Tag: Editing

Anheuser-Busch Super Bowl Commercial Executive Produced by David Fincher and Directed by Adam Hashemi

February 3, 2021
Anheuser-Busch

Anheuser-Busch – Let’s Grab a Beer (Super Bowl LV) (“90)

Anheuser-Busch – Let’s Grab a Beer (Super Bowl LV) (“60)

Tagline
“It’s never just about the beer. It’s about being together.”

Press Release

CREDITS

Client
Anheuser-Busch

Product
Beer

Title
Let’s Grab a Beer

Agency
Wieden+Kennedy Portland

Global Chief Creative Officer
Karl Lieberman

Global Chief Operating Officer
Neal Arthur

Director of Strategic Planning
Dan Hill

Creative Director
Michael Hagos

Copywriter
Brad Phifer

Head of Integrated Production
Nick Setounski

Executive Producer
Jessica Griffeth

Senior Producer
Bianca Cochran

Group Account Director
Brooke Stites

Account Supervisor
Meredith Zambito

Group Strategy Director
Stephane Missier

Strategist
Matt Hisamoto

Social Strategist
Irsis Cabral

Comms Director
Zack Green

Business Affairs
Daniella Vargas

Traffic Coordinator
Tina Wyatt

Production Company
RESET

Executive Producer
David Fincher

Managing Director/Executive Producer
Dave Morrison

Executive Producer
Deannie O’Neil

Producer
Vincent Landay

Assistant Producer
Grace Campos

Director
Adam Hashemi

1sr Assistant Director
Bob Wagner

Directors of Photography
Eigil Bryld, Chayse Irvin

Production Designer
Donald Graham Burt

Costumes
J.R. Hawbaker

Sound
Ren Klyce

Music
Barking Owl

Composer
Atticus Ross

Musical Creative Director
Kelly Bayett

Editorial & Finishing
Exile

Editor
Kirk Baxter

Additional Editor
Grant Surmi

Assistant Editor
Christopher Fetsch

Flame Artist
Dino Tsaousis

Flame Assistant
Adam Greenberg

Executive Producer
Sasha Hirschfeld

Post Producer
Toby Louie

The Perfect Storm That Led to Anheuser-Busch’s Super Bowl Ad

Inside the journey to W+K’s ‘Let’s Grab a Beer’

Tim Nudd
February 15, 2021
Muse by Clio

“Let’s Grab A Beer” Grabs 1st Place In Top Ten Tracks Chart

Atticus Ross and Ren Klyce continue to collaborate with David Fincher–this time on a Super Bowl spot directed by Adam Hashemi.

April 2, 2021
Shoot

Mank, The Unmaking

January 28, 2021
Netflix

manktheunmaking.com [Old Domain]

mank.aristidebenoist.com

Text by:

Nev Pierce

Photography by:

Erik Messerschmidt
Miles Crist
Gisele Schmidt-Oldman
Gary Oldman
Ceán Chaffin
Nikolai Loveikis

Design and development by:

Watson Design Group, Inc.
Aristide Benoist

Art Of The Cut Podcast: “Mank” Editor Kirk Baxter, ACE

Steve Hullfish (Twitter)
January 27, 2021
Art Of The Cut Podcast (ProVideo Coalition)

The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into your car, living room, editing suite and beyond. In each episode, Steve talks with editors ranging from emerging stars to Oscar and Emmy winners. Hear from the top editors of today about their careers, editing workflows and about their work on some of the biggest films and TV shows of the year.

On this episode of the Art of the Cut Podcast, Steve talks with multi-award winning editor Kirk Baxter, ACE about editing the Netflix film “Mank.” You likely know Kirk from his Oscar winning work on “The Girl with the Dragon Tattoo” and “The Social Network” as well as his Oscar nominated work on “The Curious Case of Benjamin Button.” In addition to his feature film work, Kirk was nominated for Prime Time Emmy’s for “House of Cards” and “Big Love.” All of this just scratches the surface of Kirks filmography, check out his IMDb page for a full breakdown!

This episode of the Art of the Cut Podcast is brought to you by Filmtools.com, Hollywood’s trusted one-stop shop for all things production and post.

Want to read/ listen to more interviews from Steve Hullfish? Check out The Art of the Cut Archive for more than 200 interviews with some of the top film and TV editors of today!

The Art of the Cut podcast is available on:

ProVideo Coalition
Apple Podcasts
Spotify
Anchor
Google Podcasts
Breaker
Pocket Casts
Overcast
Radio Public

If you like the podcast, make sure to subscribe so you don’t miss future episodes and tell an editor friend.

Read the transcription of this interview:

ART OF THE CUT with Kirk Baxter, ACE on editing Fincher’s “Mank”

Steve Hullfish
February 2, 2021
ProVideo Coalition

Kirk Baxter on editing David Fincher’s Mank

Oliver Peters
January 20, 2021
postPerspective

David Fincher’s Mank follows Herman Mankiewicz during the time he was writing the classic film Citizen Kane. Mank, as he was known, wrote or co-wrote about 40 films, often uncredited, including the first draft of The Wizard of Oz. Together with Orson Welles, he won an Oscar for the screenplay of Citizen Kane, but it’s long been disputed whether or not he, rather than Welles, actually did the bulk of the work on the screenplay.

The script for Mank was penned decades ago by David Fincher’s father, Jack, and was brought to the screen thanks to Netflix this past year. Fincher deftly blends two parallel storylines: Mankiewicz’s writing of Kane during his convalescence from an accident and his earlier Hollywood experiences with the studios, as told through flashbacks.

Fincher and director of photography Erik Messerschmidt, ASC, (Mindhunter) used many techniques to pay homage to the look of Citizen Kane and other classic films of the era, including shooting in true black-and-white with Red Monstro 8K Monochrome cameras and Leica Summilux lenses. Fincher also tapped other frequent collaborators, including Trent Reznor and Atticus Ross for the score and Oscar-winning editor Kirk Baxter, ACE, who won for the Fincher film’s Girl With the Dragon Tattoo and The Social Network.

I recently caught up with Baxter, who runs Exile Edit, to discuss Mank — starring Gary Oldman in the main role — the fourth film he’s edited for David Fincher.

Read the full interview

Art Of The Cut Podcast: “Mank” First Assistant Editor Ben Insler

Steve Hullfish (Twitter)
December 9, 2020
Art Of The Cut Podcast (ProVideo Coalition)

The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into your car, living room, editing suite and beyond. In each episode, Steve talks with editors ranging from emerging stars to Oscar and Emmy winners. Hear from the top editors of today about their careers, editing workflows and about their work on some of the biggest films and TV shows of the year.

On this episode of the Art of the Cut Podcast, Steve talks with editor Ben Insler about his work on the new Netflix Film “Mank.” Ben has edited multiple series including the Netflix series “Mindhunter.” In this episode Steve dives deep into the work flows and technology used to cut this film including the challenges of finishing a film remotely due to COVID-19.

On a future episode, Steve will also be talking with editor Kirk Baxter about leading the “Mank” editing team. Make sure to keep a look out for that episode!

This episode of the Art of the Cut Podcast is brought to you by Filmtools.com, Hollywood’s trusted one-stop shop for all things production and post.

Want to read/ listen to more interviews from Steve Hullfish? Check out The Art of the Cut Archive for more than 200 interviews with some of the top film and TV editors of today!

The Art of the Cut podcast is available on:

ProVideo Coalition
Apple Podcasts
Spotify
Anchor
Google Podcasts
Breaker
Pocket Casts
Overcast
Radio Public

If you like the podcast, make sure to subscribe so you don’t miss future episodes and tell an editor friend.

Read the transcription of this interview:

ART OF THE CUT on the workflows and methods for editing “Mank”

Steve Hullfish
December 9, 2020
ProVideo Coalition

The People Who Can See Inside David Fincher’s Head

The famously meticulous Mank director is surrounded by collaborators tasked with turning his most ambitious ideas into reality.

David Sims
December 9, 2020
The Atlantic

Early in Netflix’s Mank, the screenwriter Herman J. Mankiewicz (played by Gary Oldman) ambles onto an outdoor movie set, where he bumps into an array of glamorous characters. In a scene full of repartee with real-life figures such as the actor Marion Davies, the film honcho Louis B. Mayer, and the mogul William Randolph Hearst, the visual details of the environment might seem unimportant. But to Mank’s director, David Fincher, they mattered. “The grass was not to David’s liking, and the sky was not to his liking, so all that’s been replaced,” Peter Mavromates, his co-producer, told me. When making a movie, Fincher literally controls heaven and earth.

That example sums up the capricious-sounding, godlike power of a director, especially in the age of digital filmmaking, which allows for total command of every frame. But as with all of his movies, Fincher’s vision for Mank was realized by a group of dedicated collaborators, most of whom have worked with the director for many years across projects. This film, which Fincher mulled for nearly three decades, is unlike anything he has made before. An unusual-looking-and-sounding film set in the Golden Age of Hollywood, Mank reflects the aesthetic of the 1930s with its black-and-white cinematography; an echoey, old-fashioned sound mix; and a brassy, orchestral score. But Fincher also wanted it to be a distinctly modern film, which posed many unique and fascinating technical challenges to the creators charged with bringing his lofty ideas to life.

Read the full profile

X2X: Glimpse into Future Filmmaking with Mank

How will filmmaking adapt in the post-Covid era? A glimpse into the future is afforded by Mank, the forthcoming Netflix feature project directed by David Fincher and spearheaded by producer Ceán Chaffin. More than a love letter to a catalog title, Mank is a glimpse of the complex interplay of human creativity and the filmmaking process as practiced in Hollywood’s golden era.

December 9, 2020
X2X

Fincher is known for working in the vanguard of filmmaking technology. Examples include a very early digital intermediate on Panic Room – the first ever in a facility designed for the purpose – and Zodiac, one of the first major features to be shot almost entirely digitally. The remote collaboration envisioned by futurists at the dawn of the internet era was already common practice for his team long before the pandemic.

“Fortunately, we have not missed a beat,” says Chaffin. “We are working now exactly how we mostly could have been working the past ten years, which is working from home during post.”

But the virus and its requirement to remain physically apart may constitute a final push for the industry at large. All the attributes of true remote connectivity – reduced travel time and its attendant benefits in terms of stress, pollution and time savings, enhanced with rapid feedback, superior organization and a centralized database – will still be applicable when health concerns subside.

A canvas of the top pros on David Fincher’s team indicates that while the pandemic naturally raises stress levels, the need to work separately has been essentially a non-factor in terms of their ability to collaborate efficiently and keep the production on track.

Fincher came to the project with a mandate that the production work with the PIX production hub. Chaffin, who has made nine films with Fincher, says that the system is an essential tool for collaboration and input.

“This is how we have worked for a long time.” says Chaffin. “David feels the team is making the film with him, sharing in the problem-solving. Even when we were in the same building, David was often responding exclusively through PIX. His preferences and concerns are there for everyone to refer to. You don’t have to go find that one email, or remember a comment someone made on their way out the door.

Read the full case study

Adobe: Hollywood Post-production with Team Fincher

A virtual panel with famed director David Fincher’s assistant editors and his post producer.

Mike Kanfer, Karl Soule, Matt Christensen, Marjorie Sacks
November 13, 2020
Adobe, Adobe for Education (YouTube)

Jennifer Chung, Assistant Editor
Ben Insler, First Assistant Editor
Peter Mavromates, Post Producer

In this panel, you’ll hear Team Fincher discuss their TV and feature film workflows and see how they used the new Productions feature in Premiere Pro along with After Effects in a completely remote scenario during the pandemic.

They’ll also discuss their career paths and give advice on how to succeed as a professional editor.

Watch the full event in six parts (playlist):

Part 1: Demo of Premiere Pro Productions

Part 2: Narrative Workflows in Premiere Pro

Part 3: Split Screen and Remote Workflows

Part 4: Career Advice

Part 5: Q&A

Part 6: Q&A Continued

How Steven Soderbergh’s Only Complaint About ‘Mank’ Changed the Editing of a Key Scene

Soderbergh’s critique of the costume party set piece proved valuable to Fincher and editor Kirk Baxter.

Bill Desowitz
December 4, 2020
IndieWire

David Fincher pal Steven Soderbergh often consults on early cuts of his movies (including the friendly product placement of Soderbergh’s imported Singani 63 brandy in “Gone Girl”)  —  and “Mank” was no different. Turns out Soderbergh’s only complaint about the “Citizen Kane” biopic was the execution of the costume party set piece, where drunken screenwriter Herman J.  Mankiewicz (Gary Oldman) goes on a long tirade against Machiavellian publisher William Randolph Hearst (Charles Dance) in front of his Hollywood friends at San Simeon.

“Soderbergh came during an early assembly and he just didn’t get why Hearst was putting up with Mank’s shit,” said editor Kirk Baxter (two-time Oscar winner for “The Girl with the Dragon Tattoo” and “The Social Network”). “And David and I talked about that. I very much make a movie with David, for David, and I’m not exposed to too many people during the process. But I found that the criticism helped. It didn’t provide the answer, it just provided the question.”

Read the full profile

La Septième Obsession 31: David Fincher

La Septième Obsession

OBSESSION: David Fincher

1. Mank de David Fincher

Le grand film de Fincher débarque sur Netflix le 4 décembre. L’occasion d’un entretien avec le cinéaste, mais aussi avec ses collaborateurs les plus proches. 16 pages spéciales.

Scénario pour une critique par Nicolas Tellop

Filmopathe entretien avec David Fincher – par Nev Pierce

Collaborer avec Fincher entretiens avec Erik Messerschmidt (chef opérateur) – Donald Graham Burt (chef décorateur) – Trish Summerville (costumière) – Kirk Baxter (monteur)

2. Revisiter Fincher

Plongée exceptionnelle dans l’oeuvre de l’un des plus grands cinéastes contemporains. Filmographie commentée, analyses… 50 pages à lire.

4 nuances de Fincher par Jean-Sébastien Massart et Fabrice Fuentes

David Fincher en 14 titres Propaganda Films (clips) – Alien 3 – Se7en – The Game – Fight Club – Panic Room + les plans de Panic Room – Zodiac – L’Étrange histoire de Benjamin Button – The Social Network – Millénium + la musique hantée de Millénium – Gone Girl – Mindhunter

3. Analyses

Démoniaque – la perfection du crime par Nathan Reneaud
Fantômes et paranoïa par Jérôme d’Estais
Solitude & obsession – Fincher Dogma par Alexandre Jourdain
Poétique du suicide par Aurélien Lemant
Le système des objets – design finchérien par Dick Tomasovic

Sommaire complet

Commander