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.
.jpg)
Behind the Scenes: Jurassic World Rebirth
The VFX blockbuster opts for an old school production by shooting extensively on location and on film.
BBC goes hybrid for coverage of UEFA Women’s Euros
A hybrid remote and on-site production with Sunset+Vine, editorial about alpine bees and a deluxe Swiss chalet on the banks of Lake Lucerne. The BBC is ready for the Lionesses to defend their trophy.

BTS: Tour de France 2025
How wind tunnel data, official route topography, multi-screen live feeds and 21 daily outside broadcasts combine to bring the most brutally mountainous Tour De France ever to cycling fans on their sofa.

Behind the scenes: Dept. Q
Netflix's latest police procedural is a love letter to hardboiled noir and classic British TV crime drama, says showrunner Scott Frank.
.jpg)
Behind the scenes: How to Train Your Dragon
This remake of a classic animation works from Roger Deakins’ original lighting design, a colour palette plucked from the Faroe Islands, and puppeteered dragons, explains DoP Bill Pope.