The precision design of David Fincher’s hit-man feature mirrors its subject, writes Adrian Pennington
James Bond by way of B&Q is how director David Fincher conceived of The Killer, his feature adaptation of an acclaimed French graphic novel.
The character played by Michael Fassbender doesn’t have cars or gadgets provided by a state-of-the-art organisation. Instead, he shops on Amazon and in convenience stores, dresses like a tourist and creates his own low-fi means of trapping and eliminating people.
“The Killer is a spider sitting in a web,” said cinematographer Erik Messerschmidt ASC.
While the source material by Alexis Nolent and artist Luc Jacamon is quite expansive in terms of story and politics the screenplay by Fincher and long-standing collaborator Andrew Kevin Walker (Se7en) strips things back to become...
You are not signed in
Only registered users can read the rest of this article.
Behind the scenes: La Vida y Tal
Jaleo Producciones developed a compact broadcast-style workflow to capture Ana Milán’s improvised performances across theatres in Madrid, Bilbao, Valencia, and Seville, while moving each episode quickly from stage to post-production.
Behind the Scenes: Cape Fear
It’s a jungle out there. Celiana Cárdenas, Director of Photography, explains how the series evoked the oppressive and unsettling atmosphere of a stalker hunting its prey in Apple TV’s pulp fiction.
Esports World Cup: “Mainstream media is a big part of this now, we have to deliver enough content”
A last-minute pivot to Paris brought its own set of challenges as ESL FACEIT assembles the world’s largest esports event. Adrian Pennington reports.
Behind the Scenes: The Odyssey
Art and technology combine for epic storytelling, if you believe the marketing for Christopher Nolan’s latest.
Behind the scenes: Spider-Noir
The Marvel universe series is designed to work both as a gritty monochrome detective story and as a stylised, visually saturated comic book world.
 (1).jpg)
