Tag: Profile

How Cate Adams’ Costume Design Helped David Fincher’s “The Killer” Disappear

Kelle Long
November 14, 2023
The Credits (MPA)

The coldest assassin is the kind you don’t see coming. In a lineup of globe-trotting sharpshooters from the movies, The Killer (Michael Fassbender) may be the most difficult to identify. On a crowded city street, he could be anyone—and that is by design. Costume designer Cate Adams developed the style for director David Fincher’s vision of a dangerous character you would hardly ever notice.

“Basically, he wears clothes that he can just find anywhere. Find in an airport, find in a convenience store. He doesn’t want to have to think about it,” she noted. “[Fincher] wanted a bucket hat instead of an umbrella to be water resistant for any kind of weather he was going to be in. He wanted a ‘lazy people notion.’ So, zippers or velcros or something pullover. Dad chinos. Anything he could have bought from an airport.” 

That mindset even extends to modern conveniences. Sometimes, the easiest way to shop today is with online delivery, and The Killer could plausibly wear pieces he purchased with the click of a button.

“One of the shirts he wears is a printed, short-sleeved Aloha shirt that was actually from Amazon. So, there are some pieces from Amazon,” Adams revealed. “It’s just very basic. Whatever he could find easily. He doesn’t take a lot of time to think about his clothes, which I really liked. He’s not in suits like James Bond. He just kind of looks weird, and you’re not really sure what he’s doing there. He just kind of looks normal and blends in.”

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Editing ‘The Killer’ So That ‘We Crawl Into His Ears and Sit in the Back of His Eye Sockets’

David Fincher’s Oscar-winning go-to editor, Kirk Baxter, helped achieve a new kind of subjective cinema with Michael Fassbender’s assassin character.

Bill Desowitz
November 12, 2023
IndieWire

[Editor’s note: The following interview contains spoilers.]

David Fincher’s “The Killer” is his most experimental film since “Fight Club”: a subjective, cinematic tour de force in which we get inside the mind of Michael Fassbender’s titular assassin after he experiences his first misfire in Paris. Fully exposed for the first time, the hunter becomes the hunted and he’s forced to cover his tracks while stepping outside of his comfort zone. In the process, the film becomes a noirish existential journey from nihilism to faith, which is what first attracted Fincher to adapting Alex Nolent’s graphic novel.

For go-to editor Kirk Baxter (the Oscar-winning “The Girl with the Dragon Tattoo” and “The Social Network”), it was one of the hardest Fincher films to cut. It’s divided into six chapters, each with its own look, rhythm, and pace tied to Fassbender’s level of control and uncertainty, and the editorial process necessitated the creation of a visual and aural language to convey subjective and objective points of view for tracking Fassbender. In fact, it’s reminiscent of what Hitchcock called “pure cinema,” only much bolder.

“It was like a ’70s film and I found it to be one of the more challenging movies to make because it’s not sort of juggling a bunch of different character lines or going back and forth from past to present and that sort of thing,” Baxter told IndieWire. “It’s just a straight line, but the exposure of that with nowhere to hide, like you can’t kind of jazz hands your way out of something. It’s like everything is just under the spotlight and you’re not having dialogue and interaction to kind of dictate your pace. It’s a series of shots and everything has to be manhandled and manipulated in order to give it propulsion, or how you slow it down. But just by its very nature, it had to be sort of let’s go [and see how much Fassbender has to break his own rules to survive].”

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Editing David Fincher’s ‘The Killer’ on Premiere Pro

Netflix has another hit movie on its hands with David Fincher’s The Killer. We spoke to the film’s editor, Kirk Baxter, and Assistant Editor, Jennifer Chung, about how they put it together using Adobe Premiere Pro.

Andy Stout
November 10, 2023
RedShark

Kirk Baxter ACE picked up two Oscars working on previous Fincher titles you will probably have heard of, The Social Network (2010) and The Girl with the Dragon Tattoo (2011). In other words, The Killer has some serious pedigree behind it, and much like this year’s Academy Award for Editing winner Everything Everywhere All At Once, it was cut on Adobe Premiere Pro.

Jennifer Chung ACE was one of the Assistant Editors on The Killer and represents a 14-strong editing department. Chung is currently cutting her first indie feature (“It’s a different kind of stress,” she says laughing), but looking back on The Killer, is there any particular sequence that stands out as her favorite?

“I think it has to be the fight sequence,” she says. “The fight sequence is pretty epic. And it just goes on. I think Kirk did an incredible job with that; it’s just really fun to watch.”

“I watched something on TV which had a big fight sequence two nights ago, and I couldn’t follow it,” says Kirk Baxter, who edited The Killer and put the movie’s signature fight scene together. “I knew people were fighting, but I couldn’t track who owned what fist and what thing. It was just a jumble of limbs edited quickly.”

No such failure to follow the action in The Killer’s own fight scene, which Baxter says is essentially a sequence of 18 scenes with multi-camera setups depicting a single fight all strung together in a row. He was cutting the sequence as Fincher was shooting it. The shoot would break at lunchtime when he’d start cutting the first half of the day, getting the second half later at the end, then cutting into the evening and sending it to Fincher to see if any pickups were needed.

“It was this crazy, relentless week of all of us going around the clock to know that we had the thing,” he says. 

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Execution Is Everything

The film reflects the muted yellow and green colour palette of its graphic novel inspiration.

Oscar-winning DP Erik Messerschmidt ASC reteams with David Fincher for a live-action comic book adaptation that required a meticulous approach to its cinematography.

James Mottram
November 2023
British Cinematographer

When Erik Messerschmidt ASC got the call from David Fincher to work on his new film The Killer, it was an offer that arrived almost as stealthily as its lethal protagonist. “He only ever [asks] once he knows he’s going to make the film,” says the American-born cinematographer, who previously collaborated with Fincher across two seasons of the Netflix series Mindhunter (2017-2019) and the acclaimed Hollywood-set period tale Mank (2020), which won Messerschmidt an Academy Award for Best Cinematography. The Killer, an adaptation of the French graphic novel, written by Alexis “Matz” Nolent, offered a whole different set of challenges, however.

This tense, taut thriller follows a nameless assassin, played by Michael Fassbender, who is fighting for his life after a job he undertakes in Paris goes disastrously wrong. “When I first read it, I was so excited about how little dialogue is in the film. It’s all voiceover,” explains Messerschmidt. “Normally, when you shoot a scene in a narrative film, you’re shooting actors predominantly talking to each other. And this film… on the set it was quite a quiet place. Which is really, really interesting. And it changes the dynamic enormously.”

To borrow the film’s cunning tagline, “Execution is everything”, and making The Killer became a meticulous experience for Messerschmidt and his team. Choreographing the camera to reflect the perspective of Fassbender’s killer, as he watches from the shadows, required absolute perfection. “It became very much about precision,” he says. “It’s an enormous amount of pressure on the camera operator [Brian S. Osmond] on this film.” Every step of the background artists was accounted for, like an elaborate dance. “So, it’s all sort of in concert…[that] is the intention most of the time.”

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How David Fincher Turned ‘The Killer’ Into a Mean, Lean Punch to the Gut

Fassbender, Fincher, and Swinton on the set of ‘The Killer.’
MILES CRIST/NETFLIX

The filmmaker on working with Michael Fassbender, that Smiths soundtrack, and how his adaptation of a French comic about an assassin became a Seventies B movie.

David Fear
November 8, 2023
Rolling Stone

THE MAN IS a consummate professional. In the outside world, he could be anyone — just another ridiculous looking dude somewhere between the ages of 32 and 48, the everyguy in line behind you at an Ace Hardware store or in front of you at McDonald’s. But sitting here, in an unfinished WeWork office space, is this slender, limber apex predator in his natural habitat, and an extremely patient one. He’s perched here for days, just staring out the window at a ritzy apartment in Paris. Watching. Waiting. Whiling away the hours, doing nothing. It’s a key part of the job. “If you can’t stand the boredom,” he says, via voiceover narration, “the work is not for you.”

Should you suggest to David Fincher — world-class filmmaker, notorious perfectionist, and a gentleman who genuinely appreciates a good joke — that the line spoken by the title character of his new film The Killer is also a warning to audiences hiding in plain sight, he will laugh. The director will go into detailed explanations about why the unnamed hero (or rather, its “hero”: “Massive air quotes at work here”), played by Michael Fassbender, is not just a hit man but a very, very unreliable narrator. He’ll mention that the script, written by Se7en scribe Andrew Kevin Walker, borrows the idea of long interior monologues in lieu of nonstop action directly from the source material. And he’ll admit that they knew that any movie “probably being sold with an image of a guy with piano wire in his hand or putting someone into cold storage,” yet “starts out with 25 minutes of someone sleeping on sheetrock in an empty office, musing as to what it’s all about,” might potentially have viewers wondering what they’ve stumbled into. But Fincher will not say you’re wrong.

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David Fincher on filmmaking and his twisted new comedy, The Killer

As his new film gets ready to hit Netflix, the legendary director talks to Nick Chen about The Smiths, Michael Fassbender, and the similarities between directors and hitmen.

Nick Chen
November 6, 2023
Dazed

To prove the catchiness of “Unhappy Birthday” by The Smiths, David Fincher sings to me the opening refrain with a huge grin. For our conversation, the 61-year-old director of feel-bad fare like Se7en, Zodiac, and The Girl with the Dragon Tattoo is in surprisingly good spirits. Or bad spirits, given the miserabilist nature of The Smiths.

In Fincher’s sleek, bleak thriller The Killer, his second feature for Netflix, there are 11 killer songs by The Smiths on the soundtrack. An unnamed hitman (Michael Fassbender) – simply The Killer, in the credits – calms his nerves when operating a sniper rifle by listening to “How Soon Is Now?”, the tremolo reverberating through his earphones. “That guitar shouldn’t be comforting, because it’s sinister,” says Fincher, speaking in Ham Yard Hotel during the London Film Festival. “But to me, it’s comforting. We originally had Joy Division and Siouxsie and the Banshees. [Trent] Reznor was like, ‘Every time we use The Smiths, it’s just funny.’”

After the black-and-white seriousness of Mank, Fincher has returned to the kind of big-screen, popcorn fun he delivered in Gone Girl – except it also mischievously isn’t. Adapted from a French graphic novel, The Killer is less of a John Wick-esque, gun-toting adventure and more observing an assassin do admin to bypass security measures. He shuffles through paperwork to identify home addresses, and fills in endless forms to join a victim’s gym. To remain faceless, he picks up Amazon purchases from a locker and eats at a McDonald’s that doesn’t involve entering a building. If it weren’t too meta, he’d wind down by using someone else’s password to stream Fincher’s House of Cards on Netflix.

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I Will Survive

Seth Emmons
November 2023
Cinematography World / Leitz Cine

American cinematographer Erik Messerschmidt ASC reunited with director David Fincher for The Killer, the pair’s third collaboration following the Academy Award-winning feature film Mank (2020) and the critically-acclaimed series Mindhunter. The new Netflix Original neo-noir thriller is adapted from the eponymous graphic novel by French writer Alexis “Matz” Nolent and follows an unnamed assassin played, by Michael Fassbender, on a global hunt for revenge, only to find himself the subject of an international manhunt after a after a hit goes wrong.

Principal photography on the film began in November 2021 and wrapped in March 2022, with filming taking place in Paris, Dominican Republic and New Orleans, Louisiana, and St Charles in Illinois. Messerschmidt is quick to point out that The Killer is not a caper, but an exercise in observing the journey of a fascinating character, a professional who considers himself separate from the masses. But, when his meticulous planning goes wrong, the framework of his world gets knocked off balance as well.

The Killer exemplifies the decisive filmmaking style that Fincher has become known for and Messerschmidt embraces this methodology when working together.

“The Killer is probably the most precise movie I’ve ever worked on,” he says. “There’s something to be said for spontaneity and the moments between the moments that you capture in an unexpected way, and I would never want to detract from the value of that. But, to me the most satisfying way of filmmaking is trying to be as sublime as possible. It’s hard work and you have to know where you’re going at every step to achieve it. It’s all about previsualisation and the pursuit of those ideas.”

“Sculpture is a great metaphor for how David works. He strips away anything extra – from the camera movement to the performance to the set dressing – and focusses on what the audience needs to learn from each scene. There’s no showing-off because it’s all about telling the story in the clearest, most effective way. The artistry presents itself in the micro decisions. This frame or that frame? Should the camera be here, or a foot further back? It becomes much more nuanced.”

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Killer Instincts

David Fincher aims to unsettle with Michael Fassbender as a ruthless assassin in gripping thriller The Killer.

By Nev Pierce
Photograph by Jean-Baptiste Mondino

November 1, 2023
Netflix Queue

The Killer is about an exacting professional whose meticulous methods and wry worldview are disrupted by unruly reality. This may be a clue as to why David Fincher wanted to make it. The Fight Club filmmaker is well-known for his tenacious approach to directing — always pushing for more. And in Michael Fassbender he has a leading man who is equally driven.

The Oscar-nominated star of 12 Years a Slave and Steve Jobs left screens for a few years to take up professional racing behind the wheel of a Porsche in the European Le Mans Series. This blend of danger and precision seems apt for playing the title character in The Killer, an unnamed assassin who aims to execute things — and people — perfectly.

We’ll get to how, or if, one can define “perfection” in cinema, but to an on-set observer, it might seem Fincher will settle for nothing less. While he would contest this, he knows his definitions can differ from others’. “My idea of professionalism is you work 24-7 to make good on your promises,” he says, before continuing with a self-aware smile. “Not a lot of people feel that way. Some people are like: ‘You do the best you can in 40 hours a week and let the chips fall where they may.’”

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Watch The Killer on Netflix

Dead Reckoning

Oscar-winner Erik Messerschmidt, ASC, draws a bead on the mind of an assassin in David Fincher’s The Killer.

Kevin Martin
October 26, 2023
ICG Magazine

Consider this promotional material for the 1969 assassin-at-a-crossroads film Hard Contract: “Everything they do is 97 percent control and 3 percent emotion.” Compare that with the mantra from the nameless lead character in The Killer, director David Fincher’s newest feature for Netflix, shot by Oscar-winner Erik Messerschmidt, ASC. “Stick to your plan. Anticipate, don’t improvise. Trust no one. Never yield an advantage. Fight only the battle you’re paid to fight.”

It sounds pretty much the same, right? Both help illustrate the heart of a broad subgenre of films that includes Anton Corbijn’s The American (shot by Martin Ruhe, ASC), the aforementioned Hard Contract (shot by Jack Hildyard, BSC), The Eiger Sanction (shot by Frank Stanley, ASC, former IATSE Local 659 president) and Fred Zinnemann’s The Day of the Jackal (shot by Jean Tournier.) The common locus revolves around the assassin as a high-functioning sociopath, able to operate effortlessly in various circles without being found out. Given the inherent complexity of such a character type, it is easy to see how Fincher was able to attract Michael Fassbender to take the lead role.

Derived from a long-running graphic novel series by author Alexis “Matz” Nolent, The Killer had been in gestation by Fincher for close to fifteen years. Depicting a murder-for-hire gone awry and its aftermath, the film is viewed through the eye of a seasoned assassin (Fassbender), who now finds himself a target and must seek out not only his erstwhile employers but also those they have deployed against him.

Messerschmidt’s history with Fincher began as Chief Lighting Technician on Gone Girl [ICG Magazine October 2014] before going on to shoot his Mindhunter series and then, in 2021, winning the Oscar for Mank. Messerschmidt had also shot episodes of Fargo, Legion and Raised by Wolves, and, more recently, the WWII aerial epic Devotion [ICG Magazine December 2022]. “What I initially found interesting about the script was how it is almost wholly absent of dialog,” Messerschmidt describes. “There is a significant amount of voice-over, a lot of which was present in the first script, but very little is spoken on screen – so in a sense, it’s like a silent film. This meant the way we told the story with the camera was that much more important. It’s an adaptation of a graphic novel, which are told in a similar way. I was fascinated by that kind of challenge.”

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From Gone Girl gaffer to Oscar winner: In conversation with David Fincher’s cinematographer Erik Messerschmidt

EXCLUSIVE: We speak to the award-winning cinematographer ahead of the release of Fincher’s new Netflix thriller The Killer.

Emily Murray
October 26, 2023
Total Film (GamesRadar+)

As we begin to discuss his prolific career and latest film The Killer, Erik Messerschmidt admits that he’s surprised to be here. After working on several commercials and television shows, Messerschmidt ended up on the set of director David Fincher’s hit film Gone Girl, working as a gaffer – for those who don’t know, that roughly means chief lighting technician. The duo bonded, with Fincher then recruiting him as director of photography on several of his projects, including beloved TV series Mindhunter and biographical drama Mank, for which Messerschmidt won the Academy Award for Best Cinematography.

Going from gaffer to Oscar-winning cinematographer in such a short period of time is quite the impressive career trajectory, and is something Messerschmidt confesses he wasn’t chasing, telling Total Film (GamesRadar+) in our interview: “It wasn’t at all – it was never my goal, really. I was happy as a gaffer, and while I did want to be a cinematographer it felt far away and wasn’t something I was pursuing. But on Gone Girl, I had never experienced a director with such skill before and I fell in love with it. I just thought ‘God, if I can just keep making movies with this person I’d be so thrilled.’ The care and attention David [Fincher] gives to everything is infectious.”

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The Killer cinematographer says film should be seen in cinema

The film is released on the big screen this weekend before coming to Netflix next month.

Patrick Cremona
October 26, 2023
Radio Times