Mank. An Original Screenplay by Jack Fincher

Jack Fincher (Author)

David Fincher’s Mank recreates 1930s Hollywood through the eyes of scathing wit and alcoholic screenwriter Herman J. Mankiewicz as he races to finish Citizen Kane. Starring Gary Oldman as Mankiewicz, Amanda Seyfried as Marion Davies, Charles Dance as William Randolph Hearst and Tom Burke as Orson Welles.

Formats

Imprint: Bloomsbury Academic
Publisher: Bloomsbury Publishing
Publication Date: July 29, 2021

PAPERBACK
Edition: 1st
Extent: 160 pages
ISBN: 9781350244856
Dimensions: 7 x 5 inches
BUY: UK, US, CA, AU

EBOOK (Epub & Mobi)
Edition: 1st
Extent: 160 pages
ISBN: 9781350244863
BUY: UK, US, CA, AU, IN

EBOOK (PDF)
Edition: 1st
Extent: 160 pages
ISBN: 9781350244894
BUY: UK, US, CA, AU, IN

Because We Love Making Movies: Screenwriter Eric Roth

Eren Celeboglu
May 22, 2021
Because We Love Making Movies (InstagramFacebook)

Today, I sit down with legendary screenwriter Eric Roth.

We talk about his life and his craft and why we should all be more generous of spirit. Truth be told, Eric has been involved in creating so many iconic films that it would have been impossible to try… so I asked him about the films of his that meant the most to me, and he held court and digressed in the loveliest of ways. I hope you have as much fun listening as I did recording this interview. Enjoy! 

Eric’s credits include: The Nickel Ride, The Drowning Pool, The Onion Field, Forrest Gump (for which he won an Oscar), The Postman (for which he won a Razzie), The Horse Whisperer, and then one of my favorite films ever, The Insider, followed by Ali, Munich, The Good Shepherd, and The Curious Case of Benjamin Button. He’s also worked in Television, and seen not one but two sea changes, first with HBO, and then with Netflix and House of Cards. And much more recently he wrote A Star Is Born, Dune, and the new Western being Directed by Martin Scorsese, Killers of the Flower Moon. He was also a producer on the Oscar nominated Mank, directed by David Fincher, from a script by Fincher’s father.

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Everything Zen: David Prior on “The Empty Man”

James Badge Dale and Sasha Frolova

David Prior’s creepy and impeccably crafted directorial debut was abandoned by the studio but has since been embraced by now devoted fans.

Adam Nayman
May 3, 2021
Notebook (MUBI)

Over and again throughout The Empty Man, we see characters sitting in the lotus position, cross-legged and attentive,  a pose connoting receptivity. It is in the migration of this mindset from snowy Bhutan to small-town Missouri, muled from East to West by the unlucky occidental tourist who doubles as its title character,  that David Prior’s film locates both its celestial sense of scale and a fine-grained gestural specificity. After literally stumbling into a cliffside cavern—the first unexpected plunge in a movie whose characters constantly find themselves either on shaky ground or descending into a darkness of their own volition—Paul (Aaron Poole) becomes transfixed by a skeletal figure whose meditative posture he adopts, seemingly permanently and much to the bewilderment of his fellow backpackers. Dragged back to the surface, he has become a husk, limbs locked and rapidly atrophying, staring out at the world with eyes wide shut. It would seem that he’s been hollowed out. Or is he suddenly full up?

The old Zen proverb about the philosopher who tells his overzealous visitor to return to him with an empty cup—the better to receive the flow of wisdom—comes eerily to mind in the image of a hiker mutated into a hapless Buddha. The story lying beyond The Empty Man’s gorgeous anamorphic frames is also akin to a kind of koan: if a great cosmic horror movie gets (barely) released in the middle of a global pandemic, and nobody sees it, does it really exist? 

Read the full review and interview

Interview: David Prior, The Empty Man’s Director

March 25, 2021
ELDERFANFILMS

Today, I’ve got the honor to post the interview I did to David Prior; who After being in charge of production video documentaries and have worked alongside nothing other than David Fincher, arrives with his horror film The Empty Man, making his directorial debut. The Empty Man is based on the Boom Graphic Novel called the same way. David, Tells us the unfortunate fate his movie went through all due bad management and bad luck to be in the middle of a transition between companies, addition to that, the company launched a misleading trailer, transforming the movie in another weird horror teenage movie, totally opposite of twist-thrilling horror film. The Empty Man is a top notch production with a great cast and crew team. The film got to us on October 23, 2020 in theaters and on Digital on January 12, 2021.

The director also shared with us the film creation process, the rocks he had to apart away from his path to get the film off the ground, his insights and learnings from all this exhausting but comforting filmmaking labor.

Read the full interview

BETA (WPR): Writer, Director David Prior On The Horrors of Making ‘The Empty Man’

Stephen Root and James Badge Dale

Despite Trials And Tribulations, The Film Has Earned Great Reviews.

Doug Gordon
May 29, 2021
BETA (WPR)

David Prior got his break directing DVD special features for such David Fincher films as “Zodiac” and “The Social Network.” He obviously drew on that work experience in writing and directing his debut horror feature film, “The Empty Man.”

“Any time you spent hanging around the set with David Fincher or Peter Weir or any number of the other people that I’ve been able to hang around the set with, it’s always going to be valuable,” Prior said.

The Empty Man” focuses on an ex-detective named James Lasombra. James is grieving the deaths of his wife and son. He helps his friend Nora whose daughter has gone missing.

James’s investigation leads him to a sinister organization called The Pontifex Institute, which turns out to be a cult. The film stars James Badge Dale, and chameleon-like actor Stephen Root who delivers a great performance as the cult’s leader. 

The movie also became embroiled in a mega media merger that delayed and botched its release. “The Empty Man” features an impending sense of dread and doom and themes of guilt, grief, the meaning of existence and mind control. Prior explains to WPR‘s “BETA” why he wanted to include such big ideas in his film.

Read and listen to the full interview

Watch The Empty Man

Archive Fighter

J.M. Tyree
March 26, 2012
Film Quarterly, Spring 2012, Vol. 65, No. 3

The Girl with the Dragon Tattoo (David Fincher)

The Girl with the Dragon Tattoo, David Fincher’s latest antiblockbuster, is a baroque rethink of the serial-killer subgenre; a subtly retuned adaptation of the first novel in Stieg Larsson’s penny-dreadful Millennium trilogy; a technical achievement of narrative compression and pacing in a mainstream thriller; and the most recent proof of the director’s trademark habit of unleashing bad vibes in the multiplex. It’s a sick kind of holiday movie. The story is bookended by two Christmases—a year its two protagonists pass among murderers, sexual predators, and a wealthy family with a history of sadistic brutality (and Nazi sympathies), all stirred up by a cold case involving the disappearance of a sixteen-year-old girl from a private island. With good reason, Fincher called The Girl with the Dragon Tattoo “the feel-bad movie of the season.” The director renders its source material in the coolly droll yet fundamentally shocking and disturbing style of his previous films about psychos, Seven (1995), Fight Club (1999), and Zodiac (2007). In the manner of Tod Browning’s subversive 1931 take on Dracula, The Girl with the Dragon Tattoo frightens the viewer while injecting grimly fiendish jokes into an earnest literary artifact with an intractably complicated storyline.

Read the full article

Behind the Lens: Eric Roth on Life as a Top Screenwriter

Working With Everyone From Scorsese To Spielberg To Fincher, And How He Became A Producer On ‘Mank’

Pete Hammond
April 16, 2021
Deadline

If you are in the mood for a master class in what it takes to be a successful screenwriter in Hollywood, look no further than this week’s episode of my Deadline video series Behind the Lens, where I go deep into the making of Mank with one of its producers, Eric Roth. This happens to be Roth’s first feature film producing credit, and he still laughs at the thought of it because in his heart he isn’t really a member of that tribe. The man is a writer through and through; while Mank has brought him his sixth Oscar nomination, it’s his first in the Best Picture category.

Roth is one of the most prolific writers in movies, having previously been Oscar nominated for scripts on Munich, The Insider, The Curious Case of Benjamin Button, A Star Is Born and Forrest Gump, for which he actually won the Academy Award. He talks about all of them, what it takes to make a successful movie, the many directors he has worked with, as well as actors, and so much more. Scorsese, Spielberg, Fincher, Mann, Zemeckis — the list is just so very long.

We actually start our interview talking about one big name he worked with that made him very proud, and that was Akira Kurosawa. Not bad. He also has high praise for his Mank director David Fincher, and tells how the director brought him into the project as a producer, but to also carefully parse the screenplay without rewriting it. In other words, he and Fincher went over it line by line and Roth was probably the best kind of sounding board you could ever hope for. Fincher’s late father Jack Fincher died in 2003 but gets sole credit. In that regard we also talk about how a film about a film about a screenwriter could gather a leading 10 nominations yet not get one for its writing (!) It baffles him, but that is what happened. Mank details the creation of the certified 1941 classic Citizen Kane as well as how writer Herman Mankiewicz and Orson Welles managed to jointly create an all-timer, sharing the film’s only Oscar for Best Screenplay.

Roth’s other credits include scripts for The Good Shepherd, Ali, The Postman, The Horse Whisperer, Extremely Loud and Incredibly Close, the upcoming Killers of the Flower Moon for Martin Scorsese, whom he praises mightily, and Denis Villeneuve’s Dune, among others. When I produce a preview card for one of his earliest credits, The Nickel Ride, which I saw at a sneak in 1974, he went right down memory lane and tells the story of his first job on a big film, rewriting The Drowning Pool for Paul Newman who greeted him on the set by saying, “Here comes our savior.” Indeed.

Watch the full conversation

Producer Eric Roth on ‘Mank’, David Fincher, and the Relationship Between Writers and Directors

The Oscar-winning screenwriter discusses his work on David Fincher’s Netflix movie and shares some candid thoughts about a writer’s role in the craft of filmmaking.

Adam Chitwood
April 15, 2021
Collider

Eric Roth knows a thing or two about screenwriters. And more specifically, the relationship between a screenwriter and a director. He’s been a working writer in Hollywood for decades, and has collaborated with directors as varied and accomplished as Steven SpielbergRobert ZemeckisMichael MannMartin Scorsese, and Bradley Cooper. He’s been nominated for six Oscars, and has won once (for Forrest Gump). He’s had massive hits and disappointing bombs. Plenty of ups and downs. And at 76 years of age, you can hear in his voice that he still has the enthusiasm and love for the craft of moviemaking of an up-and-coming screenwriter bowled over by the magic of Hollywood.

Which is why, when David Fincher got the chance to make the film Mank at Netflix, one of his first calls was to Roth, with whom he had worked on The Curious Case of Benjamin Button and House of Cards. The story of Mank traverses well-worn territory – it chronicles the writing of the original screenplay for Citizen Kane by alcoholic screenwriter Herman J. Mankiewicz (played wonderfully by Gary Oldman). The film doesn’t delve into the credits debate that ensued after Mank finished the screenplay, but instead it’s a story about a talented writer who’s been slumming it in Hollywood as a script doctor and finally decides he’s going to shoot his shot with a controversial, thinly veiled story inspired by his real-life acquaintance William Randolph Hearst (played in the film by Charles Dance).

What made Mank extra tricky to pull off was the fact that the script was written by Fincher’s father Jack Fincher, who died in 2003. David and Jack had worked together to develop the screenplay throughout the 90s, but failed to find a studio willing to finance the film – at least the way Fincher wanted to make it (in black-and-white with a 1930s Old Hollywood feel). When Roth got the call from Fincher, he was asked not to rewrite the screenplay as is normally his task, but to instead come onboard the film as a producer and work with Fincher to make surgical changes here and there to get the script in tip-top shape as they headed into production.

It’s a somewhat extraordinary situation, as Roth was tasked with honoring what Jack Fincher had put together while also making small alterations here and there. And, of course, consulting with David to bring his decades of experience as a working screenwriter to the table, which would then inform what the movie has to say about Hollywood and the writer-director relationship.

So I jumped at the chance to speak with Roth about his involvement in Mank recently for an exclusive interview. While the discussion was pegged to Mank, it really went many different places as Roth elegantly and intelligently dove into the complicated relationship between a writer and a director, and why he believes a script can only take you so far and it’s up to the director to decide the direction it will take as it becomes a film. He talked about his relationship with Fincher, his specific role in bringing Mank to the screen, and why he feels it’s a true work of art.

We also talked about the craft of screenwriting in general and why Roth doesn’t feel like it’s an artform in and of itself, and he spoke enthusiastically about collaborating with Scorsese on Killers of the Flower Moon and Denis Villeneuve on Dune. It’s a wide-ranging conversation with a true Hollywood legend, and you’ll very quickly see that his passion for movies and moviemaking is infectious.

Read the full interview

‘Mank’ writer-producer Eric Roth on working with Fincher, ’Dune’, Scorsese’s next project

Oscar-winning screenwriter Eric Roth served twin roles on Mank — punching up Jack Fincher’s screenplay and as producer. Mark Salisbury talks to him about his 50-year career, including upcoming films for Denis Villeneuve and Martin Scorsese

Mark Salisbury (Twitter)
April 14, 2021
Screen Daily

Back in the early 1990s, when David Fincher was still best known for his Madonna videos and had yet to direct a feature, he challenged his father Jack, who had recently retired as a Life magazine journalist, to write a screenplay. He even suggested a subject matter: Herman J Mankiewicz, who penned Citizen Kane for Orson Welles, but whose authorship had been controversially overlooked, not least by Welles, until an extended essay in 1971 by the late New Yorker critic Pauline Kael reclaimed it.

Fincher tried in vain to set Mank up for the best part of a decade, but his desire to shoot in black and white proved a sticking point with financiers. Until, that was, Netflix, for whom Fincher had produced House Of Cards and Mindhunters, asked what he wanted to do next. Did he, they wondered, have a passion project he had always wanted to direct? Fincher took down his father’s script from the shelf, and Netflix agreed.

Jack died in 2003 so Fincher called on Eric Roth, with whom he had collaborated on The Curious Case Of Benjamin Button and House Of Cards, to help him finesse the script. “David and I are very close,” says Roth, “and I’ve lent my eye, a point of view, on a few of his other movies. He has a group of us, including Bob Towne, Steven Soderbergh and Spike Jonze, that looks at all of his movies at some point in a cut and you’re allowed to tell him whatever you feel about it. So I’ve been involved in a number of those. He came to me a couple of years ago and asked if I would like to get involved with this.”

Read the full profile

The Nick Taylor Horror Show: The Empty Man, Writer/Director David Prior

Nick Taylor (Twitter)
April 1, 2021
The Nick Taylor Horror Show

David Prior is an American writer and director who made his feature directorial debut with The Empty Man, an epic in the world of horror, one of the most criminally overlooked horror movies of 2020, and one of the most ambitious horror movies of recent years . It has the scope and execution of a Chris Nolan movie while mixing elements of cults, quantum horror, and creepypastas into an extremely unique mythology that is all its own.

The story behind the making of The Empty Man is very harrowing. In the middle of shooting in South Africa, it was temporarily shut down due to weather conditions, during which a key studio executive who greenlit the film left the studio, essentially leaving the movie abandoned. If that wasn’t enough, once the movie finally got finished, David had to endure a series of calamities, including negative test screenings and studio interference which kept the movie in limbo for years. If that wasn’t enough, once the movie was finally released, it was in theatres during the height of the pandemic only to get largely negative Rotten Tomato reviews (which were very unjust) and thus be completely buried.

However, as of the past few weeks, The Empty Man has been seeing a major resurgence as a number of outspoken critics have been singing the praises of the movie and thus causing it to get the attention it deserves. The story behind The Empty Man brings to light the many issues that can befall a movie but also shows the power of the internet to champion a movie when it belongs in the spotlight. I’m personally thrilled that The Empty Man is getting the viewership that it has been; it’s a must-see, and I’m convinced it will be considered a horror epic for years to come.

In this conversation with David, we got into the whole story behind The Empty Man, his directorial processes, and what he learned observing directors like David Fincher, Tim Burton, and Peter Weir when he visited them on set while producing special features for multiple DVD titles. All of this and so much more on today’s episode of The Nick Taylor Horror Show.

Read the full article and listen to the podcast:

The Nick Taylor Horror Show
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Watch The Empty Man