Tag: Netflix

Mank: Reddit Teaser

Netflix

“The Brothers Mankiewicz: Hope, Heartbreak, and Hollywood Classics“. By Sydney Ladensohn Stern:

Even before theatrical failures dimmed his dreams of escape, Herman had decided he could bring New York to Hollywood by importing some of his friends. If Ben Hecht couldn’t write him a good script, Herman told Schulberg, then Schulberg could tear up Herman’s two-year contract and fire them both. His boss could hardly refuse a bet like that, so Herman wired, “Will you accept three hundred per week to work for Paramount Pictures. All expenses paid. The three hundred is peanuts. Millions are to be grabbed out here and your only competition is idiots. Don’t let this get around.”

Hecht, who later claimed that Herman’s telegram arrived just in time to avert a financial disaster so severe that he had taken to his bed with Gibbon’s Decline and Fall of the Roman Empire, hurried west to enroll in what he called the Herman Mankiewicz School of Screenwriting.

r/CompetitionIsIdiots

Director: Kimb Luisi & Dan Young
Production Company: Sawhorse Productions
DP: Skyler Bocciolatt
Production Design: Sage Griffin
Storyboards: Andrew Paul

𝙸𝚗 𝚜𝚎𝚕𝚎𝚌𝚝 𝚝𝚑𝚎𝚊𝚝𝚎𝚛𝚜 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝚊𝚗𝚍 𝚘𝚗 Netflix 𝙳𝚎𝚌𝚎𝚖𝚋𝚎𝚛 𝟺

Mank: Official Teaser

Netflix

1930s Hollywood is reevaluated through the eyes of scathing wit and alcoholic screenwriter Herman J. Mankiewicz as he races to finish Citizen Kane.

Starring: Gary Oldman, Amanda Seyfried, Charles Dance

Cast: Lily Collins, Arliss Howard, Tom Pelphrey, Sam Troughton, Ferdinand Kingsley, Tuppence Middleton, Tom Burke, Joseph Cross, Jamie McShane, Toby Leonard Moore, Monika Gossmann

2h 11m

Click to enjoy the images in glorious 5K, full quality, and full screen view:

𝚆𝙴𝙻𝙻𝙴𝚂
(𝚎𝚡𝚝𝚎𝚗𝚍𝚒𝚗𝚐 𝚑𝚊𝚗𝚍)
𝙼𝚊𝚗𝚔? 𝙸𝚝’𝚜 𝙾𝚛𝚜𝚘𝚗 𝚆𝚎𝚕𝚕𝚎𝚜.⠀
⠀⠀⠀⠀
𝙼𝙰𝙽𝙺
(𝚎𝚝𝚑𝚎𝚛𝚒𝚣𝚎𝚍)
𝙾𝚏 𝚌𝚘𝚞𝚛𝚜𝚎 𝚒𝚝 𝚒𝚜.

Orson Welles played by Tom Burke

𝙸𝚗 𝚜𝚎𝚕𝚎𝚌𝚝 𝚝𝚑𝚎𝚊𝚝𝚎𝚛𝚜 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝚊𝚗𝚍 𝚘𝚗 Netflix 𝙳𝚎𝚌𝚎𝚖𝚋𝚎𝚛 𝟺

When David Fincher Changed TV Forever

To celebrate the 25th anniversary of Se7en and the 10th anniversary of The Social Network, The Ringer hereby dubs September 21-25 David Fincher Week. Join us all throughout the week as we celebrate and examine the man, the myth, and his impeccable body of work.

Thanks to ‘House of Cards,’ the man so deeply associated with filmmaking may ironically be best remembered for his impact on the streaming revolution

Alison Herman
September 25, 2020
The Ringer

Try and think back, if you can, to 2013. Obama has just won a second term. “Netflix” still means DVDs in red envelopes. And the idea of a major director deigning to do TV is remarkable enough to turn heads.

David Fincher was hardly the first name-brand auteur to try his hand at the small screen. Most famously, David Lynch brought paranormal dread to primetime with Twin Peaks in 1989; Steven Spielberg directed multiple episodes of his NBC anthology Amazing Stories, with subsequent chapters helmed by Clint Eastwood, Martin Scorsese, and Danny DeVito. But Fincher is neither an irrepressible weirdo prone to counterintuitive career moves nor a middlebrow populist with a family-friendly sensibility. He is, in many ways, a textbook Film Director: an uncompromising visionary who makes dark, violent, and above all, precise movies for adults. Fincher is the last person you could picture taking notes from a network executive, or taking part in the logistical corner-cutting that marks so much of TV production, which naturally made him the first person an up-and-coming entertainment hub would call to signal they’re Not Like Other Networks.

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First Look at David Fincher’s “Mank”

1930s Hollywood is re-evaluated through the eyes of scathing social critic and alcoholic screenwriter Herman J. Mankiewicz as he races to finish the screenplay of Citizen Kane for Orson Welles.

Click to enjoy the images in glorious 5K, full quality, and full screen view:

𝙼𝙰𝚈𝙴𝚁
𝚆𝚑𝚘 𝚠𝚊𝚜 𝚝𝚑𝚊𝚝 𝚊𝚐𝚊𝚒𝚗?
⠀⠀⠀⠀⠀
𝚃𝙷𝙰𝙻𝙱𝙴𝚁𝙶
𝙹𝚞𝚜𝚝 𝚊 𝚠𝚛𝚒𝚝𝚎𝚛.

𝙼𝙰𝚁𝙸𝙾𝙽
𝙸 𝚓𝚞𝚜𝚝 𝚜𝚊𝚠 𝟺𝟸𝚗𝚍 𝚂𝚝𝚛𝚎𝚎𝚝.
(𝙱𝚛𝚘𝚘𝚔𝚕𝚢𝚗-𝚎𝚜𝚎) 𝙸𝚝 𝚋𝚕𝚎𝚠 𝚖𝚢 𝚠𝚒𝚐.
⠀⠀⠀⠀⠀
𝙼𝙰𝙽𝙺
𝚈𝚘𝚞 𝚌𝚊𝚗 𝚝𝚊𝚔𝚎 𝚝𝚑𝚎 𝚐𝚒𝚛𝚕 𝚘𝚞𝚝 𝚘𝚏
𝙱𝚎𝚍𝚜𝚝𝚞𝚢…

𝙹𝙾𝙴 (𝚅.𝙾.)
𝚆𝚘𝚛𝚍 𝚘𝚗 𝚝𝚑𝚎 𝚜𝚝𝚛𝚎𝚎𝚝 𝚒𝚜 𝚛𝚊𝚍𝚒𝚘’𝚜
𝙶𝚘𝚕𝚍𝚎𝚗 𝙱𝚘𝚢 𝚠𝚊𝚗𝚝𝚜 𝚝𝚘 𝚐𝚘 𝚝𝚘𝚎-𝚝𝚘-𝚝𝚘𝚎
𝚠𝚒𝚝𝚑 𝚆𝚒𝚕𝚕𝚒𝚎 𝙷𝚎𝚊𝚛𝚜𝚝, 𝚊𝚗𝚍 𝚢𝚘𝚞’𝚛𝚎
𝚑𝚎𝚕𝚙𝚒𝚗𝚐 𝚒𝚗 𝚝𝚑𝚎 𝚔𝚒𝚝𝚌𝚑𝚎𝚗.

𝙼𝙰𝚈𝙴𝚁
𝚃𝚑𝚒𝚜 𝚒𝚜 𝚊 𝚋𝚞𝚜𝚒𝚗𝚎𝚜𝚜 𝚠𝚑𝚎𝚛𝚎 𝚝𝚑𝚎 𝚋𝚞𝚢𝚎𝚛
𝚐𝚎𝚝𝚜 𝚗𝚘𝚝𝚑𝚒𝚗𝚐 𝚏𝚘𝚛 𝚑𝚒𝚜 𝚖𝚘𝚗𝚎𝚢 𝚋𝚞𝚝 𝚊
𝚖𝚎𝚖𝚘𝚛𝚢. 𝚆𝚑𝚊𝚝 𝚑𝚎 𝚋𝚘𝚞𝚐𝚑𝚝 𝚜𝚝𝚒𝚕𝚕
𝚋𝚎𝚕𝚘𝚗𝚐𝚜 𝚝𝚘 𝚝𝚑𝚎 𝚖𝚊𝚗 𝚠𝚑𝚘 𝚜𝚘𝚕𝚍 𝚒𝚝.

𝚁𝙸𝚃𝙰
(𝚛𝚊𝚒𝚜𝚒𝚗𝚐 𝚑𝚎𝚛 𝚐𝚕𝚊𝚜𝚜)
𝙴𝚒𝚝𝚑𝚎𝚛 𝚢𝚘𝚞 𝚍𝚎𝚖𝚘𝚗𝚜𝚝𝚛𝚊𝚝𝚎 𝚢𝚘𝚞 𝚌𝚊𝚗
𝚑𝚊𝚗𝚍𝚕𝚎 𝚝𝚑𝚒𝚜, 𝙼𝚊𝚗𝚔𝚒𝚎𝚠𝚒𝚌𝚣, 𝚘𝚛 𝚠𝚎 𝚠𝚒𝚕𝚕
𝚊𝚕𝚕 𝚎𝚗𝚍 𝚞𝚙 𝚐𝚎𝚝𝚝𝚒𝚗𝚐 𝚜𝚊𝚌𝚔𝚎𝚍.

𝚆𝙴𝙻𝙻𝙴𝚂 (𝚅.𝙾.)
𝚁𝚎𝚊𝚍𝚢 𝚊𝚗𝚍 𝚠𝚒𝚕𝚕𝚒𝚗𝚐 𝚝𝚘
𝚑𝚞𝚗𝚝 𝚝𝚑𝚎 𝙶𝚛𝚎𝚊𝚝 𝚆𝚑𝚒𝚝𝚎 𝚆𝚑𝚊𝚕𝚎?
⠀⠀⠀⠀⠀
𝙼𝙰𝙽𝙺
𝙲𝚊𝚕𝚕 𝚖𝚎 𝙰𝚑𝚊𝚋.

𝚌𝚘𝚖𝚒𝚗𝚐 𝚜𝚘𝚘𝚗

Netflix FYC: Mindhunter. Scene Stealers with Damon Herriman and Kazu Hiro

Jenelle Riley
Editor – Variety
July 2020
Netflix

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.

For Your Emmy® Awards Consideration

Netflix FYC: Mindhunter. Maker’s Marque with Carl Franklin and Erik Messerschmidt


July 2020
Netflix

Director Carl Franklin and cinematographer Erik Messerschmidt expound on the visual language of a scene from season two of Netflix‘s acclaimed drama series Mindhunter. They give insights into perspective considerations, the choice of handheld camera over Steadicam and the general stylistic shift employed for the sequence.

For Your Emmy® Awards Consideration

Netflix Helps Drive the Creative Vision with High-Dynamic-Range Content

Jay Holben
December 22, 2019
American Cinematographer

Some might consider high-dynamic-range (HDR) displays a technology of the future, but the reality is it’s here now and very much a contemporary delivery format. At the forefront of this delivery is Netflix, the streaming and production giant, which reports that roughly a quarter of the devices used to access its service monthly — more than 165 million — are configured for HDR. As a result, Netflix is making a concerted effort to provide HDR content and currently has more than 1,000 hours of such programming available.

One of these titles is David Fincher’s gritty, period procedural Mindhunter, which earned Christopher Probst, ASC an ASC Award nomination for its pilot in 2017. The series is photographed by Erik Messerschmidt, who notes that production incorporated HDR into the second season. “With Mindhunter, we try to be very subtle with the photography,” says Messerschmidt. “The story and themes of the show are complex and nuanced, so it’s really important that the photography never draws attention to itself. HDR helps because it enables me to be very subtle in my use of color and contrast, particularly in the toe of the exposure. Everyone likes to talk about the bright whites in HDR, but I think perhaps the added range in the shadows is more interesting and more important than added range in the highlights.

“I think cinematographers have always advocated for a better experience for the audience, whether it’s fast film stocks with tighter grain, better projection technology, or higher quality digital-capture and display technologies,” he continues. “HDR is just another step in that direction. Standard-dynamic-range video distribution can only show a narrow exposure band of the modern digital sensor’s dynamic range. The opportunity to use more of the sensor’s range when we want to is a very exciting development.”

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What Makes Mindhunter So Compelling? An Analysis

Thomas Flight
August 16, 2019
Netflix UK & Ireland (YouTube)

Mindhunter is not like other crime shows. In this video essay, Thomas Flight explores some of the inventive techniques creators Joe Penhall and David Fincher employ to inject drama and conflict into the show.

This is a detailed analysis of the ways in which Mindhunter pulls the audience into the lives of its characters as they explore the minds of some of the worst criminals on earth.

Mindhunter’s Brilliant Editing. A Breakdown

Thomas Flight
September 25, 2019
Thomas Flight (YouTube)

David Fincher to Direct Gary Oldman in Black and White with ‘Mank’

Sasha Stone
July 11, 2019
Awards Daily

There is a short list of films I consider to be perfect; that is, I’ve watched them over and over again and they not only work every single time, but they have no weak spots and just get better and better with each viewing. Casablanca is one of those. Psycho is one of those. Jaws is one of those. Fargo is one of those. Taxi Driver is one of those. The Social Network is one of those and, of course, Citizen Kane is one of those. You can’t imagine anything making the film better, and if you removed one tiny piece of it you would ruin the whole thing. From the writing to the directing to the acting to the producing, everything just works. Even time can’t break them down. You probably have your own ideas about which movies you consider perfect, but for me it’s a short list as even most of my favorite films of all time I would not call perfect. And indeed, perfection is never a goal any artist should seek to attain – it’s just that every so often a film arrives there.

The myth about Citizen Kane is legendary – the young Orson Welles with his Mercury Theater players, a keen eye, and a whole lot of ambition made what is not-arguably the greatest film ever made. Welles has always been credited with the whole thing because in America we are beholden to the hero’s journey. That he pulled off such a brilliant hat trick at 24 is part of the myth. When you have a more honest conversation about Citizen Kane, you start talking about Gregg Toland and you eventually get to (because you must) Herman Mankiewicz.

Variety reports that David Fincher will team up with Gary Oldman for Mank, a biopic about the Oscar winning co-screenwriter on Kane for Netflix. The script was written by Fincher’s late father and will be filmed in black and white!

Although no plot details have been released about Mank, one can only assume it will have something to do with Mank’s writing of Citizen Kane, or co-writing with Orson Welles. Mank had famously spent time at William Randolph Hearst’s castle in San Simeon with Hearst’s wife, Marion Davies, which gave him such close and personal access that, it is rumored, Mank knew that Hearst had a pet name for Davies’ golden clam, Rosebud, and trolled Hearst by putting it in Kane.

What is great about the story of Kane is what it says about William Randolph Hearst directly and indirectly and what a fit Hearst had about it. He thwarted the film’s release, hurting its box office significantly. He somehow turned the film industry against Orson Welles, who was booed at the Oscars, and easily handed the Best Picture/Best Director win over to John Ford and How Green Was my Valley.

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