After a fateful near miss an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal.
Netflix Presents: Michael Fassbender “THE KILLER”
Arliss Howard, Charles Parnell, Kerry O’Malley, Sala Baker
With Sophie Charlotte and Tilda Swinton
Casting: Laray Mayfield Sound Design: Ren Klyce Music: Trent Reznor & Atticus Ross Costume Designer: Cate Adams Editor: Kirk Baxter ACE Production Design: Donald Graham Burt Director of Photography: Erik Messerschmidt ASC Executive Producer: Alexandra Milchan Producers: William Doyle, Peter Mavromates Produced By: Ceán Chaffin p.g.a.
Based on the graphic novel series “The Killer” Written by Alexis “Matz” Nolent Illustrated by Luc Jacamon Originally published in the French language by Editions Casterman
Screenplay By: Andrew Kevin Walker
Directed By: David Fincher
Release Date: In Select Theaters October 27 / On Netflix November 10
In the David Fincher-directed film, The Killer, from a screenplay by Andrew Kevin Walker, and based on a graphic novel, Michael Fassbender stars as an assassin battling his employers when a hit goes terribly wrong.
Speaking during a panel at Deadline’s Contenders London event, editor Kirk Baxter addressed a rumor that the role required Fassbender to not blink at all.
There were many times watching the dailies where he heard Fincher’s voice saying, ‘That’s terrific, but let’s see that once again without the f—ing blinking.’ Baxter added, “Not so much that Fassbender needing that direction, it’s just been a thing.”
Press conference featuring Director of Photography Erik Messerschmidt ASC, Sound Designer Ren Klyce, Director David Fincher, and Editor Kirk Baxter ACE.
Red Carpet featuring Producer Peter Mavromates, Director of Photography Erik Messerschmidt ASC, Writer of the original “The Killer” (“Le tueur”) comic Alexis “Matz” Nolent, Editor Kirk Baxter ACE, Sound Designer Ren Klyce, Director David Fincher. The original stream has the ambient sound turned down to a minimum because it is too busy and noisy, and only barely intelligible in the close-ups.
After a fateful near miss an assassin battles his employers, and himself, on an international manhunt he insists isn’t personal.
Netflix Presents: Michael Fassbender “THE KILLER”
Arliss Howard, Charles Parnell, Kerry O’Malley, Sala Baker
With Sophie Charlotte and Tilda Swinton
Casting: Laray Mayfield Sound Design: Ren Klyce Music: Trent Reznor & Atticus Ross Costume Designer: Cate Adams Editor: Kirk Baxter ACE Production Design: Donald Graham Burt Director of Photography: Erik Messerschmidt ASC Executive Producer: Alexandra Milchan Producers: William Doyle, Peter Mavromates Produced By: Ceán Chaffin p.g.a.
Based on “The Killer” Alexis “Matz” Nolent Illustrator: Luc Jacamon
Executive Producer (and co-showrunner) J. Miles Dale joins us on the podcast to discuss the horror anthology series Guillermo del Toro’s Cabinet of Curiosities, which was recently nominated for seven Primetime Emmy Awards. Joining the conversation are nominees: Supervising Sound Editor Nelson Ferreira, MPSE, and Director of Photography Anastas Michos, ASC, GSC.
To avoid spoilers, be sure to watch “The Autopsy” before watching this podcast! But be forewarned, it is extremely dark — both thematically and visually — which was entirely by design. Anastas Michos:
“The genre is squarely within a horror/sci-fi mode. It is about what we don’t see in life. That’s what makes shooting horror films or thrillers so interesting. That we allow the audience to only see what we want them to see, and tease the rest of it into the blacks [of the image].”
Cinematographer Anastas Michos, ASC, GSC, takes us into the thrilling world of Guillermo del Toro’s Cabinet of Curiosities with “The Autopsy.” Michos’ mastery weaved an emotive visual narrative through skillfully dark color palettes, dynamic lighting, and expert composition, turning settings into characters and creating an immersive, unforgettable experience. Go behind the look, and learn about the choices Anastas made on “The Autopsy” that earned him a well-deserved Emmy nomination for Outstanding Cinematography For A Limited Or Anthology Series Or Movie.
Michos takes us Behind The Look: THAT SHOT of his favorite sequence of “The Autopsy” starting in the morgue.
“The Autopsy” is the third episode of Netflix‘s Cabinet of Curiosities. A seasoned sheriff investigates a dead body in the woods and calls on an old pal, a medical examiner, to help piece together a series of chilling events.
Frame & Reference is a conversation between Cinematographers hosted by Kenny McMillan. Each episode dives into the respective DP’s current and past work, as well as what influences and inspires them. These discussions are an entertaining and informative look into the world of making films through the lens of the people who shoot them.
Step into the fascinating realm of cinematography with our special guest, Anastas Michos, ASC, GSC. A seasoned expert in the field, Anastas unlocks the mysteries of television and feature film cinematography, highlighting the way technology is reshaping these two distinct mediums. We navigate the landscape of artificial intelligence and its impact on the world of filmmaking, as well as the unique perspectives of different unions and guilds.
In this engaging discussion, we venture into the realm of personalized creativity in cinematography. We grapple with the thorny issue of image authorship and the absence of laws in the United States that safeguard the creators of these images. Anastas enlightens us on how he navigates projects without relying on the safe and familiar, and what elements give a project an organic feel. We also explore the role of lenses, both physical and virtual, in crafting the look of an image.
As the conversation evolves, we explore the creative process of filmmaking. Anastas shares his insights on the influence of nostalgia and artificial intelligence on new ideas. We touch on the unique work of filmmaker Guillermo del Toro, delve into the intriguing concept of Guillermo del Toro’s Cabinet of Curiosities, and discuss Anastas’ experience working with actor F Murray Abraham. Brace yourself for a riveting expedition into the world of film production, full of collaboration, innovation, and a dash of humor. Don’t miss out!
In this episode, cinematographer Anastas Michos, ASC, GSC is joined by interviewer Phedon Papamichael, ASC, GSC to discuss his work on Guillermo del Toro’s Cabinet of Curiosities— the Netflix horror-anthology series featuring eight macabre stories guest-directed by notable genre filmmakers.
Presented and “personally curated” by Guillermo del Toro, Cabinet of Curiosities offers an assortment of modern horror fare rooted in the traditions of gothic and grand-guignol storytelling. The series’ guest directors include Ana Lily Amirpour, Panos Cosmatos, Catherine Hardwicke, Guillermo Navarro, David Prior, Vincenzo Natali, and Keith Thomas. Michos shot Episode 3 — “The Autopsy,” directed by Prior — and earned ASC Award and Emmy Award nominations this year for his work on the installment.
In this interview, Michos discusses his approach to shooting his episode with minimal lighting; the importance of amping up contrast between colors to strengthen and maintain his palette’s intended effects; his personal philosophy on color association; and why cinematographers must follow their own instincts when making decisions on camera operating and movement.
Anastas Michos, ASC, GSC is a cinematographer whose credits include the features The Kissing Booth (2018), The First Purge (2018), The Empty Man (2020) and Vanquish (2021).
Phedon Papamichael, ASC, GSC first began working as photojournalist in New York, and has since served as director of photography on over 40 features, including Sideways (2004), Walk the Line (2005), The Descendants (2011) and Ford v Ferrari(2019). He is a two-time Academy Award nominee for his cinematography on Nebraska (2013) and The Trial of the Chicago 7(2020).
Cinematographer Anastas MichosASC, GSC humbly calls himself a journeyman cinematographer. However, after 25 years and multiple awards, Anastas possesses expert skill and versatility that can be seen across all genres. Most recently, Anastas was nominated for an Emmy for “The Autopsy,” an episode of Guillermo del Toro’s Cabinet of Curiosities anthology TV series on Netflix.
Del Toro selected the directors for each episode of Cabinet of Curiosities, and he chose idiosyncratic directors who brought their own sensibilities to each piece. Anastas had worked with “The Autopsy” director David Prior before on a horror film called The Empty Man, and they enjoyed collaborating together again. Anastas enjoyed working on Cabinet of Curiosities because it felt like making a short film rather than a TV show, with each piece a crafted short story rather than a serialization. For a consistent look, each episode used the same production designer, Tamara Deverell, who also did the production design for del Toro’s Nightmare Alley. While shooting the episode, Anastas was always conscious that “The Autopsy” should fall under the look of del Toro’s brand.
Anastas has always enjoyed shooting horror films because they explore the human condition in a very specific way. The cinematographer can creatively stretch the imagination and the image in a way that can’t be done as much in dramas, comedies, or romances, since they’re usually based on our day-to-day reality. But Anastas likes to switch around among genres- after working on an intense horror film such as Texas Chainsaw 3D, a light rom-com might sound really good. He’s interested in any project that has a great story, script, director, and crew.
Before finding his way behind a camera, Anastas thought he’d go into the music business since he grew up in a musical family. Instead, he became a news cameraperson, learning visual storytelling on the job. He’s found that his music background has actually served him well as a cinematographer- he feels musicality is very much a part of camera movement. One memorable time early in his career, Anastas was working Steadicam for Born on the Fourth of July. Director Oliver Stone pulled him aside and had Anastas put on a Walkman so that he could move the camera to the pace of the music Stone wanted.
After working as a camera and Steadicam operator for several years, Anastas got to shoot his first feature as a DP for Man on the Moon. Anastas found director Milos Forman to be simultaneously generous and demanding, with the capability of recognizing someone’s potential and holding them to it.
The Fincher Analyst 