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:
Starring Academy Award Winner Gary Oldman, Amanda Seyfried, Lily Collins, Arliss Howard, Tom Pelphrey, Sam Troughton, Ferdinand Kingsley, Tuppence Middleton, Tom Burke, and Charles Dance.
The “Mean Girls” and “Mamma Mia!” actress knows her performance as Marion Davies in“Mank” will be a turning point in her career. But first, she had to put some distance between herself and Hollywood.
In the Oscar-magnet Netflix film, her typist character brings ‘a young and fresh perspective’ to her boss, the booze-soaked narcissist writing ‘Citizen Kane.’
Charles Dance plays newspaper tycoon William Randolph Hearst in Mank.
Dance appeared as prison doctor Clemens in Fincher’s first film Alien3 (1992):
“First of all, I’m a huge fan of his. And I don’t say that about all directors that I’ve worked with. But when I first worked with David, the minute he walked onto the set and started to talk, I thought ‘right, this guy is clever'”.
The Gone Girl director is known for the psychological depth, visual symbolism and pulpy thrills of his films but all roads lead back to his tempestuous – and mysterious – collaborations with Madge.
It was in the winter of 1993 that David Fincher murdered Madonna. The crime scene: a music video for one of the latter’s greatest singles, “Bad Girl”, and what would be the last of the pair’s four collaborations. In its wake, Fincher would become one of cinema’s most revered directors, the prickly genius behind Se7en (1995), The Social Network (2010), Gone Girl (2014) and the forthcoming Mank. But it’s “Bad Girl” that remains Fincher’s most important venture. It is a short, stylish erotic thriller that begins and ends with Madonna’s lifeless corpse; a video that nods toward the filmmaker Fincher would become, and a final act of artistic symbiosis between two titans of pop culture.
Back in the Nineties, Fincher was coming to the end of a luminous eight years as a music video visionary. The likes of Aerosmith’s “Janie’s Got a Gun” and George Michael’s supermodel-filled “Freedom ‘90” were gorgeous exercises in style and short-form storytelling. Little was more thrilling, though, than his work with Madonna – from the grandiose myth-making of “Vogue” and “Express Yourself” to the richly personal “Oh Father”. They both recognised the cinematic potential of the form, even if it came at a cost – all of their collaborations rank among the most expensive videos ever made.
That trilogy of music videos – which came before “Bad Girl” and were shot over the course of 10 months between 1989 and 1990 – would reflect a fruitful creative tussle between the pair. Despite Fincher’s relative lack of clout in the industry at the time, and especially compared to Madonna’s cultural ubiquity, they would approach their work as somewhat begrudging – and almost flirtatious – equals.
In interviews, Fincher recalled expressing mock outrage when Madonna asked him if he had heard of Metropolis, the landmark sci-fi film she wanted to replicate for “Express Yourself”. Madonna sneered at his idea to have her crawl across the floor, lick milk from a bowl, and then pour it over herself in the same video, assuming it might look like a student film. It turned out to be one of the video’s most memorable set pieces. The visual for “Oh Father”, meanwhile, a psychological wormhole into Madonna’s childhood and the emotional toll of her mother’s death, only came about at Fincher’s insistence. Madonna had been unsure it would even work as a single. Fincher, though, saw it as ripe for visual accompaniment, and captured her vulnerability like no other.