There's something appropriate about David Fincher's Mank premiering during one of the most unusual years Hollywood has experienced in several generations. The tale of eccentric, unpredictable screenwriter Herman J. Mankiewicz's efforts to pen the screenplay for Citizen Kane , Mank is a throwback to American cinema's golden age, meticulously filmed in black and white and set in and around pre-war Hollywood. In order to recreate the historic look and feel of the era (and the film itself), Fincher and co-producer Peter Mavromates , who also served as post-production supervisor and visual effects producer on the film, worked with several VFX studios to turn back the clock for Mankiewicz's saga. Digital Trends spoke to Mavromates about his work on Mank , which is available now on Netflix and a contender for an Oscar nomination in the visual effects category , to find out how the film used VFX to create its cinematic time capsule. Digital Trends: Mank isn't a conventional visual effects film. What were some of the big, overarching elements shaped by visual effects in the film? Peter Mavromates: The big stuff that really helped the film were matte paintings for the period and ceiling work in San Simeon, where… Read full this story
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