LMGI COMPASS
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Summer 2021
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producing, Doyle notes that the intersection between the two roles
is quite clear.
"Working as a location manager is great training for the multiple
hats a producer wears on and off the set," he says. "As 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."
Halfway through Season 1 of Mindhunter, Doyle's credit was
upgraded again, this time to co-producer.
Building on an extremely successful partnership with the
streamer, Fincher took Mank to Netfl ix just as Mindhunter Season
2 was winding down. Netfl ix agreed to make the fi lm—in black-and-
white—though for far less money and time than Fincher was used
to. With Season 2 wrapped, Fincher approached Doyle again.
"They were like, 'Here are a couple of bankers boxes with all the
stuff from when we were going to do it in '97—off you go. Figure it
out for us,'" remembers Doyle.
Fincher wanted to use all of the modern techniques available
to trick audiences into feeling like Mank was a lost movie from the
period; like it had actually been made in the '30s or '40s. And a huge
part of that would be fi nding practical locations that would evoke
the period.
In addition to working as SLM on the fi lm, Doyle would once
again take on the role of co-producer, having earned his stripes on
Mindhunter.
