Mank
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Echoes From the Past
In recreating in Mank the experiences from 1930 to 1940 that led screenwriter Herman J. Mankiewicz to write Citizen Kane, David Fincher has said his goal was to make a film that looked and felt of its era. But that fidelity only goes so far: On the visual side, Mank’s black-and-white look is captured in period-anomalous widescreen. Similarly, Mank uses a LCR (left-center-right) sound mix rather than pure mono. “We’re not trying to fool anybody by saying this is a mono mix,” says Fincher’s career-long sound designer Ren Klyce. “The goal was to make the film sound old-fashioned and from […]
by Vadim Rizov on Feb 10, 2021 -
“We Don’t Find Shots, We Build Them”: DP Erik Messerschmidt on Mank, Lens Flare Painting and Native Black and White
In 1941, a 25-year-old Orson Welles made one of cinema’s most auspicious debuts by directing, co-writing, starring in and producing Citizen Kane. With Mank—David Fincher’s look at the evolution of Kane’s screenplay—cinematographer Erik Messerschmidt makes an impressive feature bow of his own. After working his way up through the ranks of grip and electric and earning DP credits on the shows Legion, Mindhunter and Fargo, Messerschmidt’s very first fiction feature has landed him in the midst of Oscar conversation. With Mank now streaming on Netflix, Messerschmidt spoke with Filmmaker about deep focus, high ISOs and painting in lens flares; and how even […]
by Matt Mulcahey on Dec 22, 2020 -
The Mankalorian: Two Approaches to Digitally Captured 35mm Looks
The last time I wrote about film color for this magazine was on the ways 35mm shooting and digital color combined in Uncut Gems and Star Wars: The Rise of Skywalker to create contemporary looks strongly engaged with the past, resulting in what we might call a look “more filmic than film.” David Fincher’s Mank, along with a second season of the Star Wars TV series The Mandalorian, gives us an opportunity to consider how digital and celluloid tendencies combine from the opposite direction—both were shot digitally, then graded to explicitly evoke celluloid. Once again, color grading and capture format […]
by Jessica Dunn Rovinelli on Dec 9, 2020 -
Back to One, Episode 135: Tuppence Middleton
English actor Tuppence Middleton is on a steady, slow rise and that seems to suit her just fine. On this side of the pond she’s perhaps best known for playing Riley Blue on the Netflix sci-fi series Sense8 and Lucy Smith in the Downton Abbey movie, but you’d be foolish not to seek out her work in Trap For Cinderella and War and Peace. Now she’s part of the impressive ensemble in David Fincher’s latest film Mank. She plays “Poor Sara” Mankiewicz, wife of the alcoholic co-writer of Citizen Kane, played by Gary Oldman. I ask her about working with […]
by Peter Rinaldi on Dec 8, 2020 -
Trailer Watch: David Fincher’s Mank
Netflix has just dropped the first teaser for Mank, David Fincher’s first film since 2014’s Gone Girl. Working from a script by his late father, Jack, Mank re-examines the writing of Citizen Kane. Its title hints at the presumed agenda, which is to re-litigate the issue of whether screenwriter Herman J. Mankiewicz was the true force behind Orson Welles’s debut. It’s worth noting that Jack Fincher never had a screenplay credited to him in his life, although his IMDb page claims that “He once wrote a Howard Hughes biopic before it was decided to go with John Logan [sic] script for The Aviator (2004) instead.” Mank is […]
by Filmmaker Staff on Oct 8, 2020
