The immense director David Fincher granted us a 90-minute exclusive interview with Mouloud Achour. This new Clique X is a masterclass from the American genius about the secrets of his filmography that has become so emblematic over the years: Seven, Fight Club, Zodiac, The Social Network…
Collider’s own Steve Weintraub recently got the chance to sit down with legendary multi-hyphenate Kirk Thatcher to discuss his prolific career working in numerous roles throughout the industry. The Emmy-winning writer/director/actor/producer/effects whiz is now known for everything from Muppets Tonight to Star Trek IV: The Voyage Home and, more recently, Werewolf By Night, but during the interview, he also elaborated on his roots rising up through Industrial Light & Magic (ILM). It was there that Thatcher would blossom and meet a friend who would help him kick off his career – David Fincher.
Before he even started at ILM, Thatcher describes his fascination with Star Wars that would one day lead him to the studio. At 15, he’d heard the hype surrounding the revolutionary sci-fi film and made sure he was there on opening day to see it unfold. “So I kind of knew it was coming out, and I went and saw opening day at Man’s Chinese, the first screening, the 12-noon screening at Man’s Chinese, completely blown away and just became a huge Star Wars fan instantly.,” he told Weintraub. Bought the books, including the Star Wars sketchbook by Joe Johnston.” His love for the films would almost immediately lead him to an important industry connection. “So maybe within three months of that opening, my mom came home from church on a Sunday afternoon and said, “Hey, I just met a gal at church, a really nice lady, whose son worked on Star Wars.” Her son was Johnston, then a concept artist and special effects technician for Star Wars: A New Hope.
On this episode of VFX Notes, Hugo Guerra from Hugo’s Desk and Ian Failes from befores & afters are joined by Craig Barron. Barron is creative director at Magnopus, and previously worked as a matte painter at ILM and co-founder and visual effects supervisor at Matte World Digital. Barron won a VFX Oscar for The Curious Case of Benjamin Button, and was also nominated for a VFX Oscar for Batman Returns.
They talk about his amazing career and his work in Zodiac, Casino, Empire Strikes Back, Batman Returns, and so much more, what those original days of matte painting in the optical era were like, and how the transition to digital happened. Matte World Digital’s work on Zodiac, amongst other films, was also discussed in a previous episode.
This episode is sponsored by ActionVFX Black Friday sale. It begins November 25th at 8 PM EST and will end on December 3rd at 11:59 PM EST. All VFX elements in the library will be 55% off the first 24 hours, & 50% off the remaining days of the sale. All Annual Subscription Plans (Individual & Studio Plans) purchased during the sale will receive 2x the amount of monthly elements. Learn more here.
Chapters: 00:00:00 – Intro 00:04:30 – David Fincher and DVD extras 00:05:35 – Craig’s career 00:08:16 – Ray Harryhausen and influences 00:12:08 – Matte paintings in Empire Strikes Back 00:18:13 – Physical correct vs artistic direction 00:32:07 – Matte paintings in Batman Returns 00:34:12 – Casino and the first radiosity render 00:43:37 – 3D projections in Zodiac 00:55:02 – Blade Runner VR 00:59:48 – The Criterion Collection and history 01:07:05 – Patreon, Twitch Subs and YouTube members credits
Mank is nominated for 10 Academy awards in this year’s 93rd Oscars in categories such as Best Picture, Lead Actor, and Best Director. It is also nominated for the VES award for Outstanding Supporting Visual Effects in a Photoreal Feature. The film follows screenwriter Herman J. Mankiewicz’s tumultuous development of Orson Welles’ iconic masterpiece Citizen Kane (1941).
There were several VFX supervisors nominated, Simon Carr (Territory Studio), Wei Zheng (Artemple), James Pastorius (Savage VFX), along with Peter Mavromates. In many respects, director David Fincher could have also been nominated for VFX. The director is himself an expert in visual effects and was a very active contributor to the film’s effect work. Peter Mavromates is a long-time collaborator with David Fincher and was officially the Co-producer, Post Supervisor and VFX Producer on the film. Additionally, Pablo Helman at ILM was key in creating the CG animals at the San Simeon zoo.
The film had its roots going back over 20 years. “We had a false start about 20 years ago, around 1999. The script had been written at that time but it never happened for a number of reasons,” Mavromates comments. “Probably a contributing factor was that it was black and white and if you weren’t Woody Allen in the 90s, you couldn’t shoot black and white. Even Mel Brooks had to change producers for Young Frankenstein because the studio wouldn’t let him shoot black and white and he had to find another studio.”
The movie finished filming about 2 weeks before the W.H.O. declared the COVID pandemic in Feb 2020. This meant nearly all the VFX was done using remote protocols at each of the VFX vendors.
Take a look behind the invisible visual effects of ‘Mank’. ILM contributed a series of shots to the film including the various animals housed at the Hearst Castle private zoo. We created a host of photo-real CG animals to complete the scenes featuring capuchin monkeys, giraffe, elephants, and their environs such as the ornate wrought-iron victorian-era monkey’s enclosure and the gated grass area housing the roaming elephants and giraffe.
Director: David Fincher ILM Visual Effects Supervisor: Pablo Helman ILM Animation Supervisor: Mathew Cowie ILM Associate Visual Effects Supervisor: Sherry Hitch ILM Executive Visual Effects Producer: Erin Dusseault ILM Visual Effects Producer: Flannery Huntley ILM Associate Vfx Producer: Andrew Poole ILM Studios: San Francisco, Vancouver
On Mank, VFX supervisor Wei Zheng paired state-of-the-art technology with old-school filmmaking techniques, to help David Fincher craft a singular portrait of Hollywood’s Golden Age. Marking Zheng’s sixth collaboration with the director, the Netflix drama follows alcoholic screenwriter Herman J. Mankiewicz (Gary Oldman), as he finishes the script for Citizen Kane.
By implementing matte painting and rear projection, along with other tools and tricks, Fincher and his team minimized the budget necessary to assemble an authentic period piece, manipulating L.A. exteriors when necessary, or avoiding them altogether. Ultimately, what these tools offered Fincher was complete control of every image, and interestingly, the director himself served as the film’s overall VFX supervisor, though he chose to go uncredited.
At the same time, it took a village to bring his vision to life. Supporting him in his ambitions, alongside Zheng (Artemple Hollywood), were VFX supervisors Simon Carr (Territory Studio), James Pastorius (Savage VFX), and Pablo Helman (ILM). His fourth key collaborator in this arena was Peter Mavromates, who served as co-producer, post-production supervisor and VFX producer.
In conversation with Deadline, Zheng breaks down the shorthand he’s developed with Fincher over the years, and the approach he took to getting “David’s imagination” on each of his longtime passion project’s frames.
There’s something appropriate about David Fincher’s Mank premiering during one of the most unusual years Hollywood has experienced in several generations.
The tale of eccentric, unpredictable screenwriter Herman J. Mankiewicz’s efforts to pen the screenplay for Citizen Kane, Mank is a throwback to American cinema’s golden age, meticulously filmed in black and white and set in and around pre-war Hollywood. In order to recreate the historic look and feel of the era (and the film itself), Fincher and co-producer Peter Mavromates, who also served as post-production supervisor and visual effects producer on the film, worked with several VFX studios to turn back the clock for Mankiewicz’s saga.
When tackling a period-centered project like Mank, David Fincher and his assembly of below the line craftspersons create magic, fully immersing the viewer in a faithfully recreated 1930s-era California. While the project leveraged many real-world locations and built sets, changing times and the absence of an unlimited budget posed some challenges to create that immersive world Fincher and team demanded. To complete the illusion, the filmmakers looked to co-producer Peter Mavromates, who led a team of four visual effects (VFX) supervisors.
Now, Mank isn’t effects-heavy The Avengers, but that doesn’t mean VFX aren’t just as critical to the film’s storytelling and overall atmosphere.
“The assumption, at minimum, is that you’re going to at least need to retouch a background to get rid of modern anachronisms,” Mavromates explained. “As in this movie, there are situations where David [Fincher] will want to actually replace the background so that period buildings are back there.”
There are many reasons why there’s a general wave of excitement whenever there’s a new David Fincher movie. That’s particularly been the case with Mank considering the six-year gap since Fincher’s last film Gone Girl, roughly half that time in which Fincher was making the series Mindhunter for Netflix.
Most of Fincher’s fans within and outside the industry see the filmmaker as a modern master of the visual medium, and Mank offers further proof of this with stunning shots recreating Hollywood in the ‘30s and ‘40s, fully realized background environments in which well-known icons from the era discuss the political climate of the times, both in the country and in Tinsel Town itself. At the center of it all is Gary Oldman’s Herman Mankiewicz, the illustrious screenwriter who would win a shared Oscar for co-writing Orson Welles’ Citizen Kane.
One person who has been along for the ride watching Fincher’s rise as a visionary filmmaker is Peter Mavromates, whose first film with Fincher was 1997’s The Game, but who first met the director on a Michael Jackson video and a commercial he directed. Mavromates has worked in post for over 35 years, as one of the first to champion the benefits of combining analog film with digital post, producing his first DI (Digital Intermediary) for Fincher’s 2002 movie, Panic Room, which was shot on analog. Five years later, he did the same for Zodiac, Fincher’s first digitally-shot film.
As Fincher’s Post-Production Supervisor, Mavromates’ duties continued to expand and evolve, his duties involving all the budgeting and hiring when it comes to the post process. “I like to describe it as once the image is captured, it becomes my problem,” he told Below the Line over a Zoom call a few weeks back.
While the “Mank” visual effects team meticulously recreated ’30s-era LA in black-and-white (utilizing the matte paintings of Artemple, Territory’s LED rear screen projection, and Savage’s sky replacement with the Unreal engine), David Fincher took a special interest in directing the photo-real CG animals from Industrial Light & Magic that inhabit the Hearst Castle private zoo.
In a brief but memorable series of exchanges with the animals during their chatty moonlight stroll, Mank (Gary Oldman) and Marion Davies (Amanda Seyfried), are definitely upstaged by the scene-stealing Capuchin monkeys, elephants, and giraffes. “David wanted specific performances from all the animals,” said ILM VFX supervisor Pablo Helman (“The Irishman”). “He wanted the [four] monkeys to be agitated, the giraffes to spring in a certain way, and the elephants to have a response.”