Gillian Flynn is an author, screenwriter and showrunner who delights in writing what she calls “bad women” – fascinatingly flawed female characters who she grants the freedom to kill, lie, harm and harass in a way that sometimes ruffles feathers. Take her 2012 novel Gone Girl, for example, which she later adapted into a smash hit movie with David Fincher. That murder-mystery tale of a marriage steeped in deceit captivated the world and sparked near-endless conversation about the poison and/or empowerment of its main character, Amy Dunne.
That novel and movie – released within two years of each other – didn’t just make Flynn a literary darling. It also catapulted her to the summit of film and TV. In 2018, she co-wrote the brilliant Widows with Steve McQueen, and adapted her first novel, Sharp Objects, into a gloriously slow-burning limited series starring Amy Adams. Since then, she’s won cult acclaim for her streaming adaptation of Utopia, the British Channel 4 series.
In the conversation you’re about to hear, we ask Gillian how she pens her captivating characters and the social importance of allowing women to run riot on-screen and in her novels, the way that male anti-heroes are frequently permitted to do. She reflects on the accusations of misogyny that her work attracted from some female writers in the aftermath of Gone Girl’s release and reveals an alternative ending to that story that would have taken the tale of Nick and Amy Dunne in an entirely different direction.
In the David Fincher-directed film, The Killer, from a screenplay by Andrew Kevin Walker, and based on a graphic novel, Michael Fassbender stars as an assassin battling his employers when a hit goes terribly wrong.
Speaking during a panel at Deadline’s Contenders London event, editor Kirk Baxter addressed a rumor that the role required Fassbender to not blink at all.
There were many times watching the dailies where he heard Fincher’s voice saying, ‘That’s terrific, but let’s see that once again without the f—ing blinking.’ Baxter added, “Not so much that Fassbender needing that direction, it’s just been a thing.”
It’s always an exciting time in cinema when a new David Fincher movie is on the horizon. The modern master of suspense, Fincher’s filmography ranges from chilling murder-mysteries such as Seven and Zodiac to the generations-spanning romance of The Curious Tale Of Benjamin Button, neo-noir The Girl With The Dragon Tattoo and true-life tale The Social Network. Now, he’s about to unleash bold new thriller The Killer, a new kind of hitman movie starring Michael Fassbender (in his first role since 2019’s X-Men: Dark Phoenix) as a meticulous professional assassin whose life spirals out of control when a job goes wrong.
The new issue of Empire features the most in-depth look at the movie you’ll find anywhere on Earth – including an access-all-areas on-set report from three locations across the globe, following Fincher and his crew and witnessing his precise, pulse-pounding filmmaking in action. We have brand-new interviews with Fincher and Fassbender from on set about what makes their mysterious eponymous killer tick, how they’re putting the audience inside his head, their process of working together, pulling off incredible stunt sequences and much, much more. And in a rare, revealing additional retrospective interview, Fincher looks back at some of the most stand-out shots from across his entire career – from Ben Affleck’s cringeworthy smile in Gone Girl, to Panic Room’s swooping long-take, and more – sharing the fascinating stories of how they came to be.
The newsstand cover for our David Fincher special is a moody, rain-splattered compilation of some of his most iconic characters – Morgan Freeman’s Detective Somerset from Seven,Brad Pitt’s Tyler Durden from Fight Club, Rooney Mara’s Lisbeth Salander from The Girl With The Dragon Tattoo, the Zodiac killer, Rosamund Pike’s Amy Dunne from Gone Girl, and Michael Fassbender’s new hitman protagonist – illustrated exclusively for Empire by Paul Shipper.
Fincher-focused delights aside, the stacked new issue also contains a deep-dive into the new Hunger Games prequel, The Ballad Of Songbirds & Snakes; a celebration of Gravity’s 10th anniversary with Alfonso Cuarón; a set report from Aardman’s stop-motion sequel Chicken Run: Dawn Of The Nugget; we dig into the much-anticipated British indie How To Have Sex; there are fresh looks at anime series Scott Pilgrim Takes Off, Bradley Cooper’s musical biopic Maestro, Michael Mann’s racing drama Ferrari; and much, much more.
Trust us – this issue is all Killer, no filler. Empire’s David Fincher celebration issue, saluting the work of one of Hollywood’s biggest names, hits newsstands from Thursday 28 September.
The subscriber cover is a noir-ish vision of Michael Fassbender’s titular assassin from The Killer, stalking cobbled streets for his next target, decked out in tourist get-up so as to go unnoticed – illustrated exclusively for Empire by Corey Brickley.
What’s in the box? The new issue of Empire magazine, that’s what. Incredible, globe-trotting on-set access of The Killer, and brilliant writing, from Nev Pierce, who got up-close and personal with David Fincher, Michael Fassbender, and Tilda Swinton.
Press conference featuring Director of Photography Erik Messerschmidt ASC, Sound Designer Ren Klyce, Director David Fincher, and Editor Kirk Baxter ACE.
Red Carpet featuring Producer Peter Mavromates, Director of Photography Erik Messerschmidt ASC, Writer of the original “The Killer” (“Le tueur”) comic Alexis “Matz” Nolent, Editor Kirk Baxter ACE, Sound Designer Ren Klyce, Director David Fincher. The original stream has the ambient sound turned down to a minimum because it is too busy and noisy, and only barely intelligible in the close-ups.
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.
It’s been 24 years since David Fincher brought one of his movies to the Venice Film Festival, and the last time, things didn’t go so well.
“I came here with a little film called ‘Fight Club’” in 1999, he told me during an interview on the Lido this week. “We were fairly run out of town for being fascists.” Even before the premiere of that controversial Brad Pitt flick, the director could sense trouble. “I looked down and the youngest person in our row was Giorgio Armani,” Fincher said. “I was like, ‘I’m not sure the guest list is the right guest list for this.’”
So what makes lofty Venice the right place to premiere “The Killer,” Fincher’s new thriller and his first film since the Oscar-winning Hollywood drama “Mank”?
“Nothing,” cracked Fincher. “Venice seems like it’s very highbrow — important movies about important subjects — and then there’s our skeevy little movie.”
Still, Fincher has always enjoyed toying with people’s expectations. He does it even within the world of “The Killer,” which premiered in Venice on Sunday and stars Fassbender as a hired gun who has to improvise after a fatal assignment goes awry.
Anastas Michos ASC GSC reteamed with director David Prior to shoot the Emmy-nominated episode “The Autopsy” for Guillermo del Toro’s anthology series Cabinet of Curiosities.
In this version of Michael Shea’s short story, adapted with the help of screenwriter David S. Goyer, a small-town sheriff (Glynn Turman) is investigating a tragic mining explosion. One of the bodies pulled from the wreckage is given to pathologist Dr Winters (F. Murray Abraham) to examine, only to uncover a much more gruesome and macabre secret.
The episode, shot on RED Digital Cinema cameras, also received recognition with an ASC Award nomination earlier this year. Given the subject matter and their successful collaboration on Prior’s feature debut the horror film The Empty Man (2020) it was natural the pair should hook up.
“A director and cinematographer might not always see eye to eye but when they work together a lot you tend to challenge each other and that becomes part of the creative process,” says Michos. “You develop a shorthand which is paramount to getting through it all, particularly for TV. We shot this 58-minute episode in 15 days which astounded the both of us. Having the ability to understand what the director is trying to communicate is certainly useful.”
Knowledge of each other’s sensibilities proved advantageous when they arrived in Canada to shoot “The Autopsy” in 2021 during COVID since they were instantly confined to quarantine.
“We had about three weeks in our respective apartments which allows a lot of time to think. Our main reference for exteriors and tonality was The Deer Hunter (1978). In most projects, tonality is the first thing we try and decide.”
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!
In this episode, cinematographer Anastas Michos, ASC, GSC is joined by interviewer Phedon Papamichael, ASC, GSC to discuss his work on Guillermo del Toro’s Cabinet of Curiosities— the Netflix horror-anthology series featuring eight macabre stories guest-directed by notable genre filmmakers.
Presented and “personally curated” by Guillermo del Toro, Cabinet of Curiosities offers an assortment of modern horror fare rooted in the traditions of gothic and grand-guignol storytelling. The series’ guest directors include Ana Lily Amirpour, Panos Cosmatos, Catherine Hardwicke, Guillermo Navarro, David Prior, Vincenzo Natali, and Keith Thomas. Michos shot Episode 3 — “The Autopsy,” directed by Prior — and earned ASC Award and Emmy Award nominations this year for his work on the installment.
In this interview, Michos discusses his approach to shooting his episode with minimal lighting; the importance of amping up contrast between colors to strengthen and maintain his palette’s intended effects; his personal philosophy on color association; and why cinematographers must follow their own instincts when making decisions on camera operating and movement.
Anastas Michos, ASC, GSC is a cinematographer whose credits include the features The Kissing Booth (2018), The First Purge (2018), The Empty Man (2020) and Vanquish (2021).
Phedon Papamichael, ASC, GSC first began working as photojournalist in New York, and has since served as director of photography on over 40 features, including Sideways (2004), Walk the Line (2005), The Descendants (2011) and Ford v Ferrari(2019). He is a two-time Academy Award nominee for his cinematography on Nebraska (2013) and The Trial of the Chicago 7(2020).
The Fincher Analyst 