5 Visual Aesthetics of David Fincher’s MINDHUNTER: A Video Essay

Vashi Nedomansky
November 28, 2018
VashiVisuals

“I thoroughly enjoyed the visual sensibilities and filmmaking techniques used in the first season of  Mindhunter on Netflix. Here are 5 of my favorite cinematography and film editing techniques that I feel made it a very distinctive show. Created and directed by David Fincher, he used many of the stylistic choices from his feature films such as dark cinematography and glass-like camera movement but also added some new tools to his arsenal as well.”

More by Vashi Nedomansky:

All 25 Subliminal Shots in David Fincher’s MINDHUNTER Title Sequence

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Recreating the Mindhunter Reel-to-Reel titles (minus the corpses)

Techmoan (YouTube)
May 5, 2018

A ‘joyously nerdy’ video in which I attempt to assemble all the components to recreate the reel-to-reel title sequence from the Netflix Show Mindhunter.

hifiengine: the Portable Stereo Reel-to-Reel Tape Recorder Sony TC-510-2 (or Sony TC-5550-2 in Japan)

The Tapeheads forums: “Looking for the sony tc-510

The RPF forums: “The Tape Recorder from Netflix MINDHUNTER” (“David wants perfect”)

New Mindhunter style metal 5″ reels can be bought from Righteous Reels.

Special thanks to Jason Moore (on Patreon) for the tip regarding The Professionals episode.

The music used in my recreation of the title sequence is ‘Spirit Of the Dead‘ – by Aakash Ghandi and is from the youtube audio library (Download link).

NOTE: The TDK tape leader was created specifically for the sequence with CGI to hide the original Sony one:

Ollin VFX 2018 Demo reel

Ollin VFX (vimeo)
December 12, 2017

Thanks to Andrew Moore

Murder by Imitation: The Influence of Se7en’s Title Sequence

Tim Groves
April 2018 (Issue 43)
Screening the Past

The serial killer film is nothing if not prolific: Robert Cettl discusses over six hundred examples in his annotated filmography, Richard Dyer argues that there are over two thousand serial killer films, and the IMDB lists more than 3500 film and television titles. [1] As with any genre, the serial killer film is marked by its typicality. Indeed, Philip Simpson criticises the serial killer film as a subgenre that is “endlessly derivative of its predecessors”. [2] The tropes of the clever, fiendish killer, his grotesque, ritualistic ‘signature’ and the gifted but damaged investigator are certainly familiar, but how does the serial killer film replicate itself on a textural level? This article will analyse the influence of Kyle Cooper’s much admired opening title sequence in Se7en (David Fincher, 1995). [3] However, rather than exploring the general influence of the sequence, I will focus on its stylistic similarities to the credit sequences of other serial killer texts such as The Bone Collector (Phillip Noyce, 1999), Red Dragon (Brett Rattner, 2002), Sanctimony (Uwe Boll, 2001), Taking Lives (D.J. Caruso, 2004) and the first season of Whitechapel (Ben Court and Caroline Ip, 2009). I will argue that their imitative or plagiaristic qualities can be interpreted in terms of Mark Seltzer’s work on the repetitive and circular discourse of serial killing.

Se7en

The title sequence of Se7en appears a few minutes into the film, occurring after a brusque initial encounter between Detectives William Somerset (Morgan Freeman) and David Mills (Brad Pitt) at the scene of the first murder. The sequence runs for just over two minutes and contains over a hundred shots, many in close up. It shows a person (whom we retroactively infer is the killer John Doe [Kevin Spacey]) shaving off the skin on his fingertips, and then working on a group of notebooks while wearing bandages. We see Doe writing in longhand, and highlighting and erasing portions of other texts. He also develops photographs and uses scissors to trim Polaroids and pieces of film. Doe incorporates some of these images and texts into the notebooks and then uses needle and thread to stitch the pages of his journal into a book, one of many.

The title sequence provides vital story material for the viewer about Doe’s activities. He removes his fingertips to ensure that he does not leave fingerprints behind, either in his apartment or at crime scenes. This also enables him to toy with the investigators by leaving a message composed of fingerprints on a wall at the second murder scene. Instead of this resulting in Doe’s apprehension, it points the police to his third victim, whose amputated arm was used to ‘write’ the words “help me”. After Doe surrenders, the police discover that he does not have a Social Security number, nor any banking or other official records. He is also, as Somerset states, “John Doe by choice”. His anonymity focuses police attention on to his mission or “work”. Indeed, during the final confrontation, Doe insists that he is not personally important, but that his crimes will be remembered and studied because of their shocking nature and diabolical logic (and Se7en is more memorable than many other serial killer films for precisely this reason).

Read the full essay

Thanks to Joe Frady

In conversation with… Lee Child on David Fincher’s Se7en

A video of Lee Child’s intro to last year’s BFI screening of “SE7EN“. I was there that night for the specially imported, ‘privately owned’ (QT?), original CCE 35mm print. I would have preferred a 4K DCP…

Joe Frady

November 30, 2017
BFI (YouTube)

Thriller author Lee Child talks to the BFI‘s Stuart Brown about David Fincher’s dark crime thriller, which follows a detective duo who find themselves pursuing a serial killer who uses the seven deadly sins to theme his murders. With a great ensemble cast and Darius Khondji’s camerawork helping to bring out the bleak, urban landscape, Se7en was a worldwide success.

Top 10 Title Sequences of 2017

The Very Best Title Sequences of 2017, as chosen by Art of the Title

Lola Landekic & Will Perkins
January 4, 2018
Art of the Title

For our fourth annual list of the year’s top 10 title sequences, Art of the Title’s editors chose from among film, television, video games, web series, and conferences. The Top 10 of 2017 were chosen based on criteria such as originality and innovation, impact, atmosphere, relevance to subject matter, and technique.

Paring the long list down from 142 to just 10 was a difficult task, but one done with relish. These title sequences were painstakingly crafted, acted, shot, composited, modelled, painted, choreographed, rotoscoped, animated, typeset, and hand-drawn by teams large and small all around the world, with budgets modest and mighty, in state-of-the-art facilities and in home studios. So sit back, relax, and enjoy some of the most interesting and innovative work to hit screens this year. These sequences represent the cream of the crop.

Read the full article

The MINDHUNTER Teaser Blood Animation by Joe Fleming

JoeMotion.tv

Joe Fleming is a motion designer and animator based in New Orleans, LA. Originally from Omaha, NE, Joe has always had a passion for art and design. He developed his craft while studying Graphic Design at Loyola University in New Orleans. He fell in love with the city and its rich creative scene. While working with clients and colleagues from around the world, he is able to draw from their unique styles and techniques.

MINDHUNTER

Art Direction & Design: Neil Kellerhouse
Edit + Sound + Color: Kirk Baxter, Studio Exile
Blood + Logo Animation: Joe Fleming

2017-03-02 Joe Fleming - Mindhunter. Teaser Animation

2017-03-02 Joe Fleming - Mindhunter. Teaser Animation 01

2017-03-02 Joe Fleming - Mindhunter. Teaser Animation 07

Click to enlarge:

(Joe Fleming, JoeMotion.tv)

Art of the Title: Angus Wall & Elastic

Art of the Title: Angus Wall

Art of the Title: Elastic

In Studio Partners:

Design: Elastic
Editorial: Rock Paper Scissors
VFX: a52

Still Image: Joe LaMattina