Actors on Actors: Michael Fassbender & Carey Mulligan

December 10, 2023
Variety (YouTube)

In their Actors on Actors conversation ‘Shame’ costars Carey Mulligan (‘Maestro‘) and Michael Fassbender (‘The Killer‘) reminisce on working with Steve McQueen and talk about the directors they worked with on their current projects, David Fincher and Bradley Cooper.

Variety Actors on Actors presented by AIR from Amazon Studios.

From ‘Shame’ to Netflix Films: Michael Fassbender and Carey Mulligan on Rejection and Being So in Character You Act Without Thinking

Kate Aurthur
Photographs by Alexi Lubomirski
December 10, 2023
Variety

In “Maestro” and “The Killer,” the characters played by Carey Mulligan and Michael Fassbender exist in different worlds. Mulligan’s Felicia Montealegre Bernstein, an up-and-coming actress who becomes conductor Leonard Bernstein’s wife and soul mate, breathes rarefied air among East Coast artists from the 1950s through the ’70s. Fassbender’s tightly coiled, mostly silent assassin, meanwhile, travels the world seeking vengeance, while keeping his focus by doing push-ups on his fingertips.

Twelve years ago, though, Fassbender and Mulligan inhabited the same toxic universe, as dysfunctional siblings in 2011’s “Shame.” The film was writer-director Steve McQueen’s bleak, sexually explicit examination of sex addiction through the eyes of Fassbender’s character, Brandon, a New York City executive brought low by his self-destructive desires. Mulligan’s Sissy, a lounge singer, was sorrowful and also boundary-less.

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David Fincher and “The Killer” Crew Break Down The Brute vs The Killer Fight Scene

December 9, 2023
Netflix: Behind the Streams

Director David Fincher, Editor Kirk Baxter, Sound Designer Ren Klyce, Cinematographer Erik Messerschmidt, and Stunt Coordinator Dave Macomber break down the fight sequence between The Brute and The Killer in The Killer.

The Killer is now playing on Netflix

The Best Movie Sound Design of 2023

Ren Klyce, Richard King, Ai-ling Lee, and Johnnie Burn are among are greatest artisans working today. Here’s why.

Chris O’Falt, Sarah Shachat, Jim Hemphill, Bill Desowitz
December 8, 2023
IndieWire

George Lucas once said, “The sound and music are 50 percent of the entertainment in a movie.” It’s a quote you hear many pay lip service to, but the reality is that’s not how we think about movies. If it was, then sound masters like Ren KlyceRichard KingAi-ling Lee, and Johnnie Burn would be household names in the filmmaking world.

There is one group, though, that lives by Lucas’ words: fellow great directors. Filmmakers like David Fincher, Christopher Nolan, Jonathan Glazer, Greta Gerwig, and Bradley Cooper think of their movies in terms of sound and build it into their process, from conception through post, and seek out aural masters like Klyce, King, Lee, and Burn.

In reviewing the year in sound design, the IndieWire craft staff was near unanimous on the year’s very best, quickly zeroing in on these five titles.

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Behind the Making of The Killer

Gina McIntyre
December 6, 2023
Netflix Queue

For his muscular new thriller, David Fincher worked with many of his closest collaborators to develop inventive approaches to the film’s cinematography, with Erik Messerschmidt ASC, editing, with Kirk Baxter ACE, sound, with Ren Klyce, and score, with Trent Reznor & Atticus Ross.

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Kirk Baxter on Editing David Fincher’s The Killer

Iain Blair
December 6, 2023
postPerspective

David Fincher’s The Killer is a violent thriller starring Michael Fassbender as an unnamed hitman whose carefully constructed life begins to fall apart after a botched hit. Despite his mantra to always remain detached and methodical in his work, he lets it become personal after assassins brutally attack his girlfriend, and soon he finds himself hunting those who now threaten him.

The Netflix film reunites Fincher with Kirk Baxter, the Australian editor who has worked on all of Fincher’s films since The Curious Case of Benjamin Button and who won Oscars for his work on The Social Network and The Girl with the Dragon Tattoo.

I spoke with Baxter about the challenges and workflow

How did you collaborate with Fincher on this one?

I try not to weigh David down with too many background questions. I keep myself very reactionary to what is being sent, and David, I think by design, isolates me a bit that way. I’ll read the script and have an idea of what’s coming, and then I simply react to what he’s shot and see if it deviates from the script due to the physicality of capturing things.

The general plan was that the film would be a study of process. When The Killer is in control, everything’s going to be deliberate, steady, exacting and quiet. We live in Ren Klyce’s sound design, and when things deviate from The Killer’s plan, the camera starts to shake. I start to jump-cut, the music from composers Trent Reznor and Atticus Ross comes into the picture, and then all of our senses start to get rocked. It was an almost Zenlike stretching of time in the setup of each story then a race through each kill. That was the overarching approach to editing the film. Then there were a thousand intricate decisions that we made along the way each day.

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Happy Sad Confused: Michael Fassbender talks “The Killer” & “Next Goal Wins”

Josh Horowitz
November 30, 2023
Happy Sad Confused

It’s been 4 years since Michael Fassbender was on the big screen but he’s making up for lost time with 2 new movies, Next Goal Wins and The Killer. Josh and Michael catch up on it all including his passion for race car driving and quoting movies.

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Art of the Cut: “The Killer” with Kirk Baxter, ACE

Steve Hullfish, ACE
November 23, 2023
Art of the Cut (Boris FX)

Today on Art of the Cut, we’re talking with Kirk Baxter, ACE, about editing David Fincher’s latest: The Killer, which is now on Netflix.

Kirk’s been on Art of the Cut before – for Gone Girl and for Mank. He was nominated for an Oscar, a BAFTA and an ACE Eddie for The Curious Case of Benjamin Button. He won an Oscar, a BAFTA and an ACE Eddie for The Social Network. He was nominated for an ACE Eddie and won an Oscar for The Girl with the Dragon Tattoo. Was nominated for an Emmy for House of Cards. Was nominated for an ACE Eddie for Gone Girl. Was nominated for an ACE Eddie for Mindhunter. Was nominated for an ACE Eddie for Mank and won an ACE Eddie for Love, Death and Robots.

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Follow Steve Hullfish, ACE, and the “Art of the Cut” podcast on Ex-Twitter. Buy his book “Art of the Cut. Conversations with Film and TV Editors” (Routledge, 2017).

Read the transcription of this interview:

The Killer

Kirk Baxter, ACE, director David Fincher’s long-time editor, talks about the power of believing in the process, pacing, and voiceover changes on the action-packed thriller.

Steve Hullfish, ACE
November 23, 2023
Art of the Cut (Boris FX)

The Editing Podcast: David Fincher’s Editor Reveals The Key To Make ANY Edit Work

Jordan Orme and Hayden Hillier-Smith
November 22, 2023
The Editing Podcast

Welcome to The Editing Podcast, where storytelling meets the art of post-production. In this riveting episode, hosts Hayden Hillier-Smith and Jordan Orme sit down with none other than the master editor behind the brilliance of David Fincher‘s cinematic wonders—Kirk Baxter.

We delve deep into Kirk’s illustrious career, spanning iconic films that have left an indelible mark on the world of cinema. From “The Social Network” to “Gone Girl” to his most recent thriller, “The Killer”, Kirk Baxter’s editorial prowess has shaped some of the most memorable moments in film history and has influenced the editing landscape forever.

In this episode, we dissect the mesmerizing opening sniper scene, a sequence that hooks audiences from the first frame. Kirk takes us behind the scenes, sharing the secrets of crafting tension and suspense that keep viewers on the edge of their seats. We also explore the intricacies of “The Killer‘s” visceral fight scene, a jaw-dropping display of editing finesse that elevates the film to a new level of intensity. Kirk Baxter’s insights into the creative decisions behind each cut and the rhythmic flow of the sequence offer a rare glimpse into the mind of a true editing maestro.

00:00: David Fincher’s Editor Kirk Baxter
01:00: Use Riverside
02:18: Why Hiding Blinks Creates Intention
05:05: The David Fincher Editing Style
09:50: Choreographing The Vicious Fight Scene in The Killer
12:29: Letting Sound & Music Guide Your Edit
13:57: Comment “Storyblocks is cool”
15:00: Hooking Your Audience In The First 5 Minutes
16:23: How To Cut With Intention
18:14: Breaking Down The Sniper Scene in The Killer
25:15: The Magic Of Vertical Sound Cutting
27:53: Breaking Down The “Cool Girl” Sequence in Gone Girl

Editor: ​⁠ Tyson Pellegrini and Hayden Hillier-Smith
Executive Producer: Vishnu Vallabhaneni
Thumbnail: David Altizer

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The Filmmakers Podcast: David Fincher’s Cinematographer Erik Messerschmidt, Editor Kirk Baxter, and Sound Designer Ren Kylce, on “The Killer”

Giles Alderson and Dom Lenoir
November 14, 2023
The Filmmakers Podcast

We have a bumper episode for you with not one, not two, but three Oscar-nominated or Oscar-winning filmmakers who work with David Fincher. We have Cinematographer Erik Messerschmidt, Editor Kirk Baxter, and Sound Designer Ren Kylce, who have all worked with Fincher multiple times. We talk about their latest collaboration, The Killer, which starring Michael Fassbender and Tilda Swinton.

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“The Killer” Cinematographer Erik Messerschmidt on Re-Teaming with David Fincher

Jack Giroux
November 14, 2023
The Credits (MPA)

David Fincher’s lean, mean The Killer is a film stripped down to its bare essentials, much like the work of its titular assassin. Based on a French graphic novel and adapted by Andrew Kevin Walker (Se7en), Fincher’s adaptation tells the story of an unnamed killer (Michael Fassbender) and the strict, self-imposed protocols of his trade. It’s the rules of the process that concern the titular character, not moral dilemmas, yet they become unbearably intertwined after he botches an assignment, and the fallout affects someone he loves.

On the surface, The Killer is a revenge story. Once the job goes terribly wrong and his partner, Magdala (Sophie Charlotte), suffers violent consequences, Fassbender’s nameless assassin breaks his own rules to track down those responsible. The Killer is a world of shadows, sociopaths, and the people they prey on. For Fassbender’s antihero, feeling like the prey is a novel concept, and he’s determined to do anything to realign the world so he fits back in as a proper predator.

Once again, the director collaborates with cinematographer Erik Messerschmidt, who has been Fincher’s DP on Mindhunter and Mank. With The Killer, Messerschmidt helps Fincher place the viewer into the cramped, icy perspective of the titular character with a grace that belies the chaos he creates. We spoke to Messerschmidt about his working relationship with Fincher and what it was like to bring The Killer to life.

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