{"id":32172,"date":"2021-06-26T13:20:25","date_gmt":"2021-06-26T20:20:25","guid":{"rendered":"https:\/\/locationmanagers.org\/?p=32172"},"modified":"2022-06-17T21:55:40","modified_gmt":"2022-06-18T04:55:40","slug":"bringing-mank-from-script-to-screen","status":"publish","type":"post","link":"https:\/\/locationmanagers.org\/es\/bringing-mank-from-script-to-screen\/","title":{"rendered":"BRINGING MANK FROM SCRIPT TO SCREEN"},"content":{"rendered":"

PASSION AND PERSISTENCE:\u00a0<\/span>BRINGING MANK FROM SCRIPT TO SCREEN<\/h4>\n

SLM\/Co-Producer Bill Doyle partners with director David Fincher to bring\u00a0 <\/span>Hollywood\u2019s Golden Age to life<\/h4>\n

by Shaun O\u2019Banion<\/p>\n

All photos courtesy of Netflix<\/p>\n

\n
\"\"

SLM\/co-producer Bill Doyle\/LMGI<\/p><\/div>\n

Mank<\/em>, director David Fincher\u2019s much anticipated take on the behind-the-scenes drama that shaped the making of Citizen Kane, was released last November after a journey to get it made that began almost two decades ago.<\/p>\n

Is there any reason to believe that a story about the making of a movie about the making of a movie is any less intriguing than that of its fabled subject?<\/p>\n

Hooray for Hollywood!<\/b><\/p>\n

Distributed by Netflix and written by Fincher\u2019s late father Jack, Mank<\/i> examines a period in the life of Herman J. Mankiewicz, played by Oscar winner Gary Oldman. Mankiewicz may be unfamiliar to the average moviegoer, but in the screenwriting community, the name is legend.<\/p>\n

\u201cMank\u201d was regarded as a self-destructive genius, brilliantly banging out contributions on some 80 films. Practically crippled by alcoholism, his career was on the skids and he had pretty much been \u201cshown the door\u201d by Hollywood\u2019s power elites no longer amused by his antics.\u00a0<\/span><\/p>\n

\u00a0<\/span>Yet his fall from grace did not deter a radical young first-time filmmaker to come a-knockin\u2019 with a blank check in hand and carte blanche to hire whomever he wanted. That filmmaker was Orson Welles. And the movie he wanted Mank to write with him was Citizen Kane<\/i>.<\/p>\n

\"\"

Gary Oldman as Herman Mankiewicz<\/p><\/div>\n

It was the so-called \u201cGolden Age\u201d of Hollywood, yet the 1930s were a complicated time. The world was climbing out of the Great Depression and America was navigating the rise of political fascism. Hollywood, with its newly minted \u201ctalkies\u201d and the introduction of Technicolor, was there to help people through the tumult.\u00a0<\/span><\/p>\n

Filmgoers lined up for a mixture of glitz and glamour from the likes of Spencer Tracy and Katharine Hepburn, or swashbuckling adventures starring Errol Flynn, the genius comedic antics of the Marx Brothers and even a scare or two with the introduction of Universal\u2019s Dracula<\/i> and Frankenstein<\/i>, played by Bela Lugosi and Boris Karloff, respectively.\u00a0<\/span><\/p>\n

Telling stories about Hollywood\u2019s early days presents many challenges for the storytellers who must find ways to recreate the era, and one can confidently assume that none will pay more attention to period detail than Fincher\u2019s Mank<\/i>.<\/p>\n

\"\"The Location Manager<\/b><\/p>\n

In terms of finding classic locations in Los Angeles that have survived the moving hands of time, Fincher couldn\u2019t have found a better guy for the job than LM William \u201cBill\u201d Doyle\/LMGI. L.A. is a classic example of a city in a near-constant state of reinvention, but despite the years, some amazing original sites still remain, and Doyle knows most of them.<\/p>\n

\u201cI\u2019ve always loved reading about how cities develop,\u201d Doyle says. \u201cUnderstanding a city\u2026 How it was developed or why it was founded, how it was built and when it expanded\u2026 Knowing how these things happened can help you make sense of any city anywhere in the world when you\u2019re looking for something specific.\u201d<\/p>\n

Mank<\/i>, of course, is very specific, and Doyle and his team were ultimately able to put their mark on the film with a variety of stunning locations, but it wasn\u2019t easy. It also helped that both Fincher and production designer Donald Graham Burt have lived in the city for decades as well.<\/p>\n

\u201cDavid knows the city the way most LMs know it,\u201d Doyle says. \u201cHe knows what\u2019s gone. And he understands how we can massage what\u2019s left into working for us\u2026\u201d<\/p>\n

\"\"Like many before him, Doyle took a circuitous route to the Location Department. He had studied film production, broadcast news and photojournalism in college and believed that would be his path, but he became disillusioned with the news business early on and began searching for something else.<\/p>\n

\u201cI came to L.A. from the East Coast with no real contacts and got the only job I could find at the time, working as an assistant carpenter at a company called Sunrise Sets,\u201d says Doyle.\u00a0<\/span><\/p>\n

He didn\u2019t know it then, but he was about to jump on a roller coaster ride that would eventually lead him to David Fincher. And it wouldn\u2019t take long.<\/p>\n

Just a few months after starting at Sunrise, an on-the-job injury nearly sent him packing. Fortunately, he had developed a reputation as a hard worker and was well-liked. His supervisors offered to move him into a new position and Doyle became a runner for the company.\u00a0<\/span><\/p>\n

\u201cI would drive all over Los Angeles going from location to stage and back to location, delivering materials to the construction crew,\u201d he says. \u201cI got to know the city and county very well doing this, including frequently filmed locations and backlots.\u201d\u00a0<\/span><\/p>\n

\"\"He also got to meet with the producers and production coordinators on the commercials and TV shows the set company was building for. It was through one of those contacts, a coordinator named Peter Abraham, that Doyle got an offer to work as a PA on a spec commercial. It was an unpaid gig, but he jumped at the new opportunity.\u00a0<\/span><\/p>\n

\u201cI became a regular PA for this company immediately after that,\u201d he recalls.<\/p>\n

One day, a location for a Hertz commercial the company was doing fell through and an emergency replacement was needed, and needed fast. Abraham summoned Doyle.<\/p>\n

\u201cHe sent me out with my trusty Pentax K1000 to find a new location,\u201d says Doyle. Excited by the options Doyle came back with, the spot\u2019s director, Mark Story, began using him on every job as his primary location scout and the rest, as they say, is history.<\/p>\n

Within six months of that first job as a scout, Doyle was working as an ALM on his first feature, 1990s Heart Condition<\/i>, a comedy starring the late Bob Hoskins and a young actor named Denzel Washington. \u201cThat\u2019s where I met location manager Barry Gremillion who happened to be visiting the set. Later that year, he hired me to do The Doors<\/i> with Oliver Stone,\u201d recalls Doyle.<\/p>\n

The Doors<\/i> gave him his first taste of working on a period film, in this case, replicating Los Angeles in the 1960s and \u201970s with a very exacting director. After that, Doyle bounced around a bit, diving back-and-forth between the feature and commercial worlds.\u00a0<\/span><\/p>\n

\"\"

Gary Oldman and David Fincher
Photo: Miles Crist\/NETFLIX<\/p><\/div>\n

The Director and the First Iteration<\/b><\/p>\n

By the early \u201990s, David Fincher was a much-in-demand music video and commercial director, and he became big news when he was plucked from the world of MTV to direct the third sequel in the Alien<\/i> franchise for Fox. The stories around the difficulties of making that film are also legendary and could easily make a pretty dramatic film by themselves!<\/p>\n

Fincher would eventually disown the movie and, despite it becoming the second most financially successful film in the franchise, he turned back to the music video and commercial world, working for artists like Michael Jackson and Madonna and clients like Nike.\u00a0<\/span><\/p>\n

As it turned out, Fincher\u2019s feature career was far from over, and was in fact, just getting started. Three years after the disappointing Alien 3<\/i> experience, his vision of two detectives, one on the verge of retirement, and one bright-eyed and eager to make a difference in a very dark world, took the box office by storm: Se7en<\/i> was a rain-soaked auteur piece starring Morgan Freeman and Brad Pitt as the two detectives searching for a serial killer. The shocking ending even made the nightly news when audience members at screenings around the country were reportedly seen running from the theaters.<\/p>\n

Perhaps having learned from the critical reception of Alien 3<\/i>, Fincher didn\u2019t wait for Se7en<\/i> to open before booking his next film. With Se7en<\/i> a smash hit with critics and audiences alike, and The Game<\/i> with Michael Douglas and Sean Penn set for release, Fincher was in the early planning stages for his next film: a Hollywood tale called Mank<\/i>.\u00a0<\/span><\/p>\n

It was 1997 when David and Jack Fincher first began pitching the project around town, but the twosome quickly hit a stumbling block\u2014likely due to David\u2019s insistence that the film be shot in black-and-white, a vision that was not embraced by the top studio brass. They were turned down everywhere, and with little hope of moving the project forward, pre-production ground to a halt. \u00a0<\/span><\/p>\n

\"\"A Fortuitous Pairing<\/b><\/p>\n

Around that same time Doyle, who was by then married with two kids, had turned his back on features.<\/p>\n

\u201cFeatures just take away most of your personal time,\u201d he says. \u201cI mean, it\u2019s not news to anyone reading the Compass<\/i>, but 60- to 90-hour weeks for months at a time, sometimes far away from family, are the norm.\u201d The hours were taking a personal toll, and Doyle wanted to be able to work closer to home more often.<\/p>\n

\u00a0<\/span>He focused on getting in-town commercials only, but less than a year later, the plan to stick closer to home began to fall away as bigger national and international commercials began to call \u2026 and it just so happened that on a few of them, he was scouting for none other than David Fincher.<\/p>\n

\u201cBefore I knew it, I was averaging 250-plus days a year on commercials into the early 2000s,\u201d Doyle says. \u201cThen, after my marriage failed in 2003, I found myself in need of a cathartic journey.\u201d<\/p>\n

A pivot back to features was just what the doctor ordered. By diving deep into larger and more challenging projects, Doyle was able to focus on moving forward.\u00a0<\/span><\/p>\n

As if on cue, David Fincher came calling again. \u201cHe made me an offer I couldn\u2019t refuse, to go on the road scouting for a movie he ended up not making called The Lookout<\/i>,\u201d Doyle says, \u201cand that work led directly to my working with him on The Curious Case of Benjamin Button<\/i>.\u201d<\/p>\n

Bill would spend nearly the entire four-year period between 2004 and 2008 on Button<\/i>.\u00a0<\/span><\/p>\n

\"\"

\u00a0Gary Oldman Photo: Gisele Schmidt\/NETFLIX<\/p><\/div>\n


\nThe Golden Age in the Digital Age<\/b><\/p>\n

Obviously, with the rise of streamers, the movie business has changed, but many forget that it was David Fincher who led the charge with Netflix. Fincher produced and directed a large portion of their first-ever original series, House of Cards<\/i>. That series, which debuted in 2013, would go on to run for six seasons and garner a host of nominations and wins. Fincher himself was Emmy nominated and won.<\/p>\n

He would return to Netflix in 2016 with a new series, Mindhunter<\/i>, which, like House of Cards<\/i> before it, went on to receive a number of Emmy nominations over its two seasons.<\/p>\n

Mindhunter<\/i> would be the first time Doyle would work with Fincher and his producing partner Ce\u00e1n Chaffin in a new role. In addition to being the SLM for the series, Doyle would function as associate producer. Doyle had just completed work as a production supervisor on Batman v Superman<\/i> and relished the opportunity to step up as part of Fincher\u2019s team.<\/p>\n

Of the connection between his work as location manager and producing, Doyle notes that the intersection between the two roles is quite clear.\u00a0<\/span><\/p>\n

\u201cWorking as a location manager is great training for the multiple hats a producer wears on and off the set,\u201d he says. \u201cAs a location manager, you are constantly working with and balancing the needs of all the different departments, as well as the local government, neighbors and business owners. You are doing some serious multitasking with many different kinds of people, along with problem solving every day. Producing is very much the same.\u201d \u00a0<\/span><\/p>\n

Halfway through Season 1 of Mindhunter<\/i>, Doyle\u2019s credit was upgraded again, this time to co-producer.<\/p>\n

Building on an extremely successful partnership with the streamer, Fincher took Mank<\/i> to Netflix just as Mindhunter<\/i> Season 2 was winding down. Netflix agreed to make the film\u2014in black-and-white\u2014though for far less money and time than Fincher was used to. With Season 2 wrapped, Fincher approached Doyle again.\u00a0<\/span><\/p>\n

\u201cThey were like, \u2018Here are a couple of bankers boxes with all the stuff from when we were going to do it in \u201997\u2014off you go. Figure it out for us,\u2019\u201d remembers Doyle.<\/p>\n

Fincher wanted to use all of the modern techniques available to trick audiences into feeling like Mank<\/i> was a lost movie from the period; like it had actually been made in the \u201930s or \u201940s. And a huge part of that would be finding practical locations that would evoke the period.\u00a0<\/span><\/p>\n

In addition to working as SLM on the film, Doyle would once again take on the role of co-producer, having earned his stripes on Mindhunter<\/i>.<\/p>\n

\"\"The Production Designer<\/b><\/p>\n

Like Doyle, production designer Donald Graham Burt got his first job after college working in a scenic warehouse.\u00a0<\/span><\/p>\n

\u201cMy career and Bill\u2019s were sort of running in parallel in the sense that we each ended up being runners, which is how we both got to know the city of Los Angeles,\u201d says Burt. \u201cThere\u2019s nothing like being in a truck and driving all over L.A. trying to find things to give one a sense of the city.\u201d<\/p>\n

Doyle and Burt initially met on Benjamin Button<\/i> and the two had a great rapport by the time Mank<\/i> got on its feet.\u00a0<\/span><\/p>\n

\u201cWe have that ability to look at each other across a room and know instantly what the other is thinking, so it\u2019s great,\u201d says Burt.<\/p>\n

Burt recalled a moment early on in prep when Fincher came into his office with a box of photographs. \u201cThey had taken a lot of pictures when they were doing some surveying in the late \u201990s,\u201d he says, \u201cand what you realized as you were looking at these photos was how quickly things change. There were so many locations that were just gone \u2026 places that I knew like Perino\u2019s Restaurant on Wilshire \u2026 The Brown Derby \u2026 The Ambassador Hotel. It was kind of shocking.\u201d<\/p>\n

Shocking and challenging. With all that change, you might realize that the amazing 1920s location you just found is now directly across the street from a modern glass and steel structure. That\u2019s where having someone like Fincher leading the charge is key.<\/p>\n

\u201cHe\u2019s basically his own VFX supervisor,\u201d says Doyle. \u201cWe do have Peter Mavromates, who\u2019s also a co-producer on the film, and works as the post supervisor\/VFX producer, but Fincher is the guy who knows what he needs to make something work and he frames his shots in such a precise way that it\u2019s actually very freeing.\u201d<\/p>\n

Fincher\u2019s film plays out on two timelines, with Mank at a bungalow in Victorville writing \u201cAmerican,\u201d the first draft of what would become Kane<\/i>, while flashing back to show his life in the 1930s. He interacts with Hollywood titans Irving Thalberg and Louis B. Mayer and meets sultry movie star Marion Davies and her lover, William Randolph Hearst. The notorious press baron would become the model for Charles Foster Kane.\u00a0<\/span><\/p>\n

Once scouting really got going, it quickly became apparent that their options for practical locations might be fairly limited. One very specific scripted location, Hearst Castle at San Simeon, was never even considered.\u00a0<\/span><\/p>\n

\u201cWe knew from the start that we wouldn\u2019t be able to shoot at Hearst Castle because not only would they not want us there in the first place, but also because we were telling the story of the guy who was kicking Hearst while he was down,\u201d explains Doyle.<\/p>\n

\u201cFrom a functional perspective,\u201d adds Burt, \u201cwe were an L.A.-based film, and we were working with a lower budget, but even if we had been able to go there, we knew it would\u2019ve been a situation where they\u2019d be telling us, \u2018well, you can use this room, but you can\u2019t move that chair,\u2019 or \u2018you can\u2019t light candles.\u2019 There would have been too many restrictions, so that was always going to be the challenge.\u201d<\/p>\n

There are two key scenes in the film that were, as Burt put it, \u201cThe tail that wags the dog for the whole thing,\u201d and both were set at Hearst Castle. One was a birthday party for Louis B. Mayer, and the other was the final scene in the film, a lavish dinner party.<\/p>\n

As the start of principal photography grew close, they were still searching for a location that could approximate Hearst Castle.\u00a0<\/span><\/p>\n

\u201cBill and his crew dug up so many amazing places for us to try to approximate the scope of Hearst\u2019s property as best you could in Los Angeles,\u201d said Burt. One such location was a stunning home in Beverly Hills.\u00a0<\/span><\/p>\n

\u201cIt was this beautiful old house that started out as a hunting lodge in 1910 or so and later, I think, Douglas Fairbanks lived there,\u201d Doyle adds. \u201cBut when you looked at what it would take to shoot there, it might as well have been the actual castle \u2026 so you just kind of go, \u2018we should build this!\u2019\u201d\u00a0<\/span><\/p>\n

Burt began designing a kind of grand dining hall. \u201cI had discussed a way of transforming this one room with David. By keeping the form of the room and changing out the fireplaces, reconfiguring doorways, architectural details, adding or removing windows, we could use the same set for two different scenes and make it feel ambiguous to the layout of the real San Simeon.\u201d<\/p>\n

Burt\u2019s crew would have six weeks between shooting the Mayer birthday party and the final scene to reconstruct and recreate the room. For the final dinner scene, they even added a hallway for a walk-and-talk. \u201cYou just wanted it to be able to be a continuous shot,\u201d says Burt. \u201cIt was a bit of a game of Tetris.\u201d<\/p>\n

\"\"Finding vs Creating<\/b><\/p>\n

With the Hearst interiors handled, Doyle and his crew, including LM Walter Roshetski\/LMGI, a 30-year veteran of film and television, would turn L.A. upside down searching for locations that would work for the rest of the film, including the stunning gardens at San Simeon<\/p>\n

\u201cThe thing about working for David and for Bill is that they both share a very specific approach,\u201d Roshetski says. \u201cI\u2019ve worked with a variety of directors and location professionals over the years, observing, learning, contributing and incorporating along the way, but neither David nor Bill will accept anything that compromises their vision. That can be challenging, but when you see the finished product on the screen, the results speak for themselves.\u201d<\/p>\n

Another linchpin location the team found was what was once known as the North Verde Ranch, where Mank spent much of his time writing. Astonishingly, it still exists and is virtually unchanged. Now called The Kemper Campbell Ranch, the property is located in Victorville, California. Getting access to film there meant they would be shooting in at least one location where the events of the story actually took place!<\/p>\n

The ranch\u2019s main house dates back to1929. Designed by architect John Byers, well-known for his Spanish Colonial Revival style, the house is built of adobe bricks made of materials harvested directly from the ranch itself.\u00a0<\/span><\/p>\n

To get the location picture-ready, air conditioners were removed from windows, exposed electrical lines were taken out and lighting fixtures were changed. Renovations included tearing out the ranch\u2019s concrete patio and replacing it with a flagstone patio, as well as completing post and beam woodwork on the exterior.\u00a0<\/span><\/p>\n

In a 2019 interview with the Desert Sun<\/i> newspaper, ranch manager Peggy Shaughnessy said she and owner Scott Campbell initially had some trepidation about allowing the company to shoot there. In the end, she gave the entire crew high marks, saying that Netflix had hired \u201cthe best of the best,\u201d and noting that Doyle and his team were \u201ctrue to their word\u201d about returning the ranch to its original state.<\/p>\n

To double for the exterior of Hearst Castle, as well as for the pyre scene featuring Marion Davies, Doyle and his team found a variety of beautiful locations at the Huntington Gardens in San Marino, California. The property features approximately 120 acres of landscaped botanical gardens, along with a library and vast art collection.\u00a0<\/span><\/p>\n

The pyre scene was later reshot at Ventura Farms when scheduling prevented a return to Huntington. The trick to filming there was that the field where the cowboys and horses were to charge down firing their pistols was riddled with ground squirrels and their tunnels. \u00a0<\/span><\/p>\n

Doyle\u2019s team spent the better part of a week finding and filling holes along the pathway to make it safe for the horses without harming any squirrels. \u201cThe squirrels just moved uphill and would pop out of their burrows and watch the action themselves while we were filming,\u201d laughs Doyle.<\/p>\n

They also shot at the elaborate Villa de Leon. Perched overlooking PCH, the Classical Mediterranean property was built in 1927 and sits above the entrance to the Getty Villa Museum.<\/p>\n

To complete the illusion of being at the actual Hearst Castle, a few scenes were lensed at the old Dovie Beams De Villagran property on South Oakland in Pasadena. The 10,500-square-foot mansion, built in 1913, boasts 20 rooms, two libraries and five fireplaces. Formerly owned by the eponymous B-movie actress and self-described mistress of deposed Philippine President Ferdinand Marcos, the 4 1\/2-acre estate also features some 30 statues, fountains, a paved walkway lined with stone columns, as well as oak, eucalyptus, cypress and palm trees.\u00a0<\/span><\/p>\n

For the scene in which Mank makes his first trek up to San Simeon, stumbling off the train in a drunken stupor, the company shot at the historic Glendale Train Station.\u00a0<\/span><\/p>\n

\u201cThe train station, for me, was just amazing,\u201d says Burt. \u201cIt was scripted as Union Station, but I had read something about how Hearst would reserve tickets for people in Glendale, so I asked Bill about it and he said, \u2018oh, yeah, it\u2019s still there.\u2019 We went to take a look and that was it.\u201d\u00a0<\/span><\/p>\n

Built in 1924, the facade of the train station is still intact and has a Spanish-revival look that Burt says was \u201ca great surprise.\u201d<\/p>\n

Another unique location was the Art Deco Cicada Club inside the James Oviatt Building, used for the scene in which Mank attends an election night celebration after Sinclair loses and Louis B. Mayer gives a big speech. Completed in 1928, the building is on the Historic Registry and is located in the heart of downtown L.A. It originally housed the Alexander and Oviatt Men\u2019s Haberdashery which outfitted the likes of Clark Gable and John Barrymore. Renowned Parisian designer Ren\u00e9 Lalique crafted some 30 tons of glass for the building\u2019s opulent lobby.<\/p>\n

Being centered around the movie business, key scenes naturally played out on several studio lots, including Sony (originally MGM Studios), Warner Bros. and Paramount. \u201cIt was pretty fun to see the old studio equipment, cars and talent in various costumes walking around the streets of the old \u2018Film Factories\u2019 again,\u201d says Doyle.<\/p>\n

The (renaissance revival-style) First Unitarian Church, located on 8th Street, doubled for the Wilshire Boulevard Temple where Thalberg\u2019s funeral actually took place. The company had intended to shoot at the synagogue, but the site was undergoing a major expansion and construction had unfortunately already begun.\u00a0<\/span><\/p>\n

\u201cFirst Unitarian can play for either a Christian or Jewish facility with ease,\u201d says Doyle, \u201cand the high windows also helped our DP and his team create an amazing shaft of light that dramatically shines down onto Thalberg\u2019s casket!\u201d\u00a0<\/span><\/p>\n

Lastly, the oft-used majestic ballroom at the Biltmore Hotel in downtown was used as the setting for the 14th Academy Awards.\u00a0<\/span>\u00a0<\/span><\/p>\n

\"\"Movie Magic<\/b><\/p>\n

Hollywood is a bubbling cauldron of creative energy, sparked by collaborative genius and the clash of larger-than-life personalities, mixing fact and fantasy, steamy romance and back-stabbing betrayal into an intoxicating brew. And so has the Mank<\/i> team delivered a visual feast that approximates the world where giants like Mank, Welles, Louie B. Mayer, Thalberg, Hearst and Davies can stride out of the past and into the collective imagination.\u00a0<\/span><\/p>\n

Hollywood has never shied from turning the lens on itself, perhaps as a way to figure out what made the moviemaking of yesteryear tick. The stories that are told, and the stories about those stories, fuel the endless hunger for a glimpse into the intrigue and drama that produced some of the greatest films ever made.<\/p>\n

It is the creative relationships and trust forged by the making of these stories that make the telling possible.\u00a0<\/span><\/p>\n

\u201cI think trust is built on thousands of moments, big and small,\u201d shares Doyle. \u201cIn the end, I think David trusts my preparation, work ethic, and perhaps how I see the job equally with both the left and right sides of my brain. The ability to see the script and the world creatively, but also have a clear plan on how to get it done.\u201d\u00a0<\/span><\/p>\n

As for a plan of his own, Doyle intends to keep producing for the rest of his career. \u201cI\u2019m a producer on another feature for Netflix now,\u201d he says, \u201cand I love the challenge. Being part of all aspects of production, creatively, logistically and financially is exciting.\u201d\u00a0<\/span><\/p>\n

Mank<\/i> garnered 10 Academy Award nominations, including Best Picture and Best Director. For his work on the film, DP Erik Messerschmidt took home an Oscar, as did Donald Graham Burt, his second\u2014the first being for Fincher\u2019s Zodiac<\/i> in 2007.<\/p>\n

The film is available now on Netflix.<\/p>\n

 <\/p>\n<\/span>","protected":false},"excerpt":{"rendered":"

PASSION AND PERSISTENCE:\u00a0BRINGING MANK FROM SCRIPT TO SCREEN SLM\/Co-Producer Bill Doyle partners with director David Fincher to bring\u00a0 Hollywood\u2019s Golden Age to life by Shaun O\u2019Banion All photos courtesy of Netflix Mank, director David Fincher\u2019s much anticipated take on the behind-the-scenes drama that shaped the making of Citizen Kane, was released last November after a […]<\/p>\n","protected":false},"author":63,"featured_media":32170,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"categories":[49],"tags":[],"class_list":{"0":"post-32172","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-featured"},"yoast_head":"\nBRINGING MANK FROM SCRIPT TO SCREEN - Location Managers Guild International<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/locationmanagers.org\/es\/bringing-mank-from-script-to-screen\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"BRINGING MANK FROM SCRIPT TO SCREEN - Location Managers Guild International\" \/>\n<meta property=\"og:description\" content=\"PASSION AND PERSISTENCE:\u00a0BRINGING MANK FROM SCRIPT TO SCREEN SLM\/Co-Producer Bill Doyle partners with director David Fincher to bring\u00a0 Hollywood\u2019s Golden Age to life by Shaun O\u2019Banion All photos courtesy of Netflix Mank, director David Fincher\u2019s much anticipated take on the behind-the-scenes drama that shaped the making of Citizen Kane, was released last November after a […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/locationmanagers.org\/es\/bringing-mank-from-script-to-screen\/\" \/>\n<meta property=\"og:site_name\" content=\"Location Managers Guild International\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/locationmanagersguild\" \/>\n<meta property=\"article:published_time\" content=\"2021-06-26T20:20:25+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-06-18T04:55:40+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/locationmanagers.org\/wp-content\/uploads\/2020\/10\/mank-feature.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1150\" \/>\n\t<meta property=\"og:image:height\" content=\"640\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"LMGI\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@The_LMGI\" \/>\n<meta name=\"twitter:site\" content=\"@The_LMGI\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"LMGI\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"21 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/\"},\"author\":{\"name\":\"LMGI\",\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/#\\\/schema\\\/person\\\/5927a2f568aabfa02cf009ebf0722034\"},\"headline\":\"BRINGING MANK FROM SCRIPT TO SCREEN\",\"datePublished\":\"2021-06-26T20:20:25+00:00\",\"dateModified\":\"2022-06-18T04:55:40+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/\"},\"wordCount\":4274,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/locationmanagers.org\\\/wp-content\\\/uploads\\\/2020\\\/10\\\/mank-feature.jpg\",\"articleSection\":[\"COMPASS FEATURES\"],\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/\",\"url\":\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/\",\"name\":\"BRINGING MANK FROM SCRIPT TO SCREEN - Location Managers Guild International\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/locationmanagers.org\\\/wp-content\\\/uploads\\\/2020\\\/10\\\/mank-feature.jpg\",\"datePublished\":\"2021-06-26T20:20:25+00:00\",\"dateModified\":\"2022-06-18T04:55:40+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/#\\\/schema\\\/person\\\/5927a2f568aabfa02cf009ebf0722034\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/#breadcrumb\"},\"inLanguage\":\"es\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"es\",\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/#primaryimage\",\"url\":\"https:\\\/\\\/locationmanagers.org\\\/wp-content\\\/uploads\\\/2020\\\/10\\\/mank-feature.jpg\",\"contentUrl\":\"https:\\\/\\\/locationmanagers.org\\\/wp-content\\\/uploads\\\/2020\\\/10\\\/mank-feature.jpg\",\"width\":1150,\"height\":640},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/bringing-mank-from-script-to-screen\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/locationmanagers.org\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"BRINGING MANK FROM SCRIPT TO SCREEN\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/#website\",\"url\":\"https:\\\/\\\/locationmanagers.org\\\/\",\"name\":\"Location Managers Guild International\",\"description\":\"Promoting Excellence Worldwide\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/locationmanagers.org\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"es\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/locationmanagers.org\\\/#\\\/schema\\\/person\\\/5927a2f568aabfa02cf009ebf0722034\",\"name\":\"LMGI\",\"url\":\"https:\\\/\\\/locationmanagers.org\\\/es\\\/author\\\/lmgi\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"BRINGING MANK FROM SCRIPT TO SCREEN - Location Managers Guild International","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/locationmanagers.org\/es\/bringing-mank-from-script-to-screen\/","og_locale":"es_ES","og_type":"article","og_title":"BRINGING MANK FROM SCRIPT TO SCREEN - Location Managers Guild International","og_description":"PASSION AND PERSISTENCE:\u00a0BRINGING MANK FROM SCRIPT TO SCREEN SLM\/Co-Producer Bill Doyle partners with director David Fincher to bring\u00a0 Hollywood\u2019s Golden Age to life by Shaun O\u2019Banion All photos courtesy of Netflix Mank, director David Fincher\u2019s much anticipated take on the behind-the-scenes drama that shaped the making of Citizen Kane, was released last November after a […]","og_url":"https:\/\/locationmanagers.org\/es\/bringing-mank-from-script-to-screen\/","og_site_name":"Location Managers Guild International","article_publisher":"https:\/\/www.facebook.com\/locationmanagersguild","article_published_time":"2021-06-26T20:20:25+00:00","article_modified_time":"2022-06-18T04:55:40+00:00","og_image":[{"width":1150,"height":640,"url":"https:\/\/locationmanagers.org\/wp-content\/uploads\/2020\/10\/mank-feature.jpg","type":"image\/jpeg"}],"author":"LMGI","twitter_card":"summary_large_image","twitter_creator":"@The_LMGI","twitter_site":"@The_LMGI","twitter_misc":{"Escrito por":"LMGI","Tiempo de lectura":"21 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/#article","isPartOf":{"@id":"https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/"},"author":{"name":"LMGI","@id":"https:\/\/locationmanagers.org\/#\/schema\/person\/5927a2f568aabfa02cf009ebf0722034"},"headline":"BRINGING MANK FROM SCRIPT TO SCREEN","datePublished":"2021-06-26T20:20:25+00:00","dateModified":"2022-06-18T04:55:40+00:00","mainEntityOfPage":{"@id":"https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/"},"wordCount":4274,"commentCount":0,"image":{"@id":"https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/#primaryimage"},"thumbnailUrl":"https:\/\/locationmanagers.org\/wp-content\/uploads\/2020\/10\/mank-feature.jpg","articleSection":["COMPASS FEATURES"],"inLanguage":"es","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/","url":"https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/","name":"BRINGING MANK FROM SCRIPT TO SCREEN - Location Managers Guild International","isPartOf":{"@id":"https:\/\/locationmanagers.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/#primaryimage"},"image":{"@id":"https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/#primaryimage"},"thumbnailUrl":"https:\/\/locationmanagers.org\/wp-content\/uploads\/2020\/10\/mank-feature.jpg","datePublished":"2021-06-26T20:20:25+00:00","dateModified":"2022-06-18T04:55:40+00:00","author":{"@id":"https:\/\/locationmanagers.org\/#\/schema\/person\/5927a2f568aabfa02cf009ebf0722034"},"breadcrumb":{"@id":"https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/#breadcrumb"},"inLanguage":"es","potentialAction":[{"@type":"ReadAction","target":["https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/"]}]},{"@type":"ImageObject","inLanguage":"es","@id":"https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/#primaryimage","url":"https:\/\/locationmanagers.org\/wp-content\/uploads\/2020\/10\/mank-feature.jpg","contentUrl":"https:\/\/locationmanagers.org\/wp-content\/uploads\/2020\/10\/mank-feature.jpg","width":1150,"height":640},{"@type":"BreadcrumbList","@id":"https:\/\/locationmanagers.org\/bringing-mank-from-script-to-screen\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/locationmanagers.org\/"},{"@type":"ListItem","position":2,"name":"BRINGING MANK FROM SCRIPT TO SCREEN"}]},{"@type":"WebSite","@id":"https:\/\/locationmanagers.org\/#website","url":"https:\/\/locationmanagers.org\/","name":"Location Managers Guild International","description":"Promoting Excellence Worldwide","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/locationmanagers.org\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"es"},{"@type":"Person","@id":"https:\/\/locationmanagers.org\/#\/schema\/person\/5927a2f568aabfa02cf009ebf0722034","name":"LMGI","url":"https:\/\/locationmanagers.org\/es\/author\/lmgi\/"}]}},"_links":{"self":[{"href":"https:\/\/locationmanagers.org\/es\/wp-json\/wp\/v2\/posts\/32172","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/locationmanagers.org\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/locationmanagers.org\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/locationmanagers.org\/es\/wp-json\/wp\/v2\/users\/63"}],"replies":[{"embeddable":true,"href":"https:\/\/locationmanagers.org\/es\/wp-json\/wp\/v2\/comments?post=32172"}],"version-history":[{"count":1,"href":"https:\/\/locationmanagers.org\/es\/wp-json\/wp\/v2\/posts\/32172\/revisions"}],"predecessor-version":[{"id":32173,"href":"https:\/\/locationmanagers.org\/es\/wp-json\/wp\/v2\/posts\/32172\/revisions\/32173"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/locationmanagers.org\/es\/wp-json\/wp\/v2\/media\/32170"}],"wp:attachment":[{"href":"https:\/\/locationmanagers.org\/es\/wp-json\/wp\/v2\/media?parent=32172"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/locationmanagers.org\/es\/wp-json\/wp\/v2\/categories?post=32172"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/locationmanagers.org\/es\/wp-json\/wp\/v2\/tags?post=32172"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}