million takes? They did that big interrogation scene – we had three cameras running at all times – I think we filmed it for 12 hours the first day (it’s a 9-and-a-half page scene) three cameras, so you’re getting every angle on either side, and you’re doing it over, and over, and over, and over, and over… and just when you’re done, you’re doing it over, and over, and over again. Then I think the next day we went back and did another 6 hours. So it was a really long time of doing which is, I think, what makes it so great. First of all you’re breaking down a lot; you’re coming back; you’re refreshing with new things; you’re constantly finding new things to play with; and also you have so much coverage that when he [David Fincher] chooses what he’s going to put together he really has every colour of the box to paint his picture with.
Jesse C. Boyd (Janet Adamson / JA Images)
Read the other Absolute Music Chat conversations with the Cast of Mindhunter (more to come): Jonathan Groff, Holt McCallany, Cameron Britton, Cotter Smith, Jack Erdie, Adam Zastrow, Alex Morf, Tobias Segal, Thomas Francis Murphy, Chris Dettone.