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Hollywood, I'm available as a My Dear Miss Aldrich consultant for this

I’m excited to see what Fincher will do with black-and-white cinematography, and curious if there’s something to the script that aligns with his usual thematic interests or if he’s just pursuing it because it’s his fathers. Mostly just glad he’s making a feature, period.

Also glad he is making a period feature.

Oldman and Fincher, together at last. Hopefully this isn't as milquetoast as it sounds.

Who knew that Mank's life was gloomy and angsty and dark enough to get Fincher interested....

Netflix = no eventual Blu-Ray release. Boo.

I'll take a film in UHD in the comfort of my own home the day it's released over an eventual 1080p disc about six months later, but maybe I'm the crazy one - plus, if Netflix has some loose arrangement with Criterion, it's clear that Fincher has wanted a release on the label for a while (hence that weird Benjamin Button hybrid), and it sounds like the sort of thing that would be a good fit for the label if they could make the details work.

And again, not to sound like a broken record, but I would so much rather these passion projects get made at all than gripe about the delivery system. As long as Netflix has their checkbook open for projects like this when big studios don't (Fincher has wanted to make this since he finished The Game) then who am I to look a gift horse in the mouth?

I still think we're going to get Gone Girl on Criterion at some point, with them taking the extra material Fox rejected for whatever reason.

mfunk9786 wrote: Thu Jul 11, 2019 9:35 pm I'll take a film in UHD in the comfort of my own home the day it's released over an eventual 1080p disc about six months later, but maybe I'm the crazy one - plus, if Netflix has some loose arrangement with Criterion, it's clear that Fincher has wanted a release on the label for a while (hence that weird Benjamin Button hybrid), and it sounds like the sort of thing that would be a good fit for the label if they could make the details work.

And again, not to sound like a broken record, but I would so much rather these passion projects get made at all than gripe about the delivery system. As long as Netflix has their checkbook open for projects like this when big studios don't (Fincher has wanted to make this since he finished The Game) then who am I to look a gift horse in the mouth?

I very much agree with the financing issue here; if Netflix, Apple, Amazon and the rest are the only ones funding ambitious projects by top-tier directors, that's on the studios. On the other hand, I'd rather wait for a physical release that I can own rather than have something immediately available but only at the whim of an algorithm or licensing deal. The tech giants giveth, and taketh away...

Not to get off topic, but where is the Gone Girl Criterion news coming from?

I think mfunk is right: if it comes down to passion projects getting made at all, it's preferable to no physical release. I haven't subscribed to a streaming service yet but if the theatrical situation gets to a point where Disney shit like Lion King 2019 is everything that you get to pick from at your multiplex, I'll happily pay a Netflix and Amazon fee, though again, they'd have to attract the filmmakers I like on a regular basis for me to take the plunge. (Also, is anything Netflix offers currently in 2160p?)

In an ideal world though, Netflix in particular would agree to filmmakers having their films released on disc as well, even, say, three to six months or so after the streaming debut. That'd be a fair compromise. Realistically though, I think Netflix will only agree to a physical media release for filmmakers with existing clout. New filmmakers might be less lucky if they care about disc copies being out there.

Or we could get rid of these illegal integration systems. Can you believe we were once concerned enough to make the coke bottling factory a separate company from the manufacturer of the soda?

Finch wrote: Thu Jul 11, 2019 10:34 pm (Also, is anything Netflix offers currently in 2160p?)

Pretty much everything Netflix produces is in 2160p if you've got a compatible set and device (and most 2160p TVs come with apps installed that are compatible with the resolution anyway). I think it's an extra $3 per month or so, last time I checked, to opt into content in the highest resolution. That includes most of the films and all of the television shows/comedy specials.

I certainly don't think Netflix is "the answer," but you're absolutely right to say much of what they're bankrolling is preferable to the massive CGI Lion King remake and endless superhero films. The delivery system is flawed, but the trade-off isn't so bad. Especially because one month of Netflix is about the price of a single movie ticket.

The Elegant Dandy Fop wrote: Thu Jul 11, 2019 10:15 pm Not to get off topic, but where is the Gone Girl Criterion news coming from?

No real talk that I know of. I do know from reading in other places that Fincher's team who does his BTS stuff did a whole bunch of video for a Fox release, only to be not included in the release (all there is is a commentary track).

A release from Criterion using all that stuff, maybe along with some new video pieces or commentaries, doesn't seem too far-fetched to me.

What's the status on the production?

I think it already wrapped, didn't it?

Hadn't realized Roth was involved with MANK. My interest in the film is considerably lessened. I'll never forgive or forget the horror of BENJAMIN BUTTON.

Roscoe wrote: Fri Jun 12, 2020 9:59 pm Hadn't realized Roth was involved with MANK. My interest in the film is considerably lessened. I'll never forgive or forget the horror of BENJAMIN BUTTON.

Neither will I, largely due to his script reworking Forrest Gump in less interesting ways with a dull vessel of a character. But Roth didn’t write the script here and I’m very interested in what Fincher’s father created on the page, especially as someone who grew up during this era.

Not to threadjack, but I'd have loved to have been a fly on the wall in Fincher's office when that Funny Or Die video went viral, exposing the numerous FORREST BUTTON similarities.

The runtime has been confirmed to be 2 hours and 11 minutes, and is said to be in theater in November and then appearing December 4 on Netflix.