Director David Fincher talks the music of Mank with composers Trent Reznor and Atticus Ross.
February 12, 2021
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