How ‘Gone Girl’ and ‘Notting Hill’ Tell the Same Story

The similarities between the two films reveal the potential terror lurking beneath an idyllic romance.

Anna Swanson
May 11, 2018
Film School Rejects

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It’s safe to say that David Fincher‘s 2014 film Gone Girl surprised a lot of audiences (this means that if you haven’t seen the movie, beware of spoilers ahead). But even putting the twists and turns of the plot aside, there was an unexpected move in the promotional campaign that still stands out to me. The first trailer opened with some musical notes that any rom-com fan will recognize as the beginning to “She.”

The song was originally composed and recorded by Charles Aznavour and then famously covered by Elvis Costello to serve as the theme for Roger Michell‘s 1999 film Notting Hill:

For the Gone Girl Teaser Trailer, the song was performed by Richard Butler, and produced, arranged, and mixed by Jason Hill (Mindhunter):

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SBIFF 2021: Variety Artisan Award. Trent Reznor, Atticus Ross, Donald Graham Burt, and Jan Pascale

Jazz Tangcay
April 5, 2021
Santa Barbara International Film Festival (SBIFF)

Variety’s seventh annual Artisan Awards celebrates those essential to the filmmaking process and who have exhibited the most exciting and innovative work of the year in their respective fields.

The Variety Artisans Award were presented to Editor Alan Baumgarten (The Trial of the Chicago 7), Supervising Sound Editor Nicolas Becker (Sound of Metal), Costume Designer Alexandra Byrne (Emma), Production Designer Donald Graham Burt and Set Decorator Jan Pascale (Mank), Visual Effects Supervisor Sean Faden (Mulan), Hair Department Head Mia Neal (Ma Rainey’s Black Bottom), Actor and Musician Leslie Odom Jr. (One Night in Miami), Musicians Trent Reznor and Atticus Ross (Mank, Soul), Cinematographer Joshua James Richards (Nomadland).

Netflix Presents a Women in Film Conversation

Jazz Tangcay, Senior Artisans Editor at Variety
March 24, 2021
Netflix Film Club (YouTube)

Join a who’s who of behind-the-scenes talent for a Women in Film discussion about their work on Netflix‘s Oscar®-nominated slate this year, including:

  • Animated Short Producer Maryann Garger (If Anything Happens I Love You)
  • Costume Designer Trish Summerville (Mank)
  • Hair-and-Makeup Artisans Mia Neal, Matiki Anoff and Jamika Wilson (Ma Rainey’s Black Bottom)
  • Songwriter Diane Warren (“Io Sí” from The Life Ahead)
  • Supervising Sound Editor Renée Tondelli (The Trial of the Chicago 7)

David Fincher and Trent Reznor on Mank: ‘People were like: Huh. This is very niche’

The director and the rock star composer have now collaborated on four films and discuss their work on the overwhelming Oscar favourite, plus why Bird Box made no sense and whether Fight Club could come to Broadway

Ryan Gilbey
March 25, 2021
The Guardian

One of the US’s greatest living directors is keeping his camera switched off for our Zoom call, but he sounds so cheerful – “Hey! It’s Fincher!” – that he might as well be communicating in smiley-face emojis. Perhaps it is the effect of the 10 Oscar nominations announced a few days earlier for Mank, his acclaimed, affectionate film about the writing of Citizen Kane. Meanwhile, Trent Reznor – who, with his musical partner in Nine Inch Nails, Atticus Ross, has composed the scores for all the director’s movies since 2010 – joins the call a moment later, and proves less camera-shy. He pops up in a brown tracksuit, seated beside a keyboard in a bright, cluttered room. Fincher gives him a chipper greeting: “Trent-O!”

They are here to discuss a partnership that has spanned four pictures: the Facebook origin story The Social Network, the thrillers The Girl With the Dragon Tattoo and Gone Girl, and now Mank. It has also brought awards nominations for each of them, as well as an Oscar in 2011 for the baleful, festering music composed by Reznor and Ross for The Social Network, their first film score. I congratulate both men on their most recent nominations. Reznor has received two this year for his scores with Ross: one for Mank, the other for the Pixar fantasy Soul. “It’s brought the ratio down a bit,” he says softly. “It was always nice being able to say: ‘One film, one win.’”

Those 10 nods, which include Fincher’s third for best director, mean that Mank has more nominations than any other film in contention, though perhaps it doesn’t do to get carried away: The Irishman, another prestigious Netflix title, got the same number last year but left empty handed. It feels perverse, though, that a movie about an Oscar-winning writer (Herman J Mankiewicz, played by Gary Oldman) has been overlooked in the best original screenplay category.

“Listen, you can’t expect other people to see the exact same value in things that you do,” Fincher says. “That’s just childish. Ten’s nice. I got no complaints about 10. He won’t be upset.”

Read the full interview

Rock ‘n Roll Ghost Podcast: Interview with Musician Jason Hill (Louis XIV, Mindhunter)

Brett Hickman
March 12, 2021
Rock ‘n Roll Ghost Podcast (Facebook)

Welcome to the Rock ‘n Roll Ghost Podcast. On this episode, the Ghost speaks with musician and composer Jason Hill about his career dating back to his days in the bands Convoy, Louis XIV and Vicki Cryer. As well as his work with The Killers and producing/touring with the New York Dolls and the recent passing of Sylvain Sylvain. Hill also talks about his late career turn towards film and TV composing. He has worked closely with director David Fincher on projects such as Fincher’s Gone Girl and the Netflix series Mindhunter. It’s a pretty wide ranging, fun interview with someone I go back nearly twenty years with.

Also, starting April 1st, Hill will be hosting Film Composing and Music production masterclasses. Check out the Department of Recording and Power‘s website for more information.

Hill also has done scores for the Netflix documentaries The Confession Killer, as well as the forthcoming This is a Robbery.

Jason Hill: Instagram, Spotify, Louis XIV on Spotify, Vicki Cryer on Spotify, SoundCloud

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Director David Fincher discusses Mank with Aaron Sorkin

A DGA Virtual Q&A

February 6, 2021
The Director’s Cut. A DGA (Directors Guild of America) Podcast

A disillusioned screenwriter in old Hollywood gets a shot at redemption in Director David Fincher’s biographical comedy-drama, Mank.

Fincher’s film takes place as film 24-year-old wunderkind Orson Welles hires scathing social critic and alcoholic screenwriter Herman J. Mankiewicz to write the screenplay for his masterpiece, Citizen Kane.

On February 6, Fincher discussed the making of Mank in a DGA Virtual Q&A moderated by Director Aaron Sorkin (The Trial of the Chicago 7).

During their conversation, Fincher spoke about his love for “the altar of cinema,” the communal aspect that can come through film. “For me, what I love about cinema is going into a big dark room with 700 people and through their laughter and through their surprise and through their shock and through their reactions you realize, I’m not alone. I’m the same. I’m wired into this group in the same way just organically and I’m picking up on all these other cues. That is what makes the cinema, or a great grand theater, an almost cathedral-like experience.”

Fincher’s other directorial credits include the feature films Se7enThe GamePanic RoomZodiacGone Girl; episodes of the television series House of Cards and Mindhunter; and countless commercials and music videos. He has been nominated for the DGA Award for Outstanding Directorial Achievement in Theatrical Feature Film for The Curious Case of Benjamin ButtonThe Social Network and The Girl with the Dragon Tattoo. In 2013, he was nominated for the DGA Award for Dramatic Series for House of Cards, “Chapter 1” and has twice been nominated for the DGA Award for his Commercial work with Anonymous Content in 2003 and 2008, winning the Award in 2003 for Beauty for Sale (Xelibri Phones), Gamebreakers (Nikegridiron.Com) and Speed Chain (Nike).

Fincher has been a DGA member since 1991.

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The Magic of the Movies: Behind the Scenes of David Fincher’s Mank


Netflix Film Club (YouTube)
February 28, 2021

Join acclaimed director David Fincher, actors Gary Oldman and Amanda Seyfried, and the cast and crew of Mank, for a peek behind the curtain of Netflix’s black-and-white ode to Hollywood’s Golden Age.

Settling the Score

Director David Fincher talks the music of Mank with composers Trent Reznor and Atticus Ross.

Jon Burlingame
February 12, 2021
Netflix Queue

Trent Reznor and Atticus Ross have written a dozen film and television scores together. Not just partners in Nine Inch Nails, they have won multiple awards for music in visual media: an Oscar and a Golden Globe for The Social Network, a Grammy for The Girl with the Dragon Tattoo, an Emmy for Watchmen. But they had never tackled a project quite like Mank.

Director David Fincher, whose films The Social Network, The Girl with the Dragon Tattoo, and Gone Girl Reznor and Ross also scored, came to the duo with a period piece set between 1930 and 1940 and shot in black and white, the story of Hollywood screenwriter Herman “Mank” Mankiewicz (played by Gary Oldman).

Reznor and Ross’s previous scores had been created with synthesizers, samplers, and sequencers in their Los Angeles studios, where they recorded all of the music themselves. Mank required something different: a more traditionally orchestral score, with swing-jazz and dance-band elements appropriate to the era. It was an arena in which neither Reznor nor Ross had any prior experience.

So they listened to the popular music of the 30s and 40s and, intriguingly, the early film scores of Bernard Herrmann, the longtime Orson Welles collaborator. His music for Citizen Kane proved inspirational in terms of the style of orchestral writing that frames Mank.

Ultimately, they created more than 90 minutes of original music, played by the equivalent of a 70-piece orchestra and big band. Because of the pandemic raging through the summer and fall of 2020, all of the musicians performed individually in their home studios and were mixed together into a seamless whole.

“It was an incredibly intoxicating, inspiring environment,” Reznor says of working with Fincher. “We felt like artists, not artisans, being challenged to try to make something awesome.”

We talked to the musicians and the director about creating the music for Mank.

Read the full interview

More Like This: Spotlight on Mank, featuring Trent Reznor, Atticus Ross, Erik Messerschmidt and more

Krista Smith
February 10, 2021
More Like This (A Netflix Queue Podcast)

A podcast from Netflix Queue, the journal that celebrates the people, ideas, and process of creating great entertainment on Netflix and beyond. Host Krista Smith is joined by a different co-host each episode – Franklin Leonard, Tre’vell Anderson, and others – to give an insider’s peek into the creation of your favorite films, series and documentaries and the incredibly talented people who make them.

More Like This gets the Mank treatment! In this very special episode, Krista takes us behind the scenes of David Fincher’s Mank, sharing interviews with key members of the creative team. Composers Trent Reznor and Atticus Ross talk about the power of storytelling through music, how they pulled inspiration from composers of the past, and how pandemic restrictions forced them to record a 70-piece orchestra one instrument at a time; set decorator Jan Pascale demonstrates how the smallest details make the biggest impact; cinematographer Erik Messerschmidt details how he combined classic and modern techniques to transport a 21st century audience back in time; and editor Kirk Baxter explains why David Fincher once called him 50% blacksmith and 50% poet. Enjoy this deep dive into the process of making movie magic with film collaborators at the top of their game, and be sure to see their work in Mank, now streaming on Netflix.

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Excerpt with Erik Messerschmidt:

Cinefade VariND

The Music of Mank. Conversation with Trent Reznor and Atticus Ross

Morgan Neville
January 29, 2021
Netflix Awards FYC

A conversation with composers Trent Reznor and Atticus Ross on behalf of Mank. Moderated by Morgan Neville.

Watch the full conversation