Soundtrack (Score, Music) – The Fincher Analyst

Mank (Original Musical Score) Deluxe Edition 3xLP

nin.com
Release date: February 2, 2023

The critically acclaimed score for David Fincher‘s Mank from Academy Award™ winners Trent Reznor & Atticus Ross. Featuring 90 minutes of new compositions in the style of orchestral, big band, and foxtrot music of the 1940s.

3xLP pressed on 180-gram vinyl in a deluxe hinged box set. Foil-stamped canvas spine.

Tracklist

Side A
1. Welcome to Victorville
2. Trapped!
3. All This Time
4. Enter Menace
5. First Dictation
6. A Fool’s Paradise
7. Once More unto The Breach
8. About Something
9. Glendale Station
10. What’s at Stake?
11. Every Thing You Do

Side B
12. Cowboys and Indians
13. Presumed Lost
14. (If Only You Could) Save Me
15. Means of Escape
16. All This Time (A White Parasol)
17. M.G.M.
18. A Respectable Bribe
19. I, Governor of California
20. A Leaden Silence
21. San Simeon Waltz
22. Time Running Out

Side C
23. Mank-Heim
24. Lend Me A Buck?
25. You Wanted to See Me?
26. In Your Arms Again
27. The Dark Night of The Soul
28. Clouds Gather
29. Way Back When
30. An Idea Takes Hold
31. Marion’s Exit
32. Absolution

Side D
33. Scenes from Election Night
34. Election Night-Mare
35. All This Time (Dance Interrupted)
36. All This Time (Victorious)
37. I’m Eve
38. A Rare Bird
39. Look at What We Did
40. Menace Returns
41. Forgive Me
42. Final Regards
43. Where Else Would I Be?

Side E

44. The Organ Grinder
45. All This Time (Not No More)
46. Costume Party
47. Dulcinea
48. Shoot-Out at The Ok Corral
49. The Organ Grinder’s Monkey
50. An Act of Purging Violence
51. All This Time (Happily Ever After)
52. A Rare Bird (Reprise)

Order the Mank (Original Musical Score) Deluxe Edition 3xLP

Mank marked the fourth collaboration between Fincher, Reznor & Ross.

They will reunite again for The Killer, out November 10 on Netflix.

Soundtracking with Edith Bowman: Trent Reznor & Atticus Ross Return!

Edith Bowman
December 26, 2022
Soundtracking with Edith Bowman

Now, Christmas week is just about to get a whole lot cooler, as we welcome Trent Reznor and Atticus Ross to Soundtracking for a second time

Edith LOVES talking to this dynamic duo about film music, and the good news is we have two of their scores to unpack: the first being for Luca Guadagnino‘s Bones And All and the second for Sam Mendes‘ Empire Of Light.

They also confirm that they have scored The Killer for David Fincher.

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Soundtracking Extra with Edith Bowman (YouTube)

LOVE DEATH + ROBOTS Volume 3 Soundtrack

Lakeshore Records
Digital release date: September 30, 2022
Catalogue No.: LKS36291

The album features the original music from the Netflix show’s third season composed by Rob Cairns (Dallas, The Forger, The Bachelor).

It also includes:

The score for the episode directed by David Fincher, Bad Travelling, composed by Jason Hill (Mindhunter, Voir)
The score for the episode directed by Tim Miller, Swarm, composed by Tom Holkenborg (Mad Max: Fury Road, Deadpool, Zack Snyder’s Justice League) with additional music by Shwan Askari
A track from the episode directed by Alberto Mielgo, Jibaro, by Killawatt

Track list:

Rob Cairns – Craters (1:03)
Rob Cairns – Seasteading (1:43)
Rob Cairns – It’s Magnificent (0:54)
Rob Cairns – Extreme Democracy Quintet (1:06)
Rob Cairns – Liftoff (0:54)
Rob Cairns – Io / Tank Rupture (3:26)
Rob Cairns – Wake Up (1:21)
Rob Cairns – Formations (1:42)
Rob Cairns – What Does This Sound Like? (1:25)
Rob Cairns – Electromagnetic Spectrum (2:18)
Rob Cairns – One Last Dream Before Dying (2:38)
Rob Cairns – Open (1:17)
Rob Cairns – Fire and Forget (1:15)
Rob Cairns – Her Name Was Susan (0:41)
Rob Cairns – Uncrating the TT15 (1:16)
Rob Cairns – Battle (1:35)
Rob Cairns – I Salute Your Bravery (0:50)
Rob Cairns – We Got These Fuckers Now (4:17)
Rob Cairns – Light Em Up (1:03)
Rob Cairns – Guard What? (1:40)
Rob Cairns – Contact Rear (1:09)
Rob Cairns – Release Me (2:41)
Jason Hill – From Black to Blood (2:20)
Jason Hill – Me Eat Meat (2:43)
Jason Hill – As You Must Now With Me (3:12)
Jason Hill – Put It to a Vote (3:27)
Jason Hill – Babies (1:54)
Jason Hill – Mutiny (1:54)
Jason Hill – We Have Arrived (3:41)
Jason Hill – Bad Travelling Closing Titles (1:11)
Tom Holkenborg – Adrift on Ancient Chemical Tides (6:31)
Shwan Askari – Genetic Protocol (3:34)
Tom Holkenborg – Parasites (4:05)
Killawatt – Tachi (Jibaro) (2:02)

Streaming:

Apple Music
Spotify
Amazon Music
deezer
Tidal
qobuz

Download:

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ProStudioMasters

I am Sitting in a Room, Listening to Mank

Cormac Donnelly
October 2021
Screenworks

This video essay examines the innovative use of sound recording and mixing in David Fincher’s Mank (2020). Whilst Mank received a limited theatrical release, the film is most widely available via the Netflix streaming platform. The essay takes as a starting point the rerecording and spatialisation of the soundtrack, with a focus on the home viewing experience. Donnelly argues that the re-recording process used on Mank’s soundtrack could potentially suggest a method by which films released into the domestic market could retain the reverberant sonic signature of cinematic exhibition. The published screenwork draws upon interviews with Fincher’s sound designer Ren Klyce, as well as the work of experimental composer, Alvin Lucier in order to better understand the experience of listening to Mank in our own rooms.

Watch the video essay and read the research statement

Read the original in-depth interview with Ren Klyce:

Making Mank’s Vintage Hollywood-Magic Sound

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

Click for full resolution:

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):

Read the full article

Film posters:

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 Se7en, The Game, Panic Room, Zodiac, Gone 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 Button, The 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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