X2X: Glimpse into Future Filmmaking with Mank

How will filmmaking adapt in the post-Covid era? A glimpse into the future is afforded by Mank, the forthcoming Netflix feature project directed by David Fincher and spearheaded by producer Ceán Chaffin. More than a love letter to a catalog title, Mank is a glimpse of the complex interplay of human creativity and the filmmaking process as practiced in Hollywood’s golden era.

December 9, 2020
X2X

Fincher is known for working in the vanguard of filmmaking technology. Examples include a very early digital intermediate on Panic Room – the first ever in a facility designed for the purpose – and Zodiac, one of the first major features to be shot almost entirely digitally. The remote collaboration envisioned by futurists at the dawn of the internet era was already common practice for his team long before the pandemic.

“Fortunately, we have not missed a beat,” says Chaffin. “We are working now exactly how we mostly could have been working the past ten years, which is working from home during post.”

But the virus and its requirement to remain physically apart may constitute a final push for the industry at large. All the attributes of true remote connectivity – reduced travel time and its attendant benefits in terms of stress, pollution and time savings, enhanced with rapid feedback, superior organization and a centralized database – will still be applicable when health concerns subside.

A canvas of the top pros on David Fincher’s team indicates that while the pandemic naturally raises stress levels, the need to work separately has been essentially a non-factor in terms of their ability to collaborate efficiently and keep the production on track.

Fincher came to the project with a mandate that the production work with the PIX production hub. Chaffin, who has made nine films with Fincher, says that the system is an essential tool for collaboration and input.

“This is how we have worked for a long time.” says Chaffin. “David feels the team is making the film with him, sharing in the problem-solving. Even when we were in the same building, David was often responding exclusively through PIX. His preferences and concerns are there for everyone to refer to. You don’t have to go find that one email, or remember a comment someone made on their way out the door.

Read the full case study

Variety’s Music for Screens Week: Keynote Conversation with Trent Reznor and Atticus Ross

Shirley Halperin, Executive Editor of Music at Variety
December 3, 2020
Variety

Scoring Films Allows Writers to Explore a Range of Styles

Members of Nine Inch Nails produce more than just rock content. During the keynote conversation with Trent Reznor and Atticus Ross, moderator Shirley Halperin dug into their scoring success on a range of film projects, from “The Social Network” to “Watchmen,” “Soul” and “Mank.”

Writing music for the screen has given the artists their fair share of challenges, the most recent being composing big band and orchestral scores. But without the opportunity to score films, the band members said they’d miss out on exploring the various realms of music.

“We feel really proud to be involved, and proud of the journey that we were put on,” Reznor said. “That’s one of the things that’s great about working on films. In our life in Nine Inch Nails, we kind of don’t know what to expect — we have a pretty good idea of what road we’re going to go down or what the future might hold. With film, it’s like you’re on a finite, intense journey that might lead you down paths that in our other lives we wouldn’t get to go on.”

Watch the Keynote Conversation with Trent Reznor and Atticus Ross:

Watch the full video

Mank: Original Musical Score by Trent Reznor & Atticus Ross

nin.com
December 4, 2020

Trent and Atticus’ score for David Fincher’s new film Mank is out now! You can find it in all the expected places:

Apple Music
Spotify
Amazon Music
TIDAL
deezer
napster

The score contains 52 tracks and is over 90 minutes of music from the film.

However… if you’d like the DEFINITIVE Mank musical experience, we’re offering the complete score along with an ADDITIONAL TWO HOURS of unreleased music and demos from the Mank sessions available exclusively at:

Bandcamp

These are additional and alternate compositions that didn’t get used in the film along with a selection of Trent and Atticus demos pre-orchestration. Obviously these are available in the format of your choice, including lossless.

Vinyl fans: we will be offering the score on vinyl early next year. The vinyl score will NOT contain the extra two hours of material.

Netflix’s ‘Mank’ to Submit Original Song From Composers Trent Reznor and Atticus Ross

Clayton Davis
December 4, 2020
Variety

David Fincher’s Impossible Eye

David Fincher by Jack Davison

With ‘Mank,’ America’s most famously exacting director tackles the movie he’s been waiting his entire career to make.

Jonah Weiner
November 19, 2020
The New York Times

Six years ago, after I contacted David Fincher and told him I wanted to write an article about how he makes movies, he invited me to his office to present my case in person and, while I was there, watch him get some work done. On an April afternoon, I arrived at the Hollywood Art Deco building that has long served as Fincher’s base of operations, where he was about to look at footage from his 10th feature film, Gone Girl,” then in postproduction. We headed upstairs and found the editor Kirk Baxter assembling a scene. Fincher watched it once through, then asked Baxter to replay a five-second stretch. It was a seemingly simple tracking shot, the camera traveling alongside Ben Affleck as he entered a living room in violent disarray: overturned ottoman, shattered glass. The camera moved at the same speed as Affleck, gliding with unvarying smoothness, which is exactly how Fincher likes his shots to behave. Except that three seconds in, something was off. “There’s a bump,” he said.

Jack Fincher photographed by David Fincher in 1976, when he was 14.
“That’s why it’s out of focus”.

No living director surpasses Fincher’s reputation for exactitude. Any account of his methods invariably mentions how many takes he likes to shoot, which can annoy him, not because this is inaccurate but because it abets a vision of him as a dictatorially fussy artiste. Fincher, who is 58, argues that this caricature misses the point: If you want to build worlds as engrossing as those he seeks to construct, then you need actors to push their performances into zones of fecund uncertainty, to shed all traces of what he calls “presentation.” And then you need them to give you options, all while hitting the exact same marks (which goes for the camera operators too) to ensure there will be no continuity errors when you cut the scene together. Getting all these stars to align before, say, Take No. 9 is possible but unlikely. “I get, He’s a perfectionist,” Fincher volunteered. “No. There’s just a difference between mediocre and acceptable.”

Read the full profile

Mix Magazine 2020: The Music in Sound with Ren Klyce

Ren Klyce in Peter Elsea’s Studio (1984)

Larry Blake
November 5, 2020
Mix Magazine / SoundWorks Collection

Animated short for Sesame Street (January 17, 1984) produced by John Korty. Sound and music by Ren Klyce:

The Social Network Score Released in Dolby Atmos 3D Audio

October 3, 2020
NIN.com

This week marks 10 years since the release of the Academy Award-winning score for The Social Network. In celebration of the anniversary, Trent and Atticus have created a newly remixed version of the soundtrack in Dolby Atmos 3D Audio, providing an immersive listening experience. The new Atmos mix is currently able to stream right now on Amazon Music HD.

Look for this to become more widely available on other supporting services.

From Trent:

When we finished the score, we were in a phase where we intrigued by the possibilities of mixing in surround. At the time, 5.1 was the format of choice. Our intention was to spend three days after finishing the stereo mix and adapt it to 5.1… Thirty days later we finished! We found the material was very suited to the space and we went a little crazy

Jump to the present where atmos has become a viable format and we thought it would be cool to “adapt” the approach of the original 5.1 mix into the expansive canvas atmos provides. Our results are live on Amazon Music right now – check it out.

We were going to offer the option to purchase a download, but we couldn’t get it together to provide the most viable format (stay tuned). We are considering making some ultra HD Blu-Ray discs for your highest-quality Atmos listening pleasure.

Up next, The Fragile?

DP/30: Trent Reznor & Atticus Ross. “Watchmen”, “Mank”

“All in ‘Mank’ is orchestra or big band. There’s no one synth or one note played by us on the whole score.”

David Poland
August 10, 2020
DP/30: The Oral History Of Hollywood (YouTube)

They both took different roads to film scoring, which they have mostly (and most famously) done together. From 9 Inch Nails to Fincher to Watchmen, they have a unique one-off approach to every project. They took some time to chat with David Poland to chat about their work on The Social Network, Watchmen, Mank, and Pixar‘s Soul.

Shot via Zoom, August 2020.

Earlier DP/30 with Trent Reznor: Gone Girl

Atticus Ross: “I’ve seen the first cut of ‘Mank’ and it was incredible”

And Trent Reznor explains why David Fincher is great to work with.

Reznor and Ross share some glimpses on their work with Fincher on Mank at the end of their interview about their score for HBO and Damon Lindelof‘s Watchmen.

Read the article:

Trent Reznor and Atticus Ross: Composing ‘Watchmen’ was ‘super rewarding, extremely difficult and fulfilling’ [EXCLUSIVE VIDEO INTERVIEW

Rob Licuria
March 31, 2020
Gold Derby

The prolific duo has also released two new Nine Inch Nails: Ghosts albums for free.

Trent Reznor and Atticus Ross will use period-authentic instrumentation for their “Mank” score

They’ll avoid many of their favorite toys for David Fincher’s next movie, which is set in the Forties.

Revolver Staff
December 23, 2019
Revolver

Director David Fincher — who first dragged Reznor and Ross into the film-scoring game by enlisting them for 2010’s The Social Network — is currently shooting the film Mank, a biopic about Herman J. Mankiewicz, the screenwriter of Orson Welles‘ Citizen Kane, played by Gary Oldman. As such, the movie is set in 1940. “We’re not gonna be using the modular synthesizer on that one,” Reznor revealed. “We think we’re gonna be period authentic, so it just creates a new set of challenges.”

Read the full article:

Nine Inch Nails: 9 Things We Learned from Our Visit to Trent Reznor’s Studio

Order the Dec/Jan Issue of Revolver, Featuring Nine Inch Nails

Recreating Trent Reznor and Atticus Ross’ “Gone Girl” Score With Software Instruments

Gone Girl - Soundtrack

Dan Carr
May 4, 2018
Reverb

In 2014, Trent Reznor and Atticus Ross scored Gone Girl, the duo’s third collaboration with director David Fincher (following 2010’s The Social Network and 2011’s The Girl With the Dragon Tattoo).

Gone Girl’s music consists of dark ambient pieces with layered synths, guitars, and electronic noises, and was inspired by the background music Fincher heard at a chiropractor’s office that was “inauthentically trying to make him feel alright,” according to Reznor.

To this end, the soundtrack juxtaposes lush new-age synths and percussion with distortion, noise, and stuttery beats. I’ll explore the synth behind many of the film’s sounds, as well as how to create these tones using software instruments in your own DAW.

Read the full article with audio samples