Examining Erik Messerschmidt's Work on MANK

Erik Messerschmidt's Early Life & Career

Erik Messerschmidt is a cinematographer and director best known for his work on the Netflix original series Mindhunter. Messerschmidt was raised in Cape Elizabeth, Maine. He then went on to study film production at Emerson College in Boston. After graduation, Messerschmidt worked as a gaffer on such shows as  Bones, Everybody Hates Chris, and Mad Men. He began working with David Fincher, as a gaffer, for the film Gone Girl.

In 2017, Messerschmidt reunited with Fincher to serve as the director of photography on Mindhunter. The show was a critical and commercial success. In 2020, Messerschmidt once again collaborated with Fincher on the film Mank. The movie tells the story of screenwriter Herman J. Mankiewicz as he races to finish the script for Citizen Kane.

Erik Messerschmidt's Visual Style & Dark Tone

Erik Messerschmidt is known for his dark, atmospheric visual style. His work on Mindhunter and Mank are excellent examples of this approach. On Mindhunter, he often used low light levels and deep shadows to create a foreboding, suspenseful atmosphere. This technique was also employed in Mank, where it helped to convey the film's themes of greed, corruption, and paranoia.

In addition to his use of shadow and light, Messerschmidt is also skilled at framing shots in interesting ways. He often uses wide angle lenses to capture large expanses of space, which gives his films a sense of scale and scope. Additionally, he frequently employs handheld cameras to add a sense of immediacy and urgency to the action.

Messerschmidt's work on Mank is some of the best of his career. He expertly creates a sense of atmosphere and tension, while also framing shots in an interesting and evocative way. His use of shadow and light is particularly effective, and helps to convey the film's themes in a visually striking manner. Additionally, his handheld camerawork gives the film a sense of urgency and immediacy. Overall, Messerschmidt's work on Mank is exemplary, and helps to make the film one of the best films of the year.

"David and I needed to be able to look at a monitor and get very specific about everything that exists in the frame - the set dressing, the composition, the lighting, the overall tone. Being able to see the image on the monitor and make those creative decisions analytically is crucial to David's process. In contrast, there is an imprecise nature to composing a shot with a film camera. It just doesn't provide the same level of control we need." - Erik Messerschmidt

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Stills From The Film MANK

One of the most striking scenes in MANK is the opening sequence, which is set in a crowded Hollywood party. The camera weaves in and out of the crowd, capturing the faces of the guests in extreme close-up. This scene perfectly illustrates Messerschmidt's approach to cinematography, which is all about capturing the smallest details.

The underexposure also adds to the atmosphere of the scene, making it feel more like a memory than a traditional film. It's an incredibly effective way to start the movie and immediately sets the tone for the rest of the film.

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In Closing

Erik Messerschmidt is a talented cinematographer with a real gift for capturing emotion on film. His use of close-ups is particularly masterful, and he has a talent for making even the small details of a scene matter. I'm excited to see what he does next.