Latest / All The Right Movies / The Social Network (2010) | Ep. 42 - Part 1

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The Social Network (2010) | Ep. 42 - Part 1 · All The Right Movies

• 0:04
  All the old movies think I've come up with something.
• 0:07
  That looks good. That looks really good.
• 0:09
  I've got. 2200 hits within two hours. 22,000 you made.
• 0:15
  The. Facebook $1,000,000 isn't cool.
• 0:19
  You know what's cool? You a billion dollars.
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  You're being accused of breaching security, violating
• 0:26
  individual privacy. Your best friend is suing you
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  for $600 million. I didn't know that, tell me
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  more. The Social Network was released
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  in 2010 and became an instant modern classic.
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  David Fincher and Aaron Saukins telling of the story behind
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  social media giant Facebook. The film is an exploration of
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  loyalty, status, class and power.
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  My name is John, and the gentleman of Harvard with me are
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  Westy. If you guys were the inventors
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  of Facebook, you would have invented Facebook.
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  And Matt, drop the the just Facebook.
• 1:01
  It's cleaner. From Harvard to Henley, all the
• 1:04
  right movies are talking friendship.
• 1:06
  Facebook and Fincher. Lawyer up, listen up because
• 1:09
  we're coming back for everything.
• 1:32
  Hello and welcome to All the Right Movies, pretentious douche
• 1:36
  bags in Fuck You flip flops and a podcast on classic and hit
• 1:40
  films. Yep, you're part of my
• 1:42
  attention. You have the minimum.
• 1:45
  Well, this episode it is a bit of a doozy.
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  It is. It is.
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  It's David Fincher and Mark Zuckerberg together at last as
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  we talk of the 21st century thriller ride that is The Social
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  Network. Indeed.
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  Yep. Before we get logged on though,
• 1:59
  should we plug our own online endeavours on Patreon?
• 2:02
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  Not quite as lucrative for us as it was for these Facebook guys,
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• 2:28
  Absolutely. There's more content in there
• 2:31
  than you can shake a stick at now.
• 2:32
  Yep. So if you like David Fincher, we
• 2:34
  have Fight Club 7 and Zodiac. Wow, I'm getting there.
• 2:39
  Or if you're a big fan of billionaire tech Bros, Ex
• 2:42
  Machina as well. It's.
• 2:44
  The only one, though very small. Genre.
• 2:46
  But we. Do cover it.
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  Niche. Very niche, yeah.
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  Loads of other stuff in there as well, so to find out more visit
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  patreon.com/all the Right Movies or you can subscribe directly on
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  Apple Podcast now as well. Yeah, you don't even need an
• 2:59
  exclusive Harvard e-mail. No, no, it's.
• 3:01
  Straight in there. Yeah.
• 3:02
  Just click subscribe. Great.
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  We lived on farms and we lived in cities, and now we live on
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  the Internet. Or we do, anyway.
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  Yeah, true. Back to today though, and it is
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  the social network. So why are we talking about this
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  one Westy? Well, I mean, it's pretty
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  important, isn't it? It's a pretty important film.
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  Westy, what is that? Is that it?
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  Tisk, I've got a Really. Fucking freak out.
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  I thought somebody was in the room there.
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  I would do with the Babadook. Anyway, yeah, it's a really
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  important one this, I think it's a film about Facebook that's not
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  about Facebook. Yeah, it's a film about the
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  social network that's not about the social network.
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  It's about human network. It's about acceptance, it's
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  about change. It's about the human connection.
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  It's about the human condition. It's about ambition.
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  It's got all of them themes running through it.
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  I think it's a really important film.
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  Lots of people have said it's one of the best films of the
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  2000 and 10s, which I'm think we'll get into.
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  But this one came out in 2010, so to say that it stood the test
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  of time for 10 years. A film that starts with The
• 4:01
  White Stripes and ends with The Beatles.
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  Can't go wrong. Yeah, I mean, that's straight.
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  That's not really a problem. At all.
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  That's how good this film is. We're going to dive into it.
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  There's lots to talk about. I'm really looking forward to
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  this one. Yeah, similar for me.
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  I remember this being released vividly at the time.
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  I mean, I'm taking notes of any David Fincher film anyway, but
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  the subject matter here pulled me in even more than usual.
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  I'm not surprised. Yeah, well, I mean, the Internet
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  is maybe the most significant development of the last 50
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  years, if not more, made the world a much smaller place.
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  And maybe the part of the Internet that's impacted things
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  most has been social media, for better or worse.
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  And for better or worse, the biggest and most successful
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  social media platform is Facebook.
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  I mean, whether you think all that's a good thing or a bad
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  thing is a different discussion. But what I think most of us
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  probably can't agree on is that it's beyond belief that a bunch
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  of 20 year old college roommates who generally barely knew the
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  Rustles from their elbows managed to change the world.
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  Yeah, yeah. I mean, previous generations got
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  Elvis and The Beatles. We got a couple of Bill Gates.
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  Yeah, we've got this shit at the end of the stick there, didn't
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  we? Definitely, yeah.
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  But the founding of Facebook, it is a pretty fascinating series
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  of events to adapt for a movie, especially when you add in the
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  character drama of friendships and lawsuits.
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  And when I saw The Social Network, I did love it
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  instantly, but not just because of the subject matter.
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  So we're going to talk about what we like about the film,
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  maybe one or two things we don't like so much.
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  Maybe. Yeah, we'll see how it measures
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  up to that real life story. And any Fincher production has
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  some twists and turns along the way, often funny ones, so this
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  should be a great one to get into I think.
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  Should be let's do 99 takes of this, we'll be fine.
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  And Matt, working with you was like dating a Stairmaster.
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  So yes, you're the perfect guy. You talk about the social
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  network. I'd use that one on him and not
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  me. I would have been so.
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  Upset with someone we're getting it.
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  This before I came out when it was just announced I remember
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  thinking why? Why make a film pub to start a
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  Facebook like? Why, Yeah.
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  Yeah, but then I saw the trailer, you know, the trailer.
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  Was that like coral version of Creep?
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  Creep. Yeah.
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  And I just thought that looks so much more interesting than I
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  thought it was going to. That's the first and last time
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  that was cool. By the way, definitely because
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  you see it and you go, right, OK, that was a very unexpected
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  way to get into this story. And it is one that resonates
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  with a lot of people. It is quite divisive.
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  I'm divided on some aspects of it.
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  Some of it really holds up. Some of it doesn't much, I
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  think. But it absolutely falls into the
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  category of it's a film that it was high time before we talked
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  about this one. Yeah.
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  So The Social Network was produced by Columbia Pictures,
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  Relativity Media, Scott Rudin Productions, Michael De Luca
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  Productions and Trigger St. Productions, distributed by Sony
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  Pictures Releasing and released on October the 1st, 2010.
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  Filmed in 23 locations across Massachusetts, California, MD
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  and England, the film was directed by David Fincher,
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  written by Aaron Sorkin, based on Bed Mezrick's book The
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  Accidental Billionaires, and stars Jesse Eisenberg as Mark
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  Zuckerberg, Andrew Garfield as Eduardo Savarin, Justin
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  Timberlake as Sean Parker and Army Hammer as Cameron and Tyler
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  Winklevoss. Yeah, or the Winklevi, as I'll
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  be calling them. Yes.
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  Winklevi. Oh my God.
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  Let's get wired in then, should we?
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  Let's do it. Yep, it's First off at
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  university 2003, as we talked, the beginning of the Social
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  Network. The Social Network opens like a
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  narrative runaway train doesn't let up for two hours, and we're
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  starting with the opening act. The introductions to some of the
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  key characters in Sean Parker and the Winklevi are coming, but
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  we're starting at the start I. Can't believe this is 2 hours
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  this film. I know, it's crazy.
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  That's ridiculous. It's like a pint of Guinness in
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  a short class. So a Massachusetts bar, The
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  Thirsty Scholar, is where we meet Mark Zuckerberg, and he's
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  not having a great night. No, after Erika Albright, the
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  girl he's dating played by Rooney Mara, breaks up with him,
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  Mark goes back to his Harvard dorm and drinks, blogs and sets
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  up a website comparing the attractiveness of the girls on
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  campus. Face smash as you do.
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  Yeah, great idea. He doesn't take getting dubbed
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  Great. To be honest, Matt, no it
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  doesn't. How is the opening for you?
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  I mean, I think we've all been there to some extent.
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  We've all had horrendous dates. Well, maybe some extent, but not
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  this extent. Well, that's it.
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  You know, I was going to disqualify that.
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  I haven't been a one that goes down in flames quite like this
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  one does. This is why John got into
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  Corden. I want to do.
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  That I mean, you want this and you think this Zuckerberg fella,
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  is he an alien? Because there seems to be
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  nothing to him at all that indicates he's listening to
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  Erica, or if he is, he's not reading the intention of what
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  she's saying. And ever then she does say he
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  takes us some form of either criticism or way to assassinate
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  her character. Like that huge dig he has at her
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  college that she's going to. Yeah, awful.
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  And he clearly has no idea how to navigate human relationships
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  or discussions, which is obviously just massive for her.
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  Like her character goes from trying to play it nice at the
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  beginning to complete bewilderment as to where the
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  hell this conversation is gone, just to outright anger at the
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  end. And when he goes want to get
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  some food, like as if that's going to fix everything E
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  etcetera. And then he says the worst thing
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  you could possibly say in this situation.
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  Wait, settle down. Like never ever say that in the
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  middle of an argument unless you wanted to go on nuclear.
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  It's the pin out of the grenade right there.
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  You're in trouble. Which this one it obviously does
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  go on nuclear. Yeah, it's just high confidence,
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  low self esteem, isn't he? And real lack of Yeah, any kind
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  of social skill whatsoever. Yeah.
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  Yeah, yeah, yeah. I mean, First off, how did this
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  guy get this woman to go out with him?
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  No, he's punching like she's like a dream and he's a
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  nightmare. If ever wanted to see a prequel,
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  it's Mark asking Eric out. How did he manage it?
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  But. As nobody, it's just like a
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  thrilling whirlwind of a break up.
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  It feels like Aaron Sorkin's thought.
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  I want to get all the set about the way for Mark in the 1st 5
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  minutes. All of his motivations are here.
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  Erica his regret over losing her is dislike of people who roar.
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  Crew foreshadows the Winklevi. Eduardo gets mentioned as a good
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  businessman. Marks just like a frack clubs
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  gets mentioned. All of that's used later.
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  So strong writing straight out-of-the-box.
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  That's the direction I think Fincher plays it relatively
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  simple. I mean, the lighting is
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  fantastic, but over the shoulder mid shots for the most part.
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  That's not a criticism because with the dialogue coming like
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  1,000,000 miles an hour, you can't do with Northern style 360
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  round the actors. It'll blow your head off.
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  No, but as a piece of writing from Sorkin, this is like a
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  master at work. There's a musicality to the
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  dialogue. I think the way that he uses
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  like rhythm and repetition and real rhythm to it.
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  Yeah, as I listened to a Michael song.
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  Say listen to Graceland. But I love the bit when Mark's
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  answering Erica's questions out of order.
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  Have you seen that to Ronnie's mastermind sketch where
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  especially the subjects answering the previous question,
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  Yeah. Yeah.
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  Really good. It looks great.
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  The acting is great. I mean, if you want to set up a
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  character as having an unlikable sight to their personality,
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  yeah, just show them upsetting Rooney Maura don't.
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  Yeah. Oh yeah, absolutely.
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  Unforgivable. One of the great dialogue
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  opening is one of the great character in draws and probably
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  one of the best breakup scenes all in one for me, yeah.
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  Yeah, and I think it's really cool with Ball and Biscuit
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  coming over the Universal logo and you're just like, yeah, I
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  mean, this is a Fincher film and it's just like that Blues,
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  right? Yeah.
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  But I think there's just a loads more to that because the third
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  verse of that after the guitar solo, when they actually go for
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  it and start disagreeing, there's that kick off in the
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  background and the guitar solo comes in.
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  And then the first after that is now read it in the newspaper,
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  ask your girlfriends and see if they know that my strength is
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  tenfold, girl. I'll let you see it if you want
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  to before you go. Lovely.
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  So it's basically ask your girlfriends.
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  They're going to tell you what's going on.
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  It's going to be in the newspapers.
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  I'm a really powerful guy because you just think, well,
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  Finches put that in there for the riff at the start over the
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  Universal logo just to make it cool.
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  But there's so much more to it. Yeah.
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  The words in that as well, it's delivered quite like stream of
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  consciousness, which is kind of how Mark talks as well.
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  So it fits in with that. Erika Albright, though she
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  didn't actually exist, she's just created for the film.
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  And the real Zuckerberg was already dating Priscilla Chan at
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  this point, who we went on to marry in 2012, and they're still
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  married to this day. So Sorkin created Mark's
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  motivation for creating Facebook of being done by a girl.
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  Right, that's interesting. Yeah, Zuckerberg said that
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  Hollywood can't understand that people might sometimes build
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  things just because they're like building things.
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  And he's right. But that wouldn't make for a
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  very compelling film, to be fair.
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  Just some guy building a website.
• 13:00
  Yeah, just going. Over and just doing some Lego
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  pissed doing the Death Star night class.
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  Rooney Mara said that at 99 takes of the opening scene and
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  Fincher only had her for four days so the filmed all of her
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  scenes first. This was shot in the first few
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  days production. I think it was the first scene
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  that is in the whole production to be honest.
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  Yeah, I think it was. I wouldn't have been surprised
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  if you'd said it was the last scene they filmed because, I
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  mean, they're both brilliant. Yeah, first day of filming.
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  And Eisenberg's like wired in from the star. 99 takes.
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  Comes out all guns blazing. Brilliant.
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  Wouldn't you have just done 100 though?
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  You would have done, surely. Just do one.
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  More. One more, yeah.
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  But I think Finch is just like, no, he doesn't conform to
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  anything. Doesn't even conform to fucking
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  numbers. He doesn't care.
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  Yeah, and one of the reasons he took 99 takes is because
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  Finching knew he wanted the whole scene to be exactly 7
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  minutes and 22 seconds long. Eisenberg said the deal would
• 13:57
  take and Fincher would say brilliant.
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  But it's 40 seconds too long. If you think you're going a bit
• 14:02
  too fast, you're not going fast enough.
• 14:05
  George Lucas, Faster Red Boy Ted.
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  Slower and more boring. But that does kind of make sense
• 14:15
  because in the screenplay I think they one page usually
• 14:17
  equates to about one minute. Screen time doesn't.
• 14:19
  It a minute. Yeah, normally.
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  The script for The Social Network is 162 pages but the
• 14:23
  film is 120 minutes, so the racing along.
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  Wow, OK. This is story behind that which
• 14:29
  Fincher and so can sat with a stopwatch, right?
• 14:31
  And Fincher basically said this organ read through it and he
• 14:34
  timed every scene and said it needs to be 40 seconds shorter
• 14:37
  basically because that's what Aaron read out.
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  So that's what it is. Yeah, he's directing with a
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  stopwatch. It's fucking outrage.
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  So I'll move on to probably one of the most Fincher parts of the
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  film where he comes back, that music kicks in.
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  There's a montage available. Yes, love it.
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  Great. I've got a lot of my notes from
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  an amazing documentary that's on YouTube called Making the
• 14:58
  Masterpiece. Right.
• 14:59
  It's fantastic. Yeah, it's.
• 15:00
  Lots of behind the scenes stuff and it's just fantastic.
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  He walks up and he said we're going to do fifty of these,
• 15:07
  we're going to do 50 left and right.
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  Yeah, yeah, yeah. Really.
• 15:10
  Is that? Yeah.
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  So the short fifty of them that. Yeah, Left, right.
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  Different set up, different location.
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  And you can tell because the amount that he puts into this is
• 15:17
  the junkster position between what Mark does and what he's
• 15:21
  talking about. He's talking about farm animals.
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  And then you see all the girls getting cattled up and taken off
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  to Harvard. He's talks about comparisons
• 15:28
  between 2 girls. There's two girls in every scene
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  at Harvard being compared to each other over the poker table
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  or dancing. He's actually socializing what
• 15:36
  they're doing privately. And he's put that in a montage
• 15:40
  and it's just basically the Harvard process for everybody to
• 15:43
  see. And that's why it kind of
• 15:44
  backfires for him. It's just the natural order of
• 15:47
  things and it just brings that into account.
• 15:50
  And just the way that he talks about Corden makes it sound like
• 15:53
  a fucking bank heist. It's so.
• 15:54
  More Yeah, it's. Amazing.
• 15:56
  And I can just imagine like it's his John's wet dream.
• 15:59
  He's like watching this one. Finally.
• 16:01
  I'm fucking cool. I got everything.
• 16:04
  Yeah. I'm just cool.
• 16:05
  Now I can do all this stuff and I'm not a Dick about it.
• 16:11
  You think this couldn't get any more nerdy?
• 16:12
  Right now? I'm just going to write a
• 16:13
  fucking equation on the window like a beautiful.
• 16:16
  Mind. Why is he right out the window?
• 16:18
  Because it's cool as fuck. Yeah, it just makes sense
• 16:22
  because then you can focus, pull through the window, it looks
• 16:24
  great. The music ramps up.
• 16:25
  Let's write it. Imagine that it just rides you
• 16:28
  something off The Simpsons. You know where all the nerds are
• 16:29
  sitting around that. Yeah, let's write it.
• 16:31
  It's. Just not cool at all.
• 16:35
  But finches. Look, I'm cool as fucking ice,
• 16:37
  Pops. You guys are all nerds, but I'm
• 16:39
  going to make you look cool as fuck for two hours.
• 16:41
  And I've got Trent Rez now. I've got out against Ross, I've
• 16:44
  got Aaron Sogan, I've got Jeff Cronenbo, I've got all the boys
• 16:46
  here. And we're going to make you look
• 16:47
  like fucking legends. And they're like, yeah, OK.
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  It's so cool. It's so well played out, it's so
• 16:53
  beautifully paced, it's so energetic.
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  And it's about coding a website that compares one girl against
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  the other one. That's it.
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  I know, it's crazy. It's fucking crazy, but it's
• 17:04
  fucking genius. Yeah, it's the first offend many
• 17:07
  montages in the film, isn't it? Yeah, they're all great, but
• 17:10
  this might be my favorite. I'm not surprised.
• 17:16
  It does set that tone that Fincher created the whole film
• 17:18
  having, I think. Like, you're seeing Westie a bit
• 17:20
  of an edge to it. Yeah.
• 17:21
  Like girls kissing, dancing in their underwear, playing strip
• 17:23
  poker. I love how he's just gone.
• 17:25
  A movie about Facebook. Well, I'm going to make it
• 17:27
  really sexy, obviously. Well, yeah, yeah, that's what he
• 17:30
  does. Though the lighting, superb, the
• 17:31
  crane shots circling over the students are great.
• 17:34
  And we'll talk in more detail about Trent Reznor and I guess
• 17:37
  Ross later. But the music, yeah, superb in
• 17:39
  motion. The tracks called in.
• 17:41
  Motion it is, yeah. We played at the Star.
• 17:43
  It works so well under that montage.
• 17:45
  Really, really banging. Yeah.
• 17:47
  Yeah. I mean, narratively, how marked
• 17:48
  with Erica is just outrageous. 34B as in barely anything there
• 17:52
  on the Internet written in England.
• 17:54
  That's unforgivable. She's.
• 17:55
  Insecurity, so, and Andy's immaturity as well.
• 17:58
  It's not vindictive, he's just not equipped to deal with it.
• 18:01
  No, it's just lashing out. Yeah.
• 18:02
  Yeah. And that shot that we gave Erica
• 18:04
  after she reads the blog, she got tears in her eyes.
• 18:06
  That hits me every time. So painful.
• 18:08
  Though. Yeah, it's awful.
• 18:09
  Launch Rooney Mara's career and she's in 2 1/2 scenes.
• 18:12
  I'm not surprised. She is great.
• 18:14
  She's fantastic. Yeah, the first time we meet
• 18:16
  Eduardo as well. I like how quickly they set him
• 18:18
  up. The first time we're seeing he
• 18:19
  kind of runs up the dorm stairs and then swings the door open
• 18:21
  it. Yeah.
• 18:22
  So he's like a man who wants to go places.
• 18:23
  Yeah. And then we'll see him with
• 18:24
  Mark. He doesn't want to give him the
• 18:26
  ranking algorithm. No, but Markley got wrapped on
• 18:28
  his little finger. Yeah, that never really changes.
• 18:30
  Yeah, but the reason he's there, so genuine, he's like, I'm here
• 18:33
  for you. Yeah, yeah, yeah.
• 18:34
  The friends. The genuine friends, yeah.
• 18:35
  Yeah, I think Eduardo was more of a friend of Mark than Mark,
• 18:38
  this model obviously, as we'll find out.
• 18:40
  Yeah. Oh yeah, brilliant montage.
• 18:42
  Not before since has a grown man throwing his he fit on the
• 18:45
  Internet looked so cool. Nah, never, and it never will,
• 18:48
  so stop trying. So shortly after this is when
• 18:54
  Mark and Eduardo put Facebook Live and Eduardo says you
• 18:57
  praying and Sark and said Mark was devening, which is Jewish
• 19:01
  prayer. And he first wrote are you
• 19:03
  devening into the script? But thought some people might
• 19:06
  not know what that meant. So he changed it, right?
• 19:08
  I mean, that's used to me. I thought he was asleep.
• 19:10
  I know, yeah. Oh, let me rephrase that.
• 19:14
  I wish he'd been asleep. Erica doesn't exist but is based
• 19:17
  on a real person. On the night the real Zuckerberg
• 19:20
  set up Face Smash, he was blogging like in the film.
• 19:23
  One of his blog posts said Jessica Alona is a bitch.
• 19:26
  Salton said he changed it as there was no need to embarrass
• 19:29
  her anymore. Definitely not.
• 19:30
  I mean, that's fair enough. Yeah, the real Jessica Alona has
• 19:33
  never came forward. Really.
• 19:34
  I mean, I don't blame her. No, I wouldn't.
• 19:36
  What was his play on words? Jessica is a loner now.
• 19:39
  Whatever. Not even better that.
• 19:41
  Would have been his. Partner.
• 19:42
  Wouldn't it like really shit paddle like that?
• 19:45
  Something that isn't accurate in the film is that the film tells
• 19:47
  us that Face Smash had 22,000 visitors in two hours.
• 19:50
  It was actually more like 450, right?
• 19:53
  And the real Faith Marsh had men and women on it, not just women.
• 19:57
  So it wasn't quite as sexist as the film makes out.
• 19:59
  So a bit of autistic license there, right?
• 20:01
  OK, interesting. They had to streamline it
• 20:03
  somehow though. Yeah, yeah.
• 20:05
  And as part of that montage, there was a scene where two guys
• 20:07
  were on the site, and one of them says, wow, she's so hot.
• 20:11
  And the other says, of course she is, she's an ugly Portman.
• 20:14
  And Fincher cut it out as he said he preferred it being more
• 20:16
  vague in the deposition when Diffie says doesn't matter about
• 20:20
  who the movie S Harford was. Yeah, yeah.
• 20:23
  She was there between 1999 and 2003 studying psychology,
• 20:26
  Natalie Portman. And apparently, when you found
• 20:28
  out that Aaron Sorkin was writing a script about Facebook,
• 20:31
  she threw a dinner party and invited him to it so she'd give
• 20:33
  him lots of insider info on Harvard.
• 20:36
  Oh nice. Right.
• 20:37
  She didn't know the lads personally though.
• 20:39
  Mark and Eduardo no imagine it was here they took the toilet
• 20:44
  everybody be off setting up websites the.
• 20:46
  Phantom Menace indeed. And that is our opening.
• 20:50
  Bad breakups and music montages. We've met some of our main
• 20:54
  characters. Time to meet the rest, I think.
• 20:57
  Absolutely. Face Smash is soon taken down,
• 21:01
  but as a result, doors open for Mark.
• 21:04
  First, Thailand Cameron Winklevoss and their sidekick
• 21:07
  Devi Narendra asked Mark to help create their social network site
• 21:10
  Connect You, which Mark builds himself and calls the Facebook.
• 21:13
  Then along comes Napster founder Sean Parker.
• 21:16
  In the middle of all of it is our first sight of the
• 21:18
  depositions where Mark's being sued by every man and the dog,
• 21:22
  it seems. Another montage match.
• 21:25
  How's this one play out? I really like this one.
• 21:28
  I think there's some very good visual storytelling.
• 21:30
  Hey? Because it's not just the litany
• 21:33
  of excuses and emails that tells you how Mark is ignoring the
• 21:36
  winkle by, it's the fact that it gets into cut with Eduardo being
• 21:39
  integrated into the Phoenix club.
• 21:41
  So tells already like their paths are already diverging.
• 21:44
  Yeah. And it's basically Mark against
• 21:47
  everyone. And it's just typical behaviour
• 21:49
  of him when Eduardo turns up and he says, oh, I made the second
• 21:52
  cut. You should be proud of that.
• 21:54
  Don't worry if you don't go any further.
• 21:56
  I mean, yeah, thanks for that. Huge support in the evidence.
• 21:59
  Mean it's just mountain up against him that he's been
• 22:01
  playing everyone. And during that deposition, you
• 22:03
  seem scribbling and you presume that must be not in his defense,
• 22:07
  like everyone saying something he's trying to down until you
• 22:10
  get that job where he just casually flips the page over and
• 22:12
  you can say no, no notes. It's.
• 22:14
  Doodling. Yeah, just doodling.
• 22:16
  That's how much contempt he has for everything going on.
• 22:20
  Brilliant. Shows everyone it's great.
• 22:22
  Yeah, the papers so. Yeah.
• 22:24
  Yeah, well, the opening gave us someone rambling on the Internet
• 22:27
  and then here someone reading someone's emails out.
• 22:29
  Cancelling meetings has never been so riveting, I don't think.
• 22:32
  Yeah. The way they tell the back story
• 22:35
  of how the Winklevi got involved and they fall out with Mark by
• 22:37
  cutting between the present in the depositions and the
• 22:40
  flashbacks on the campus, that's breathtaking.
• 22:42
  That that's fantastic. Past years of dialogue will
• 22:44
  often start in one time in place and then finishing the other.
• 22:47
  It's done so well. They barely knows what they're
• 22:49
  even doing. And that kind of cross cutting
• 22:51
  happens all the way through the film.
• 22:52
  And I think you just inject such an energy into what another
• 22:55
  filmmaker's hands could have been.
• 22:57
  Really dry. Yeah, yeah.
• 22:58
  And I like how they suddenly show us how Mark and Edward was.
• 23:00
  Lies are starting to be affected, too.
• 23:02
  They suddenly become beer magnets when Christine Allen
• 23:04
  started chatting them up at the Bill Gates seminar.
• 23:07
  Yeah, that ground level shot when we cut to the bathroom in
• 23:09
  the pan with Christine Edward with legs.
• 23:11
  So she dragged him into the cubicle.
• 23:13
  That's a great shot, that brilliant.
• 23:15
  And the Bill Gates we see, given the speech he's played by Steve
• 23:18
  Sayers, who is actually a professional Bill Gates look
• 23:21
  like. Brilliant.
• 23:22
  But the voice is dubbed, it's not his own voice.
• 23:25
  And Sighs also appeared in two of the films, Nothing So Strange
• 23:28
  in 2002 and Robo Shark in 2015. Oh great for them.
• 23:34
  Both as Bill Gates, yeah, I want to pass me by so.
• 23:37
  Was the Bill Gates voice interpreter actually brought in
• 23:40
  to do the sound? It's really venture that, isn't
• 23:43
  it? Why is Bill Gates in the film
• 23:45
  called Robo Shark? Why not micro shark?
• 23:49
  I can imagine and. Then when they leave the
• 23:50
  seminar, Eduardo and Mark and those three fanboys are all over
• 23:53
  them. Seeing great job with the
• 23:54
  Facebook. Yeah, it's a good scene, but how
• 23:56
  does that guy not recognize Bill Gates?
• 23:58
  Yeah, yeah. Did not come in late though, and
• 24:00
  he didn't have a clue what was going on.
• 24:01
  I've. Been watching Robo shark Yeah.
• 24:04
  Should have recognized them then and we'll go for the, said
• 24:09
  Stanford. Why do you think?
• 24:11
  And we'll cut to that. Amazing.
• 24:12
  I mean, this is the best Justin Timberlake's ever been on
• 24:15
  screen. Easy.
• 24:16
  Easily. I saw this now.
• 24:18
  So this guy's a fucking movie star.
• 24:21
  He's not a pop band anymore. No, because this is James Bond
• 24:24
  the next morning. Isn't it really?
• 24:27
  It's got all the suave, it's got all the sophistication.
• 24:29
  It's sleazy, but he's bizarrely likable and it really works and
• 24:34
  all the dialogue is just really sorgent and it's fantastic.
• 24:37
  And a big shout out to Dakota Johnson, who plays Amelia Ritter
• 24:39
  in the scene. She's brilliant, she's.
• 24:41
  Fucking brilliant because she could have just been just
• 24:44
  delivering the dialogue, but she doesn't.
• 24:45
  She does it with such a plume and really understands that she
• 24:49
  has to get her point across. Really playful with it.
• 24:52
  And that bit when she's coming out, I could have died.
• 24:53
  And he's like, how that's. Really funny.
• 24:57
  I'd love to say. That.
• 24:59
  But I can't just punch you in the face.
• 25:01
  Also, you said there was a snake in here.
• 25:03
  Like, what was your latest paneer?
• 25:05
  I love that line. That was that fantastic.
• 25:08
  And it's just exactly like Napster, just like, well, Sean
• 25:11
  Parker. But Napster.
• 25:12
  Pleased to meet you. Yeah, that dialogue is cool as
• 25:15
  fuck. It's really cutting.
• 25:16
  It's really cold. Yeah.
• 25:18
  It's such a brilliant scene to introduce a character way.
• 25:21
  He was really worried about it being underage, which, again, is
• 25:23
  a red flag for me. I don't care if you're worried
• 25:25
  about it or not. You should fucking know before.
• 25:27
  That point but. That comes up later in the film,
• 25:29
  so it's important, but it's kind of swept away.
• 25:32
  And his importance is, can I check my e-mail?
• 25:34
  Because that's what matters, being online and online presence
• 25:37
  matters. And I'm leaving a trail.
• 25:39
  And you're getting into his head in less than, what, 5 minutes
• 25:43
  again? And it's his genius writing from
• 25:45
  Sagan. But I'll see it again.
• 25:46
  Justin Timberlake has never been better than this scene, I don't
• 25:50
  think. No, I agree.
• 25:51
  I agree. I mean, the whole scene's
• 25:52
  basically one big piece of exposition that introduces Sean
• 25:55
  Parker, but it works because it's so entertaining.
• 25:58
  It is brilliant for know that he's confident, he's cocky, he's
• 26:01
  ladies man, he's observant. All things to become key to the
• 26:04
  plot later. And I agree Timberlake's a bit
• 26:06
  of a revelation. You're Sean for me.
• 26:07
  I think he's really good. And Dakota Johnson, effortlessly
• 26:10
  brilliant. Yeah.
• 26:11
  I don't think there's all that much in her character there, but
• 26:14
  she just brings it to life. She's really, really likable.
• 26:17
  You don't even know my name. Is it Stanford?
• 26:19
  That's a great. Joke so well done, but she's so
• 26:23
  cool about it and she knows it's not going to last.
• 26:25
  And she's like, I've just slept with Sean Parker.
• 26:27
  You slept on Sean Parker. I just wish she would have done
• 26:29
  more than that 50 Shades of Grey shit because she's I think she's
• 26:33
  just much better than that. Yeah, she seems it.
• 26:35
  Yeah. Yeah, for sure.
• 26:36
  Yeah. And when Sean comes across
• 26:37
  Facebook on Amy's computer, we see the original design for the
• 26:40
  site. Yeah.
• 26:41
  But there is a difference here. The head of banner has an image
• 26:44
  and mark in the background. In real life, it had Al Pacino.
• 26:48
  It is like a big trying to pass himself off with looking like Al
• 26:52
  Pacino. That's not going to wash.
• 26:56
  And the real Sean Parker didn't come across Facebook after
• 26:59
  having a one night stand. He was introduced to it by his
• 27:01
  roommate's girlfriend and she was studying at Stanford though,
• 27:04
  so that part's correct. Right.
• 27:06
  Yeah, this is a good example of changing things for dramatic
• 27:09
  reasons, I think for the better. Yeah, really good scene.
• 27:12
  But the Stanford students really just dressing clothes at how
• 27:14
  Stanford written all over them like Amy does.
• 27:17
  Yeah, they're doing films. Those where the branded thing.
• 27:20
  Yeah. Easy exposition, doesn't it?
• 27:22
  Yeah. What's it is?
• 27:24
  And yes, so this is the first time they will meet Sean Parker
• 27:26
  in the film. And apparently the studio wanted
• 27:28
  Jonah Hill, but Fincher didn't, right?
• 27:31
  Didn't Jonathan Groff audition as well?
• 27:33
  Jonathan Groff. He was later in Mindhunter,
• 27:35
  wasn't he? Yeah, that's the guy.
• 27:36
  So I think Fincher puts that in the back of his head and he's
• 27:38
  like, maybe that guy from Mindhunter maybe, yeah.
• 27:40
  Yeah. Yeah, yeah, yeah.
• 27:41
  Yeah, so instead, after auditions, former Instinct
• 27:45
  member and Prince of Pop Justin Timberlake was cast.
• 27:48
  How was he in the film? I mean, this scene to Malik is a
• 27:51
  lot more believable than the Jonah Hill would be.
• 27:53
  I think with Dakota Johnson, that wouldn't fly whatsoever.
• 27:56
  Fucking. Hilarious.
• 27:58
  Come on. Absolutely no way you believe
• 28:01
  that. I mean, Timberlake, this, I
• 28:03
  mean, by the end of the film, I'd really like to see him
• 28:05
  punched in the face repeatedly, which I think is the intention.
• 28:08
  It is. It's it's a great performance.
• 28:10
  There's not a lot of likable people in this film, and the
• 28:13
  fact that Park is probably the most testable by the end, I
• 28:15
  think that's tribute to us Timberlake brings to the role.
• 28:18
  I really like this performance. Yeah.
• 28:21
  Yeah. I mean, to be honest, it's not
• 28:22
  rare that we'll see pop stars who go into acting and can do
• 28:24
  it. Yeah.
• 28:25
  I mean, as well as Timberlake, Boy, Cher, Lady Gaga have all
• 28:28
  been successful. I think there's clearly some
• 28:30
  overlap in the kind of creative, performative skills maybe in the
• 28:33
  performance. Yeah.
• 28:34
  Except maybe Ed Sheeran, if you've seen him act.
• 28:37
  I think Game of Thrones, isn't he?
• 28:38
  Yeah, yeah, yeah. Terrible that.
• 28:41
  Just sing, Ed, you'll be fine. The haircut was worse than the
• 28:43
  performance if I'm honest. Ideally, don't even do that.
• 28:46
  Yeah, just as strong as one coordinate.
• 28:48
  Just cut it. Fred Reznor score.
• 28:51
  And we do hear and sync in the film as well.
• 28:54
  The scene where Mark goes to a meet with Sequoia Capital in his
• 28:57
  pajamas on the way there and Sean's caught the radio was
• 28:59
  playing and then sing song called Don't Stop.
• 29:02
  Right. Yeah, the M sync cinematic
• 29:04
  universe This then. This is it.
• 29:07
  Very small universe. Well, that moment in the film
• 29:10
  where Mark meets Sequoia and his PJS, that is based on reality,
• 29:13
  right? So the real Sean Parker had a
• 29:15
  grudge against Michael Moritz, who was the chairperson of
• 29:17
  Sequoia. So Zuckerberg went to a meeting
• 29:19
  with them in his pajamas and apparently presented the deck
• 29:21
  titled Top 10 Reasons You Should Not Invest in Facebook, which I
• 29:26
  guess you had to be there. Got a sense of humor?
• 29:30
  Sticking to the computers. Yeah, Timberlake was a bit
• 29:33
  bigger than the real Sean Parker, so lost about 15 lbs for
• 29:35
  the role, and he ran into the real park at an event before he
• 29:39
  started filming and said he'd like to get a norm a little bit,
• 29:42
  Parker told him. Don't bother, The guy you're
• 29:44
  playing is nothing like me at all and I think Timberlake just
• 29:49
  lost the way to look younger. Well, yeah, maybe.
• 29:51
  Yeah. Keep from the oldest of the main
• 29:52
  cast, I would think. Yeah, that was his main
• 29:54
  motivation was to look a bit younger.
• 29:56
  But I remember seeing an interview with the real Sean
• 29:58
  Parker at the time the film came out, where he was like, I just
• 30:00
  wish I was not cool, to be honest.
• 30:02
  Yeah, Amazing. Yeah.
• 30:04
  I think of all the characters, the one who feels the least
• 30:06
  genuine and least realistic, probably a Sean.
• 30:08
  But it works well for the film. It does.
• 30:10
  Yeah. It does work really well.
• 30:11
  I mean, I was like, as soon as I saw Timberlake and that Elton
• 30:14
  John video, what was it? This train don't stop here.
• 30:16
  I thought, right, he's going to go and do some films, and I hope
• 30:20
  he does some good ones. He's got some.
• 30:22
  He's got some jobs, you know? Right.
• 30:23
  Yeah, he's on and off, but this is pretty much up there for me.
• 30:27
  And that is the beginning of the social network.
• 30:29
  We've met all of our main players in front of the camera.
• 30:31
  We should probably talk a bit more about the guy behind it.
• 30:34
  Why not the Big Finch? Definitely.
• 30:36
  Bloody good Rep the director. The director of The Social
• 30:45
  Network was, of course, David Fincher.
• 30:47
  This was his eighth feature film, and at the time he already
• 30:50
  had several classics under his belt, like Seven, Fight Club,
• 30:53
  Zodiac made of a turn of pace with The Social Network, though,
• 30:57
  Matt. So how would Fincher's work?
• 30:59
  Yeah, I think it's great. I think he was a lot to soak in
• 31:03
  in some way for how he's done this.
• 31:04
  Because I'm matching, on the face of it, him thinking the
• 31:07
  creation of Facebook, how's that appealing?
• 31:10
  But then when he reads that script, I imagine it's like a
• 31:12
  light bulb going off. And it's like, oh, that's how
• 31:15
  I'll make this really fast. That George Lucas again.
• 31:20
  Yeah, George Lucas again. Who'd have thought he was a big
• 31:22
  infant on Fincher? I mean, it's huge because the
• 31:25
  pace goes against how any kind of corporate courtroom drama,
• 31:28
  which is all this is, really, is generally put on screen.
• 31:31
  You know, that face smash sequence, the way he indicates
• 31:35
  the party's mark in his dorm room, Everyone looking at the
• 31:37
  link, it's so rapid. And then not just the way he
• 31:39
  intercuts the scenes, it's the way he intercuts the stories.
• 31:43
  It's set up that Mark has this great friendship with Eduardo.
• 31:46
  But then the next thing we see, we're in the middle of a
• 31:48
  deposition where the one opposite ends of the table and
• 31:50
  we don't know why. Like the pace makes it quite
• 31:53
  bewildering at times, but in a really good way because you want
• 31:56
  to know how do we get to this point?
• 31:57
  And it gets you there so quickly.
• 31:59
  And it emphasizes how out of control the situation has got
• 32:02
  from Mark Mean Fincher. He got a saw making music videos
• 32:05
  from MTV and I think this is possibly his most music video
• 32:09
  type film. OK, Yeah.
• 32:11
  I agree totally. I mean, the guys in this film,
• 32:13
  they're not yet classically cool young guys.
• 32:15
  Have you seen films in years gone by?
• 32:17
  There's not been many non comedies with these kinds of
• 32:19
  characters in the leaves, but they are.
• 32:21
  Yeah. Because in the 21st century,
• 32:23
  these are the kinds of people who've made the biggest impacts,
• 32:25
  like Zuckerberg, Steve Jobs, Laurie Page and Sergey Brain,
• 32:28
  who started Google. And what I love is how Fincher
• 32:31
  reflects that with his, like, vision for what the film is.
• 32:34
  It's like he's gone. There might not be stylish
• 32:36
  fellows in real life, but they did change the world.
• 32:38
  That's a pretty cool thing. So I'm going to make a film, but
• 32:41
  it's really cool. It's stylish.
• 32:44
  Like I said, it's sexy. Obviously there are a lot of
• 32:46
  people involved, but it's clearly Fincher calling the
• 32:48
  shots. I've read the script for the
• 32:49
  film and it is outstanding. But Fincher doesn't just direct
• 32:53
  what's on the page. He twists it and he makes it
• 32:55
  something slightly different, and he makes it cinematic.
• 32:58
  We'll see that in the score, which is modern.
• 32:59
  The whole thing is so well shot, it's ridiculous.
• 33:03
  Yeah. I think we should mention the
• 33:04
  editors as well, Kirk Baxter and Angus Wall.
• 33:06
  Yeah, they'd worked on five Fincher films by this point, but
• 33:09
  not quite like this. The editing is just superb.
• 33:12
  It's so slick, the way that scenes often bleed into each
• 33:15
  other and dialogue overlaps the transition sometimes and makes
• 33:18
  the whole thing just, like, rocking along.
• 33:20
  I mean, it's a character drama, but it has the energy of a
• 33:22
  thriller for me. When Eduardo writes the
• 33:25
  algorithm on the window, absolutely no need to write it
• 33:27
  on the window, but it's so cinematic to do it that way.
• 33:31
  I mean, I've got the X algorithm written on my window, but it
• 33:33
  doesn't look like that. How come we do a focus pull on
• 33:35
  it? It'll look great.
• 33:36
  Depends. What you're doing in the
• 33:37
  background? But from the first shot to the
• 33:42
  last, Finch, I've got this whole film, like, in the palm of his
• 33:45
  hand. Yeah, it's exactly what he wants
• 33:46
  it to be, an expert filmmaker for me.
• 33:49
  And write up there among his best work.
• 33:51
  For me, I think the word is refined.
• 33:54
  There's no fat on this whatsoever.
• 33:55
  Fincher doesn't want any fat on this whatsoever, and he's just
• 33:58
  managed to make it work. And we'll talk about the
• 34:00
  courtroom draw. I mean, Aaron Sorkin wrote A Few
• 34:02
  Good Men. This feels like A Few Good men
• 34:04
  on Fast forward. Yeah, it's got that similar kind
• 34:07
  of depth to it. But the problem with this film
• 34:10
  and the problem with Fincher's direction is he's putting too
• 34:13
  much in there. That's good that you miss loads
• 34:16
  of it. There's so many good lines.
• 34:17
  There's so many good shots. And we're talking about Fincher
• 34:20
  with takes. And we'll get into this now
• 34:22
  because everyone says our David Fincher, there's so many takes,
• 34:24
  right? There's 99 takes of of a
• 34:26
  dialogue sequence. Yeah.
• 34:27
  But there's a difference between doing takes and doing coverage.
• 34:30
  He's getting coverage of everything for his editor to
• 34:33
  build something later. I mean, if you have interviews
• 34:36
  with him, he says, you know, we've got actors come from all
• 34:38
  over the world, we'll put them in hotels.
• 34:40
  We've got 150 grand crew, we've got 150 grand cameras.
• 34:43
  We've got them for four hours and you want them to be over as
• 34:45
  quickly as possible. No, the last four hours already
• 34:49
  get as much from it as possible and you want them to be the best
• 34:51
  they could possibly be. And I think that's really,
• 34:54
  really brave way to make a film because he's taken every single
• 34:58
  cent and pushing it as far as he can do.
• 35:00
  He never goes over budget, but he does 99 takes because he
• 35:03
  knows what he wants and how he wants to do it.
• 35:05
  He's so meticulous, but at the same time provides them with so
• 35:09
  much to work with. All the ingredients are just
• 35:12
  perfect, and that's what he does here.
• 35:14
  It's just such a joy to watch how much control he's got over
• 35:18
  this. And I would love to have edited
• 35:20
  this. I would love to have been in the
• 35:21
  editing room and just SAP because there's two editors
• 35:24
  going right? Go to a wide shot.
• 35:25
  If I want to, I can go to a close up, I can go to a mid
• 35:28
  shot, I can go to an extreme close up.
• 35:30
  I've got everything I need to work with here.
• 35:32
  This is an absolute dream, and that's why the film works so
• 35:36
  well, because all the choices made by everybody, the way it's
• 35:39
  shot by Chronomath, the way it's put together, the way it's
• 35:42
  directed by Fincher, he knows exactly what he's doing.
• 35:45
  And if all the Fincher films, I do think this is the most David
• 35:50
  Fincher film. It's not the pinnacle of
• 35:52
  Fincher, but for me, if I'm going to introduce anybody who
• 35:54
  definitely be in the top three, it's so accomplished.
• 35:57
  It's brilliant. Awesome.
• 35:58
  If someone's saying what's David Fincher like, this is one of the
• 36:01
  three films you're showing them, I think.
• 36:02
  It has to be. It has to be in the top three,
• 36:04
  yeah. Well, actually, when Sorkin
• 36:06
  first finished the script, Columbia wanted him to direct,
• 36:08
  even though he'd not directed anything before this.
• 36:11
  But Sorkin wanted David Fincher, and he said, let's send it to
• 36:14
  him. If he passes, I'll do it.
• 36:16
  And Fincher said he read the script in five pages in the
• 36:18
  opening scene, was thinking, if this girl doesn't punch this guy
• 36:22
  in the face, I'm not doing it. But the very next page had Erica
• 36:27
  calling Mark an asshole and he emailed Sorkin back saying I'm
• 36:30
  in. Yeah.
• 36:32
  Imagine she had just decked him. Yeah, it's miles better that way
• 36:35
  though, isn't it? Because he makes it do it in a
• 36:37
  whisper. It's so cutting.
• 36:39
  Yeah, that he remembers it for the rest of his life.
• 36:41
  Well, we remember for the rest of the film.
• 36:43
  Beautiful. So Can did write and direct
• 36:45
  Molly's Game a few years later I didn't need.
• 36:47
  Molly's Game. That's right, yeah.
• 36:48
  Which has a great script, but in the direction not close to this
• 36:51
  I don't think no. No, it's not.
• 36:53
  Really, really, I don't think from what I've seen.
• 36:55
  When Fincher first met with the studio, he said he needed 40
• 36:58
  million to make the film. Said how about 25.
• 37:00
  Imagine saying that Finch. And he said, no, I need 40
• 37:05
  million. And they said how about 35.
• 37:07
  And Fincher said, look, this isn't a negotiation, this is how
• 37:10
  much it costs. So they gave him 40 million.
• 37:14
  Well, you know, you haven't all worked out.
• 37:15
  Warning to the dollar Course he will.
• 37:17
  Yeah. Exactly 40 million, that's
• 37:19
  great. 99 takes 39 million. Yeah, and that documentary
• 37:22
  you're talking about, Westie, there's some great footage there
• 37:24
  where Finch are soaking in. The main cast are doing like
• 37:26
  script workshops. Oh yeah, it's great.
• 37:29
  Some of the cast are like throwing out ideas.
• 37:30
  At one point I think Justin Timberlake comes up with a line
• 37:33
  and Fincher just goes no, don't like it and carries on.
• 37:37
  It's really exciting. So what about if I just didn't
• 37:39
  like No, I don't like it and see you waste me time.
• 37:42
  It's 40 million, no change you. Don't need anything now you
• 37:44
  would leave a venture, yeah. I think.
• 37:49
  And we've mentioned that opening scene having 99 takes and not
• 37:52
  basically carried on throughout the shoot army, Hammer said.
• 37:54
  The scene when the Winklevi and Divya in the restaurant talking
• 37:57
  about Mark, that scene is about 10 seconds long.
• 38:00
  And in that scene, Hammer has to take a bite of a burger.
• 38:03
  He said that by the time they'd finished, they'd done so many
• 38:06
  takes he couldn't eat another mouthful.
• 38:09
  Never eats for real in a David Fincher See, you know you're
• 38:12
  putting half a stored. And I spit it out.
• 38:14
  By the end of it. She's like spending it with
• 38:16
  cookies, like I'm not having that.
• 38:18
  That oh, yeah, I'm not surprised.
• 38:19
  But Finch is a perfectionist, isn't he?
• 38:21
  I think he just wants to make sure I shot every alternative
• 38:23
  that you can possibly shoot. You want to see what he doesn't
• 38:26
  like as much as you want to see what he does like.
• 38:27
  That's it. It's like Stanley Kubrick.
• 38:29
  I think he was the same, yeah. He was the same, but I don't
• 38:31
  think it's necessarily about being a narcissist.
• 38:33
  I don't think he does much rehearsal on camera.
• 38:35
  He just gets it right and he's like, that is perfect.
• 38:38
  And he's like, I need that from like, five of the tangles so
• 38:40
  that he goes, right, let's do 12 of the take.
• 38:42
  So he gives everything to the editor, and then they've got a
• 38:44
  float of it. I think that's just how he
• 38:46
  works, yeah. I mean, you can't argue when you
• 38:48
  see the end product, can you? No, no, no, it doesn't harm me.
• 38:50
  I'm ago. No, I don't like that scene
• 38:52
  where I'm eating all them burgers.
• 38:53
  Like fuck off. It's the best you've ever
• 38:54
  looked. Army.
• 38:56
  When Fisher came on board, the script was sent to Facebook to
• 38:58
  try and get their blessing on certain aspects of the script.
• 39:01
  The producer, Scott Rude, and met with Facebook a few times.
• 39:04
  They said it couldn't be set at Harvard and they couldn't call
• 39:06
  the company Facebook rude and spoke to Fincher and they
• 39:09
  decided to do it anyway. What's?
• 39:11
  The. Point.
• 39:12
  Yeah, he just said that when those people from Facebook saw
• 39:14
  the final film, they were, in his words, appropriately
• 39:17
  appalled, which I think he was really pleased about.
• 39:20
  But I mean, the depositions and Zuckerberg's messages from the
• 39:22
  time, they're all public record, so they couldn't stop them
• 39:25
  really. Yeah, of course they couldn't.
• 39:26
  No. Yeah, and Harvard got in on the
• 39:28
  ACT too and said Fincher couldn't shoot at their
• 39:30
  university on the campus, so he called them fucking atrocious.
• 39:36
  Oh, he said that to. The faces of.
• 39:38
  Course he. Did so The Harvard scenes.
• 39:40
  They were actually filmed at Wheelock College in Boston, John
• 39:43
  Hopkins University in Baltimore and the University of Southern
• 39:46
  California, and they were just dressed up to look like Harvard.
• 39:50
  Yeah, lots of snow added, wasn't it?
• 39:52
  That's right. Yeah.
• 39:53
  Well, that's kind of why they couldn't shoot there, because
• 39:55
  when Love Story filmed there in 1970, they had lots of fake snow
• 39:58
  and it destroyed some of the trees.
• 39:59
  So apparently Harvard had a rule flying on that no film could
• 40:02
  shoot there, but didn't stop letting road trip in there.
• 40:05
  Oh, ten years earlier. Like Finch, I get out, road
• 40:08
  trip, get in. Come on, Tom School, get in
• 40:11
  there. There are some Halford shops in
• 40:14
  there though, like when Mark went through the Halford Square
• 40:17
  right at the start and Fincher got those shots by sending in a
• 40:21
  street mine with a cart and light on it.
• 40:23
  And Jeff Cornwith said that if security stopped him, the mind
• 40:27
  just wouldn't talk. So by the time he got him out of
• 40:31
  there, that happened to the shop stuck in the box.
• 40:35
  Like Billy Crystal and Spinal Tap.
• 40:38
  It's absolutely ridiculous. Fincher came up with that idea
• 40:41
  himself as well. It's a famous Harvard archways
• 40:44
  that he wanted to get. So yeah, get Marcel Marshall in
• 40:47
  there all the. Well, this was the opening of
• 40:50
  Batman Returns. There's a very subtle reference
• 40:54
  to another Fincher film in the scene and Mark Storm, where
• 40:57
  Eduardo goes on a rant about being accused of animal abuse,
• 40:59
  which, I mean, the amount of times he says chicken and the
• 41:02
  way he says chicken kind of freaks out a little bit.
• 41:06
  And I fed him some chicken and I had the chicken.
• 41:08
  It's a bit weird. But Marcus posted on Facebook to
• 41:11
  get content for his contemporary arts final.
• 41:14
  We'll see on the screen that he's posting under the pseudonym
• 41:16
  or the name Taylor Durden. Not exactly Durden with an.
• 41:20
  It's got me in there. Stirring the pot.
• 41:23
  There's more put. Tiny pot.
• 41:29
  Before we finish on David Fincher, we have our first
• 41:31
  patron question. OK.
• 41:32
  So as well as all those benefits were mentioned at the start, if
• 41:35
  you're saying to become an ATR and patron, we'll answer your
• 41:37
  questions on the show. Yeah, we have the first of those
• 41:40
  now and it is on David Fincher. Wow, OK.
• 41:43
  So Martha Quaidas is back. Hello, Marta.
• 41:46
  Hello, Marta. And she says hello.
• 41:49
  Absolutely love your podcast. Thank you very much for keeping
• 41:52
  me company on my morning runs. Oh, lovely.
• 41:55
  More than happy to keep on a morning run, surely.
• 41:56
  Yeah, of course. Unless you want us to physically
• 41:58
  accompany. Yeah, Then there's no chance.
• 41:59
  No, no, there's not something to happen.
• 42:01
  So Marta asks. David Fincher is one of my
• 42:03
  favorite directors. Can you guys do a top five
• 42:06
  movies from DF? I'm sure we can.
• 42:09
  What do you think, Wesley? I can do a top 4:00 every single
• 42:12
  time for Fincher. When it gets to five, I'm
• 42:14
  really, really, really, really fucking struggle.
• 42:17
  For me, it's always 7, which is just the pinnacle for my use of
• 42:20
  Fincher film. It's the fuck you to the whole
• 42:23
  debacle he had on Alien Three. I can make a film.
• 42:25
  This is a fucking film that I'm going to make and it's just
• 42:28
  incredible from start to finish. Zodiac is second for me.
• 42:31
  I think that's just an absolute master class.
• 42:33
  It's just, it shouldn't be as good as it is.
• 42:35
  Fight Club for me, I really adore that film, always have
• 42:38
  since the first time I've saw it.
• 42:40
  Social Network will be 4 for me. I just think it's incredibly
• 42:43
  intricate as we're talking about.
• 42:44
  And five, I'm always struggling because it's like, I like the
• 42:47
  game kind of. I like Panic Room kind of.
• 42:51
  I like Benjamin Button kind of. But the one I'm going to choose
• 42:55
  is like a definitive Fincher film for #5 it's going to be
• 42:58
  Gone Girl for me. I just enjoy that one.
• 43:00
  Very good. A lot more than the others and
• 43:02
  I'll watch that more. So that's my top five.
• 43:05
  You're very close to me, Wesley. Yeah. 5th for me is Fight Club,
• 43:08
  possibly the definitive Fincher film in some ways.
• 43:10
  Yeah, and Brad Pitt's great performance for me.
• 43:13
  OK, 4th. I'm going with The Girl with the
• 43:16
  Dragon Tattoo. Oh, nice.
• 43:17
  OK, Bruni, Mara, like really flexing them.
• 43:20
  Yeah, yeah, that trend Resnard and Karen all cover of
• 43:22
  immigrants on alone gets the top five that.
• 43:26
  She's. On my run play, play for mother.
• 43:37
  There you go, Mada to carry on. 3rd Zodiac.
• 43:40
  Super slick thriller and I've never heard Herdie Giddy Man by
• 43:43
  Donovan the same way since. I haven't heard it.
• 43:47
  Thank God. Second top two was really tough,
• 43:49
  but I think I'm going. The Social Network has run a
• 43:51
  rope. Really.
• 43:53
  Yeah. First place probably pretty
• 43:54
  obvious. Alien three, No, obviously 1st
• 44:00
  place is obviously 7. Love the concept, I love the
• 44:03
  identity it has, and that ending still knocks me for six.
• 44:06
  Yeah, actually for seven. Yeah, little variance in mind.
• 44:11
  So from 5:00 to 1:00 five, I'm going panic room, which I think
• 44:15
  is a bit underrated. Yeah, I've always really enjoyed
• 44:17
  that sad champion to the face. Excellent.
• 44:19
  OK four for me is Gone Girl. Nice.
• 44:21
  Because I'd read the book and I absolutely loved it.
• 44:24
  I pretty much read it and one sit and I was on a train journey
• 44:26
  somewhere. So when I heard Fincher was
• 44:28
  adapted I was very exciting and I think he pulls that off
• 44:31
  brilliantly. 3rd, I'm going to go with this one Social Network
• 44:34
  because. Nice and.
• 44:36
  On the face with, as I've said, it shouldn't be a great film,
• 44:38
  and yet somehow it is. Second for me, I'm going to go
• 44:41
  7. Yep, just absolutely knocked me
• 44:44
  off my feet when I saw that back in the 90s.
• 44:46
  But number one for me is Zodiac. Because Zodiac.
• 44:50
  And. You a film that's nearly three
• 44:51
  hours long about an investigation and murder where
• 44:54
  you don't find out who it is. That should be the most
• 44:56
  unsatisfying ending ever. And yet it's the most satisfying
• 45:00
  ending I think I've ever seen or anything.
• 45:01
  And can I just say you two are far more professional at this
• 45:04
  and they counting back from 5:00 to 1:00 and I'm straight.
• 45:08
  They're like, you know what's fucking amazing?
• 45:09
  7 bad. That's who I am.
• 45:13
  I'm Mark Zuckerberg. Fuck off.
• 45:16
  Well, back to The Social Network.
• 45:18
  And for his work on the film, David Fincher was nominated for
• 45:20
  Best Director at the Oscars, and the film was nominated for Best
• 45:23
  Picture. Yeah, lost out to the same film
• 45:26
  for both. Do you remember what?
• 45:28
  Oh, hold on, I. Think it was The King's Speech,
• 45:31
  the. King's Speech.
• 45:32
  Yeah. King's Speech and Tom Hooper.
• 45:34
  Correct. Tom Hooper, Best Director, The
• 45:36
  King's Speech for Best Picture. I mean, it's easy to bash the
• 45:38
  Oscars years later with hindsight, but even at the time
• 45:41
  it was pretty obvious this was more worthy, I think.
• 45:43
  Wasn't. I think so.
• 45:44
  Yeah, the king of the rule of thirds.
• 45:46
  It's a shit. Though I really don't.
• 45:48
  Like it? You love all those empty spaces,
• 45:50
  don't you? So no bigger water Fincher for
• 45:52
  the social network, but for us, Some outstanding direction from
• 45:55
  him here, definitely. Yeah, top of his game, really.
• 46:02
  The cast. David Fincher was already a big
• 46:07
  Hollywood name at the time of The Social Network.
• 46:09
  The same cannot be said of his cast, though.
• 46:11
  While all have gone on to become famous in the industry, back
• 46:14
  then the most well known by a distance was Justin Timberlake,
• 46:17
  who we've talked about. Yeah.
• 46:19
  Now, though, it's time for the three characters the lawsuit
• 46:21
  revolve around. That's Andrew Garfield, the
• 46:23
  Eduardo Sovereign and Army Hammer as Tyler and Cameron
• 46:26
  Winklevoss. But only one place we can start,
• 46:29
  I think. Yeah, yeah.
• 46:31
  So Jesse Eisenberg plays Mark Zuckerberg, a talented
• 46:34
  programmer with some issues. The story follows Marks, who was
• 46:37
  setting up Facebook with Eduardo, seeing you grow beyond
• 46:39
  their wildest dreams, then finding himself on the wrong end
• 46:42
  of multi $1,000,000 lawsuits from Eduardo and the Winklevi.
• 46:46
  Yeah. Do I have your attention,
• 46:48
  Wesley? Absolutely.
• 46:49
  Well, you have half of it. Thoughts on Zuckerberg and
• 46:52
  Eisenberg? Yeah.
• 46:54
  I mean, I think the only thing they've really got in common is
• 46:56
  the Burg. And apart from that, like
• 46:59
  Eisenberg like completely owns this part.
• 47:01
  I don't know how it works, but it absolutely works so well.
• 47:05
  He's one of them actors. Just seems like he's the same
• 47:07
  and everything, but so different.
• 47:08
  He's like Michael Sierra that he's got that typecast kind of
• 47:11
  out. And but this is just an absolute
• 47:14
  master class from Eisenberg. I think he just understands the
• 47:17
  assignment so, so well. And the thing I think that I get
• 47:21
  from this is so comfortable with Venture's direction.
• 47:23
  Yeah, yeah. And I think he's very
• 47:25
  uncomfortable doing things like Lex Luthor, doing things like
• 47:29
  big productions with two takes. And he's very, very comfortable
• 47:32
  having lots of things to say and a lot of time to see it.
• 47:36
  And I think that's where he really shines in this.
• 47:38
  Even the physical moments work really well.
• 47:40
  And there's just so many little nuances to this.
• 47:43
  And he makes it cool by saying despicable things by acting as a
• 47:47
  despicable person. But you feel sorry for him
• 47:50
  without feeling sorry for him. Do you know what I mean?
• 47:53
  You don't want to cry about it, but you don't want to punch him
• 47:56
  in the face. At the same time, it's like to
• 47:58
  change your attitude, man, because you're so talented and
• 48:00
  you so intelligent and you can fucking do something.
• 48:03
  He's I know I am. I know I am.
• 48:05
  I know that he had Zuckerberg's voice on a Walkman and he was
• 48:08
  listening to it constantly. Should have his voice in his
• 48:10
  head. He's trying to get into the
• 48:11
  character. He's trying.
• 48:12
  But I just think it isn't really about Eisenberg trying to be
• 48:16
  Mark Zuckerberg. I think this is about Eisenberg
• 48:18
  trying to be every single one of us in a world where you couldn't
• 48:23
  be a rock star anymore. You had to create something.
• 48:26
  You had to have an identity somehow, and it had to be
• 48:28
  online. And he became a rock star by
• 48:31
  making something that's so fucking boring and so benign,
• 48:35
  but he does it so well. And Fincher knows that.
• 48:38
  Eisenberg knows that, and it's just a joy to watch him.
• 48:41
  And I don't really think since this, I've never went, oh, yeah,
• 48:44
  Jesse Iceberg's in this. I'm going to go and say it, but
• 48:47
  this is perfect for it and I love it.
• 48:49
  He's like the sausage in the sausage roll.
• 48:51
  It's perfect. Yeah, I mean, like you see in
• 48:54
  Westfield Mark in this film, it's not the real Mark
• 48:57
  Zuckerberg. No, inspired by him for sure.
• 48:59
  But this is a character in a movie that's being used to make
• 49:01
  points about friendship or success, class and more.
• 49:05
  Aron stalking himself says that. So the Mark was see here.
• 49:09
  I think he's, like the ultimate and hero.
• 49:11
  His arc is the classic hero's journey, but like, in reverse.
• 49:14
  Yeah. At the start of the film, he has
• 49:15
  exactly what he wants. He's got Erica, this Grey Whip
• 49:19
  smart girl. He's got a best friend that
• 49:21
  respects and cares about him and Eduardo.
• 49:23
  Yeah. And over the course of the
• 49:24
  narrative, he loses both of them.
• 49:25
  He seems to go out of his way to get dumped by Erica.
• 49:28
  And by the end he's chosen Sean over Eduardo, which is a massive
• 49:31
  mistake. Yeah, he goes out of his way to
• 49:33
  get dumped by Eduardo as well. Yeah, exactly.
• 49:35
  Yeah, Yeah. I think Mark thinks that he
• 49:37
  wants social status and power, which Facebook will and does
• 49:40
  bring him. But what I think he really wants
• 49:42
  is just basic social acceptance and meaningful relationships.
• 49:46
  He already has that the star of the movie, but chooses to
• 49:49
  sacrifice them for like, yeah, the thing in this case,
• 49:51
  Facebook. And then once he has it, the
• 49:53
  final scene is him trying to use Facebook to get meaningful
• 49:56
  relationships. Yeah, that's some great, like,
• 49:58
  tragic character writing. It's wonderful and she's only
• 50:01
  got like 560 friends as well. I love that.
• 50:03
  Yeah. She's using the platform, but on
• 50:05
  the minimum it's like. Great.
• 50:08
  And this idea of going after stay some power not really isn't
• 50:10
  what you actually wanted was a basic connection is similar to
• 50:13
  Citizen Kane. So I think that must have been
• 50:15
  an influence on soaking, Should have had Mark whizzing around
• 50:17
  Harvard on a sledge. Whispers Rosebud on the final
• 50:22
  refresh. But Eisenberg, he just nails the
• 50:28
  performance. I think he's a good actor.
• 50:30
  Jesse Eisenberg, he's got the right kind of look for this.
• 50:32
  I know he said himself he's socially awkward in real life.
• 50:35
  But when I watched the film, I don't see Eisenberg.
• 50:37
  I just see Zuckerberg. I mean, you've got Fincher
• 50:40
  bringing his A game, you've got Aaron Thorgan bringing his A
• 50:43
  game. You've got Trent Reznor bringing
• 50:44
  his A game. These are huge names and
• 50:46
  Eisenberg is front and center of the whole piece, is right there
• 50:49
  with them. Replace them and it's a worse
• 50:51
  film. Honestly Oscar worthy for me.
• 50:54
  Oh yeah, it's fantastic performance.
• 50:56
  It's fantastic. Yeah, it's performed by every
• 50:59
  good thing I can say about him. It sounds like a backhanded
• 51:02
  compliment. Yeah, I know what you mean.
• 51:03
  I know what you mean. You know what I mean?
• 51:04
  Because he's angry and he's socially awkward and he's
• 51:06
  unbelievably arrogant nerd and and you think Eisenberg, he's
• 51:10
  just perfect. He's perfect.
• 51:11
  I know. What you mean?
• 51:13
  To the point we feel that's truly what he's like in real
• 51:15
  life. So sounds harsh.
• 51:16
  See him being better about not having a girlfriend?
• 51:18
  Yeah, of course. Exactly for that, that's just a
• 51:21
  compliment. How good Eisenberg is here and
• 51:24
  he is this big ball of contradictions because he's
• 51:26
  desperate to be accepted into something and to be liked, but
• 51:30
  he's so self-destructive at the same time.
• 51:32
  Like you guys have said, he ruins every possible friendship
• 51:35
  he could have. But at the same time you kind of
• 51:38
  admire that determination he has to beat everyone.
• 51:41
  I think it's it's a real balance and active performance and he
• 51:44
  judges it perfectly. And as well, Eisenberg has this
• 51:47
  Born Dry delivery like the funniest moment in the film for
• 51:50
  me when he sarcastically checks the maths if 18,000 plus another
• 51:55
  thousand. Yeah.
• 51:56
  Yes, I got the same thing. The more sarcastic mathematics
• 51:59
  I've ever seen that. It's fantastic.
• 52:01
  Really funny sarcastics. Apparently the first person
• 52:07
  approached to play Mark Zuckerberg was Shia LaBeouf,
• 52:10
  which is outrageous, but he turned it down.
• 52:13
  Well, imagine Le Beauf and Fincher.
• 52:17
  Loggerheads just. Holds like two bulls.
• 52:19
  Don't think they'd get on well. No, not at all.
• 52:22
  They pretty turn it down. So they went through the
• 52:23
  standard process and had audition.
• 52:25
  He's read from a script from The West Wing, which Organ also
• 52:28
  wrote. Everyone knows Fincher wanted
• 52:30
  Eisenberg to audition, but he actually said no because he
• 52:33
  thought reading from The West Wing would do him absolutely no
• 52:36
  favours whatsoever. But when he pulled out, they
• 52:39
  gave a few pages of the script and he won the part.
• 52:41
  Sounds a bit like the character. Surprised he didn't go off and
• 52:44
  write his own. Yeah, I know.
• 52:45
  I think, I think Eisenberg, like he did like a video, didn't he,
• 52:48
  with his sister or something. He kind of read a few pages and
• 52:50
  sent the video in and he's like forgot about it.
• 52:53
  All of a sudden I'm getting a call from David Fincher.
• 52:55
  Yeah, his sister is Holly Eisenberg.
• 52:57
  She was a child actress at the time.
• 52:58
  I think she's given it up now. But yeah, she auditioned with
• 53:00
  him enough for one of the part. Nice.
• 53:03
  An iceberg. In real life, he's been
• 53:04
  diagnosed with obsessive compulsive disorder, and he said
• 53:07
  one of the hardest things about playing Mark was having to speak
• 53:10
  and behave in a way he had tried not to for his whole life.
• 53:13
  Right. So he said he watched every
• 53:15
  interview he could find of the real Zuckerberg, and he also
• 53:18
  read the college application where Zuckerberg had written
• 53:20
  about how we love fencing. So Eisenberg did a couple of
• 53:23
  lessons before filming. Wow.
• 53:26
  I mean, that doesn't sound like obsessive compulsive.
• 53:30
  No, yeah. I'll do that.
• 53:31
  I'll do that, yeah. I'll do 99 takes.
• 53:33
  Yeah. And I'm fine.
• 53:33
  I'm fine. I'm fine.
• 53:34
  Rooney, stick around. We should have got that in
• 53:36
  there. Morgan, Eduardo dueling it out
• 53:38
  for 30%. That would have been.
• 53:41
  Great. Takes his Moscow.
• 53:42
  It's Bruce Dickinson from Iron Man.
• 53:47
  I know as well that N pad, the markers were mentioned before
• 53:50
  that was Eisenberg or NOR pad, and he'd write down notes about
• 53:53
  his own performance as they were going along.
• 53:55
  Wow, Jesus. Just like I'm really good.
• 53:59
  Yeah. Speak faster.
• 54:02
  Speak faster. Just write that more school.
• 54:04
  Yeah. dot, dot, dot. So Fincher asked Eisenberg not
• 54:09
  to try and meet the real Zuckerberg.
• 54:11
  So he didn't and said he just did what felt right for the
• 54:14
  character based on the script. The only changed he asked for
• 54:17
  was the scene at the Facebook house in California where the
• 54:20
  employees are zip lining from the roof into the pool.
• 54:23
  Oh, yeah. And the script.
• 54:24
  Mark joined in, but Eisenberg said he should just be standing
• 54:27
  filming it instead because he didn't want to get, like, too
• 54:29
  joyous about it. And Fincher totally agree with
• 54:31
  that. Yeah.
• 54:32
  Yeah, that's the right choice, I think.
• 54:33
  Yeah, he's. I wouldn't be having fun.
• 54:35
  I don't know how to have fun really.
• 54:38
  For his performance as Mark, Jesse Eisenberg was nominated
• 54:41
  for Best Actor at the Oscars, but lost out to Colin Firth
• 54:44
  again for The King's Speech. The right choice.
• 54:47
  No, man. No, but he doesn't got over it.
• 54:53
  So yes, no major award, but we think Jesse Eisenberg's
• 54:56
  excellent is Mark and if anything, the performance it
• 54:58
  gets better overtime does create your best, I think I.
• 55:01
  Think he's amazing? Yes.
• 55:03
  Eisenberg is Zuckerberg is Zucker and Eisenberg.
• 55:06
  He's perfect. The second main character is
• 55:11
  Eduardo Savarin, played by Andrew Garfield, Mark's best
• 55:14
  friend and Co founder of Facebook.
• 55:16
  Eduardo was CFO of the company but finds himself ousted once
• 55:19
  Sean Parker comes in and on the other side of the table to Mark
• 55:22
  in the depositions, he's suing his best friend for $600
• 55:25
  million, Matt. He is house Andrew Garfield as
• 55:28
  Eduardo in the film. You're just so thankful he's in
• 55:31
  here because he's a respite from the fact that every other
• 55:35
  character is pretty awful. Yeah.
• 55:37
  He's the only one who seems to have any kind of sense of
• 55:39
  morality about any of this, the only one who doesn't seem to be
• 55:42
  consumed by arrogance or greed. And what's why he's probably the
• 55:47
  only person in the film who genuinely cares for Mark as a
• 55:50
  person. Yeah.
• 55:51
  Yeah. Sean looks to Mark as someone
• 55:53
  who's a blank check, and he's got dollar signs in his eyes
• 55:55
  when he looks to Mark. Eduardo doesn't.
• 55:58
  You're like, oh, look, there's a human being in this.
• 56:01
  Yeah, yeah. Wow.
• 56:02
  That's what I say. Yeah.
• 56:03
  And Mark's opinion means a lot to him.
• 56:05
  So that confrontation at the end, which we'll obviously talk
• 56:08
  about, it's not really about the money.
• 56:10
  It's about the betrayal. Yeah.
• 56:11
  By so many, viewed as his best friend.
• 56:13
  Yeah. So the path of America.
• 56:15
  Eduardo is like the one spot of humanity in the film, the one
• 56:18
  relatable person. And the thing about Garfield, I
• 56:21
  just think he saw innately likable in everything he does.
• 56:25
  Even in his interviews, he just seems like such a sweet guy, and
• 56:28
  he brings this likability and this certain naive quality to
• 56:32
  Eduardo, which really works. It does.
• 56:35
  I think the core of a lot of the film, certainly the drama, is
• 56:38
  the relationship between Mark and Eduardo.
• 56:40
  So can rice it with quite a lot of friction.
• 56:42
  I mean, obviously by the end, but even at the start when
• 56:44
  they're with Harvard and getting along, they're still bigger a
• 56:47
  lot. Yeah.
• 56:48
  Mark talks down to Eduardo about his money in the frack clubs
• 56:51
  quite a bit, but the sense of the cable, each other is always
• 56:54
  there. Even at the end of the film, I
• 56:56
  still feel they care about each other.
• 56:57
  There is this bond between the characters, which is why I think
• 56:59
  what happens is so sad. And in that film with these two
• 57:03
  actors, I'll probably be thinking how about these two
• 57:05
  guys, even friends? But I never think that watching
• 57:08
  these guys, the relationship works great.
• 57:10
  And I think a lot of that comes from the actors.
• 57:12
  The cast are all so young that there's no experienced great
• 57:15
  actors to fall back on. Fincher just had to cast really
• 57:18
  well. Yeah, and he did.
• 57:19
  I mean, I didn't know who Andrew Garfield was the first time I
• 57:22
  saw this. No, but I liked him straight
• 57:23
  away. Is Eduardo is likable?
• 57:25
  Yeah. Eduardo knew Mark when Mark had
• 57:27
  nothing, and he was still his best friend.
• 57:29
  If Sean Parker met Mark when Mark had nothing, he wouldn't
• 57:31
  have given him a second look. No, definitely not.
• 57:33
  I think that's key to the drama and Garfield integral to it.
• 57:36
  The only thing for me, stop going on about that chicken.
• 57:40
  Well, yeah, every time you planted the story about the
• 57:43
  chicken, I knew it it. Was the chicken, wasn't it?
• 57:46
  Yeah, it was the chicken, yeah. I mean, he's new to the game and
• 57:50
  this isn't it. And you can see that he's got
• 57:52
  this kind of naivety and this real desperation to please.
• 57:58
  And I think that's what he wants to do as a character.
• 58:00
  I think I'd model needed that. And he needs to to know that
• 58:03
  he's got this humanity, like Matt said, he's a very human
• 58:05
  character. And that does come along, but in
• 58:09
  different hands to Andrew Garfield.
• 58:11
  You can see him just wanting to monetize the site that could
• 58:15
  have been a slanted so gonna taken where it's been like
• 58:17
  Zuckerberg standing on the side of everybody.
• 58:20
  And this guy could have come along and been sneaky in the
• 58:22
  background and pretended that he liked them.
• 58:24
  And he's talking about advertising all the time.
• 58:27
  But I think it's the way that it's portrayed by Garfield
• 58:29
  that's so genuine. I think he's he's ambition and
• 58:32
  he's drive is so genuine to make it work for everybody in the
• 58:35
  only way that he knows how, with a business mind.
• 58:38
  And that backfires when he meets Sean Parker, Eddie meets
• 58:41
  Zuckerberg and they've got creative minds and all they want
• 58:43
  to do is create a wall and they don't know that's going to make
• 58:46
  money. They just want to create stuff.
• 58:47
  It is about just making shit. It's about just being an
• 58:50
  abandoned writing a song and not caring what it's about.
• 58:52
  Whereas Garfield embodies that character that has to have a
• 58:55
  business sense and he's brilliant at that.
• 58:58
  He delivers it. He delivers it really well.
• 59:00
  I don't think he's out of his depth at all in a Fincher film,
• 59:03
  no. And he gives Eisenberg just that
• 59:05
  little bit more of on the Stepladder.
• 59:08
  He's just giving him a little bit of a boost going.
• 59:10
  This is your film. I understand that I'm going to
• 59:12
  have some scenes in this where I'm really going to shine.
• 59:15
  But on the whole, he is there just to support the film.
• 59:18
  And Garfield does it very, very well without any kind of
• 59:23
  experience at this point. He's very, very mature for the
• 59:26
  role. Yeah, you're right.
• 59:27
  I mean, they're kind of spun the real story in favor of Eduardo
• 59:30
  having there. But they could have easily, like
• 59:31
  you say, a sporting favor Mark, I mean Edward over like a bad
• 59:33
  guy. Easily.
• 59:35
  Easily, he is a sweetheart of a man and I'd like him to be one
• 59:38
  of me very best friends. Maybe not to got big though.
• 59:42
  I'm not there to got big anyway. No, I can fuck off.
• 59:45
  I'm not addressing about money. I just want to go off.
• 59:46
  It'll be me, friend. If you listen to Andrew, send us
• 59:49
  an e-mail. And Garfield turned up for
• 59:52
  rehearsals with a copy of Economics For Dummies because he
• 59:56
  was trying to get in the head of Eduardo, who was an economics
• 59:58
  major. So then Jesse Eisenberg came in
• 1:00:01
  with C++ for Dummies. They both said that only who had
• 1:00:04
  their introductions never touched them again.
• 1:00:07
  Yeah, yeah. Those For Dummies books
• 1:00:09
  everywhere. Yeah.
• 1:00:10
  Yeah. Have you ever read one though?
• 1:00:12
  No, no. No.
• 1:00:14
  It's really paralyzing to yourself.
• 1:00:16
  No, it is. No one.
• 1:00:17
  I saw some guy in the train once reading Near Death experiences
• 1:00:20
  for dummies. I don't even know what I mean.
• 1:00:24
  Was it Tim Robbins from Jacob's Ladder?
• 1:00:27
  Paris, Swayze. But I know that Garfield and
• 1:00:32
  Eisenberg became really big friends on the set as well, so
• 1:00:34
  something about them clicked, it seems.
• 1:00:36
  I think that seeps into the performances as well.
• 1:00:38
  It does. Dynamics.
• 1:00:39
  Great. Yeah.
• 1:00:39
  Because they went on and the Eisenberg was in character and
• 1:00:42
  he said he would talk to them as Zuckerberg, right?
• 1:00:44
  I think they really respected each other's process.
• 1:00:46
  And that really comes across. It's a wonderful thing.
• 1:00:50
  Playing the part of Eduardo Sovereign catapulted Andrew
• 1:00:52
  Garfield's career quickly. After The Social Network, he was
• 1:00:55
  cast as Spider Man and went on to play the leads for Mel Gibson
• 1:00:58
  in Hacksaw Ridge and Martin Scorsese in Silence.
• 1:01:01
  Yeah. And he has Eduardo Still.
• 1:01:03
  One of Andrew Garfield's best for us definitely still is,
• 1:01:06
  yeah. Yeah, he's brilliant.
• 1:01:10
  The final cast member we're talking about in detail is Army
• 1:01:12
  Hammer, who plays two parts. 2 twins in fact.
• 1:01:16
  The 1st is Cameron Winklevoss. The 2nd is Tyler, whose last
• 1:01:20
  name is the same as his brother. Ridiculous.
• 1:01:22
  Waiting to get yourself that it's.
• 1:01:26
  About the same as my brother's. Along with their pal Divi
• 1:01:30
  Narendra, played by Max Minghella, the brothers come up
• 1:01:32
  with the idea of a social platform, asked more to build
• 1:01:35
  it, then eventually sue him in federal court when he goes off
• 1:01:38
  and creates it with Eduardo. He's 65220 and there's two of
• 1:01:42
  them at his house. Army hammer as the Winklevi.
• 1:01:45
  He's the very sound of privilege itself, isn't he?
• 1:01:49
  There's something about that voice not in a way that's
• 1:01:54
  arrogant, are such a small in a way of someone who can't even
• 1:01:56
  conceive of the notion that they're not going to come out on
• 1:02:00
  top in everything, which is what Mark alludes to.
• 1:02:03
  That's why they're so obsessed. But what's truly remarkable is
• 1:02:08
  it's two performances for the price of one, and it's seamless.
• 1:02:11
  Like if you didn't know, you've got a Fincher, found a pair of
• 1:02:14
  twins who can act brilliant. Yeah.
• 1:02:16
  There's never one moment where it takes you out of the film and
• 1:02:19
  from scene to scene. I could not tell you which is
• 1:02:21
  the real Army Hammer and which one is Josh Pence with Hammer's
• 1:02:25
  face on top. Yeah, it's incredible even now.
• 1:02:28
  Yeah, couldn't tell you. We're never clear how to tell
• 1:02:30
  him about. Yeah, another actor who I didn't
• 1:02:34
  know at this point but has gone on to make some waves in
• 1:02:36
  Hollywood. Not always for acting reasons,
• 1:02:38
  to be honest. No.
• 1:02:40
  We'll focus on that, I think. Yeah.
• 1:02:42
  And I think he's a pretty perfect piece of casting army
• 1:02:44
  hammer, the way he looks, the way he carries himself as the
• 1:02:47
  characters. When you see the real Winklevi,
• 1:02:49
  they are just like this. A couple of Sloan Rangers would
• 1:02:52
  call them in the UK. Yes.
• 1:02:54
  Which he went on to do the lone. Yeah, the perfect guy.
• 1:03:03
  I mean, they are major characters with their own plot
• 1:03:04
  line, and it's a good one. I like the mini narrative of
• 1:03:06
  Tyler and Divya having to convince Cameron to sue Mark.
• 1:03:09
  Makes those scenes much more engaging.
• 1:03:11
  But they're really there to support the character study of
• 1:03:13
  Mark. They represent everything in the
• 1:03:15
  market. They come from money.
• 1:03:17
  They're sports students, not academic students like Mark.
• 1:03:20
  Specifically their Rowas, which is set up in the opening with
• 1:03:22
  Erica, so sort of in Fincher, give them real narrative and
• 1:03:25
  thematic value in the film. And I think Army, how he
• 1:03:27
  delivers. Yeah, he gets to share funny
• 1:03:29
  moments, mostly in the meeting with the Harvard president we're
• 1:03:32
  going to talk about. Yeah, yeah.
• 1:03:34
  It's also funny after the Henley Regatta when Prince Albert keeps
• 1:03:37
  telling them how close the race was.
• 1:03:39
  Brutally close. Have you ever seen a race that
• 1:03:41
  close? But really good characters in
• 1:03:45
  the writing and the acting and important to the film for me.
• 1:03:48
  Yeah. Yeah, I mean, I've always found
• 1:03:51
  this to be a little bit too much to stomach because I don't like
• 1:03:55
  people like this. So I think that's a good thing
• 1:03:58
  because it's perfectly cast and perfectly done.
• 1:04:00
  He's like you know them perfectly wrapped gold lure
• 1:04:03
  packs that you get your breakfast.
• 1:04:06
  Yeah, yeah. That's.
• 1:04:07
  What that's? Two of them, it's what it feels
• 1:04:09
  like and then not. You can't spread it.
• 1:04:11
  Yeah, too hard. You will put me your hands to
• 1:04:14
  Melbourne. You try rub it.
• 1:04:15
  And it feels almost like he's typecast at this point without
• 1:04:18
  being typecast. He's perfect for the role.
• 1:04:21
  But I think from Army Hammers point of view, it's for me
• 1:04:25
  definitely the best he's ever been.
• 1:04:27
  Yeah, I don't think he's going to improve on this performance.
• 1:04:29
  And I think he's really swallowing his pride by
• 1:04:33
  projecting as much as he is and delivering as much as he is in
• 1:04:36
  this really pretentious way because it is kind of like
• 1:04:39
  cringe worthy. It is a little bit kind of
• 1:04:43
  giving him a sandwich that big, but that's the pretentiousness
• 1:04:49
  of the characters. Like this is what we have
• 1:04:50
  available. Like if you want a sandwich.
• 1:04:52
  It's a perfect sandwich. I would eat that 100%.
• 1:04:56
  But what I will say for Army Hammer and Josh Pence is that
• 1:04:59
  they both had to learn both parts.
• 1:05:01
  I think it was 25 pages of dialogue all in because they
• 1:05:05
  didn't know who was going to be replaced, who did.
• 1:05:07
  What's with That in itself is a fucking absolutely applaudable
• 1:05:12
  thing to do, and I think it's just everyone bringing the rig
• 1:05:15
  in and everyone just that prepared to put so much into
• 1:05:18
  this project works so well. Army Hammer is not great in this
• 1:05:23
  because I don't like him and that means he's excellent in
• 1:05:26
  this. Yeah, well, Fincher's first idea
• 1:05:29
  in casting the Winklevi was to hire real life twins to play
• 1:05:32
  them. He couldn't find anybody
• 1:05:33
  suitable though, so we decided to cast two different people who
• 1:05:36
  had similar looks. One was Army Hammer and the
• 1:05:38
  other was Josh Pence, who was mostly worked as a model at the
• 1:05:41
  time, and it was the same kind of builders hammer.
• 1:05:43
  So the idea at first was that Josh Pence might be in the final
• 1:05:47
  film. Yeah.
• 1:05:48
  But then Fincher spoke to Lola Visual Effects, who he'd worked
• 1:05:52
  with on Q use case of Benjamin Button, and they recommended
• 1:05:55
  face projection. So Josh Pence, he would act the
• 1:05:58
  scenes alongside Hammer and had motion capture markers on his
• 1:06:01
  face. And this scene was shot using
• 1:06:03
  motion controlled cameras so each take was identical.
• 1:06:07
  And then Finch, which is what Tiki wanted in the edit.
• 1:06:09
  And then Lola would digitally add Hammer's face.
• 1:06:12
  Mental. I mean, it looks brilliant.
• 1:06:15
  When I first saw the film, I didn't know.
• 1:06:16
  I mean, how I was, and I genuinely thought it was twins.
• 1:06:18
  Yeah, I did. Absolutely.
• 1:06:20
  Yeah, I still did up to like a couple of weeks ago until I was
• 1:06:23
  like, what's this again? What?
• 1:06:25
  The fuck? The light sculpted all the
• 1:06:28
  different lighting that put on his face.
• 1:06:30
  So no matter what situation he was in, that can manipulate his
• 1:06:33
  face of a different light and settle.
• 1:06:34
  Brilliant. It's incredibly well done.
• 1:06:36
  It's it's almost as good as like looking back on Jurassic Park
• 1:06:40
  visuals now. Yeah.
• 1:06:41
  And go. And they really stand up there.
• 1:06:43
  Really. Is that groundbreaking?
• 1:06:44
  I think. It is seamless, yeah.
• 1:06:46
  So when filming started, Finch, I hadn't decided if the Winklevi
• 1:06:49
  were going to be fraternal or identical twins.
• 1:06:52
  So like Westy says Hammer and Pence, that had to learn each of
• 1:06:55
  those mannerisms and movements just in case.
• 1:06:57
  But then when Pence got told his face wouldn't be seen in the
• 1:07:00
  film, he said he threw the phone of the wall, threw up and
• 1:07:03
  started crying. Which?
• 1:07:05
  Yeah. Took it pretty well then.
• 1:07:07
  Yeah, I mean. Instead of face mash.
• 1:07:10
  Yeah, but Josh Pence is seen in the film.
• 1:07:15
  Do you know where? He is, yeah.
• 1:07:17
  It's when the the ladies are cleaning up in the bathroom,
• 1:07:19
  right? That's right.
• 1:07:20
  Yeah. Yeah.
• 1:07:21
  He's the guy who comes over and says sweet when Eduardo says a
• 1:07:24
  couple of girls freshening up. Yeah, he could have made himself
• 1:07:26
  look a bit more obvious. He's got like his hood up.
• 1:07:28
  Yeah. Like you can barely say his
• 1:07:30
  face. Should just put on me how much
• 1:07:32
  face on him again. On the back.
• 1:07:38
  Like vanilla Sky. A Voldemort.
• 1:07:44
  Army Hammer and Josh Pence took up Rowan for Real to prepare for
• 1:07:47
  the film, and Hammer said it was the hardest thing he'd ever had
• 1:07:49
  to do. He had to eat loads of junk food
• 1:07:52
  during the shoot that. Sounds all right.
• 1:07:54
  Yeah, it sounds great. Keep me weird up.
• 1:07:56
  It's the hardest thing I have to eaten fucking burgers all day
• 1:07:59
  looks like. Oh, we need to boat.
• 1:08:02
  Maybe that's why I think I did so many takes that restaurant
• 1:08:04
  scene or in the Bulgam back. Yeah, Bulgam, right up, Yeah.
• 1:08:08
  After the Social Network Army, Hammer also went on to have a
• 1:08:10
  successful Hollywood career, some of his most notable roles
• 1:08:13
  coming in G Edgar, The Lone Ranger, The Man from Uncle and
• 1:08:16
  Call Me By Your Name, among others.
• 1:08:18
  Yeah. And here as the Winklevi does
• 1:08:20
  the business for us. Absolutely.
• 1:08:22
  Yeah, Army Hammerburger. Makes us hit him.
• 1:08:25
  Before we sign off on the cast, there is something else worth
• 1:08:27
  noting. So, Dustin Moskovitz, the kind
• 1:08:30
  of forgotten Facebook founder? Yeah, Pete, best of the gang.
• 1:08:34
  Yeah. He is in the film basically just
• 1:08:36
  goes Eduardo every so often. Do you know who plays him?
• 1:08:41
  Yeah, he's in Jurassic Park. Yeah.
• 1:08:42
  It's Tim from Jurassic Park, isn't he?
• 1:08:44
  Yeah. The actor Joseph Marcello.
• 1:08:46
  But I know for playing Timmy the kid in Jurassic Parker.
• 1:08:48
  Yeah, Couldn't believe it. Yeah.
• 1:08:50
  And then John Deacon in Bohemian Rhapsody.
• 1:08:52
  Isn't he John Deacon? He is.
• 1:08:54
  Yeah, brilliant in Pacific, if you haven't seen that.
• 1:08:56
  Oh yes, he is. Yes.
• 1:08:58
  So that's our main cast. We talked about Justin
• 1:09:00
  Timberlake as Sean Parker, and in those three leaves, Jesse
• 1:09:03
  Eisenberg, Andrew Garfield and Army Hammer, among the best work
• 1:09:07
  of all three for us. Oh, definitely, yeah.
• 1:09:10
  I would say so, yeah. Yeah.
• 1:09:18
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  betterhelp.com/A TRM. Thanks again to Better Help for
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  sponsoring this episode. The middle.
• 1:10:37
  Heading into the middle of the social network and things are
• 1:10:39
  starting to heat up. We're going to be looking at the
• 1:10:42
  scenes where Mark sets up camp in California when Facebook
• 1:10:45
  starts the motor and the Henley board race where the Winklevi
• 1:10:48
  don't so much. But first, we've got a couple of
• 1:10:51
  dynamite meetings to get into. Yes.
• 1:10:54
  Yes, we do. So, having discovered the
• 1:10:55
  Facebook at Stanford University like we talked about, Napster
• 1:10:58
  founder Sean Parker starts to get his claws into the company
• 1:11:01
  when he meets Mark, Eduardo and Christie at a restaurant.
• 1:11:04
  At the same time, the Winklevi decided to take Mark's IP theft
• 1:11:07
  up with Harvard and meet with the president of the University,
• 1:11:10
  Larry Summers Wesley. Yeah.
• 1:11:14
  Punch me in the face. And punch me in the face.
• 1:11:19
  I think it's just it's a wonderful moment because this is
• 1:11:22
  where the system that they believe in so much and they even
• 1:11:26
  worship this system doesn't care about them.
• 1:11:28
  And they are just being trapped the same as everybody else.
• 1:11:32
  They what they're saying is he's just, I've got no time for this.
• 1:11:35
  I don't care about the handbook. You're not entitled to anything
• 1:11:38
  in the field. So entitled to this part, the
• 1:11:40
  film, but the meeting itself is so arduous.
• 1:11:43
  And you've got these the two sides of the twins that you very
• 1:11:46
  rarely see. You've got one who's very, very
• 1:11:48
  grounded, who's very, very focused on doing the right
• 1:11:52
  thing. And the other one who's very,
• 1:11:53
  very kind of vitriolic and very much like, I want to get the job
• 1:11:56
  done. It kind of comes across, it
• 1:11:58
  bleeds in. But this is that scene where
• 1:12:00
  he's saying, take the hand, we stay away.
• 1:12:01
  Fucking ass. It's just.
• 1:12:03
  It works so well and this is one of them sequences where I cannot
• 1:12:07
  differentiate between which one is Hammer, which one is not at
• 1:12:11
  all. And I'm like, there must be a
• 1:12:13
  line down the middle of this. I mean, I've seen Back the
• 1:12:15
  Future too. I know how this shit works.
• 1:12:17
  Like it's not evident to me. And it's beautifully played out
• 1:12:21
  because it's an emotional scene. And the way that this is cross
• 1:12:24
  cut, the way that this is edited to such a pace.
• 1:12:27
  And I love that bit when it's like, I'm sorry, you were
• 1:12:29
  reading the letter. I've read the letter, yeah, But
• 1:12:33
  the great thing about it is it shows the determination of them
• 1:12:36
  and their competitiveness and how they're not going to let
• 1:12:39
  anybody else win. Even if it is the guy who's in
• 1:12:42
  charge of everything they believe in, they're still going
• 1:12:44
  to fight against it. And I think it's a really
• 1:12:46
  important sequence. Yeah, this guy Laurie, so much.
• 1:12:50
  He's great. He's.
• 1:12:51
  Fucking fantastic. The most sarcastic man in the
• 1:12:54
  world. He's got even less time for the
• 1:12:56
  Winklevi's bullshit than Mark does, and I love it.
• 1:12:58
  I wouldn't say it's the best scene in the film, but it's
• 1:13:00
  definitely the funniest. The first time I watched this
• 1:13:03
  scene I remember being really surprised by it because it's
• 1:13:05
  like a comedy sketch from nowhere, but it still fits in
• 1:13:08
  totally with the rest of the film.
• 1:13:10
  The exasperation of the Winklevi is great, where one of them is
• 1:13:14
  like, I'm sorry President Summers, but what you just said
• 1:13:16
  makes no sense to me. And Larry just goes, I'm
• 1:13:19
  devastated by that. I really want to say that to
• 1:13:24
  somebody. I'm waiting for me chance.
• 1:13:27
  I mean, I've watched this I don't know how many times. 4 in
• 1:13:29
  the last week or so just for this episode.
• 1:13:31
  I don't think we ever see one twin without the other.
• 1:13:34
  Am I the only one that has no idea which winkle values which?
• 1:13:37
  No idea. No, no, I kind of like that.
• 1:13:39
  I can't tell. Yeah.
• 1:13:41
  I think you can tell from the attitude.
• 1:13:43
  Though occasionally you can, yeah.
• 1:13:44
  I think it's their determination to get stuff done in either the
• 1:13:47
  right way or just get it done. Yeah, yeah, Larry is saying just
• 1:13:51
  that sense that all their entitlement, all their
• 1:13:54
  privilege, the fact they've read the handbook, we've read the
• 1:13:56
  handbook counts for nothing, counts for nothing here.
• 1:14:00
  Nobody's read the handbook. Exactly.
• 1:14:02
  So what, Summers? He's excellent, and he's played
• 1:14:05
  by Douglas Urbanski, who was more known actually for being a
• 1:14:08
  producer than an actor. And before he got the role,
• 1:14:11
  Fincher was considering Alfred Molina for the part, which I
• 1:14:14
  think could have been good. That would have been amazing.
• 1:14:16
  He would have been great, Yeah. Change around.
• 1:14:19
  He's got transfers all over his back.
• 1:14:21
  Yeah, tell me the way. Sorry.
• 1:14:26
  Setting off firecrackers. But in researching this, I came
• 1:14:30
  across an interview with the real Larry Summers.
• 1:14:32
  And Sokin didn't just made this up.
• 1:14:34
  This is pretty much how the real meeting went, all right.
• 1:14:36
  Really. Yeah, this is brilliant.
• 1:14:38
  This is what the real Larry Summers said about the real
• 1:14:41
  Winklevi. One of the things you learn as a
• 1:14:43
  college president is that if an undergraduate is wearing a tie
• 1:14:46
  and jacket on a Thursday afternoon at 3:00, there are two
• 1:14:49
  possibilities. One is that they have a job
• 1:14:52
  interview. The other is that they are an
• 1:14:54
  asshole. This was the latter case.
• 1:14:58
  Really. Have I encountered such swagger?
• 1:15:00
  And I responded in kind. So he's brilliant in real life
• 1:15:03
  as well. Fantastic.
• 1:15:06
  Take the president of Harvard rejecting the stereotype of
• 1:15:09
  Harvard. Yeah, I know.
• 1:15:10
  Yeah. It's really.
• 1:15:12
  Pretty well done. Yeah, I'm going to talk about
• 1:15:15
  what follows this, which is when Mark, Eduardo and Christie
• 1:15:18
  finally meet Sean in the restaurant.
• 1:15:19
  Oh, massive it is massive. Me Apple teeny.
• 1:15:23
  Apple teeny. Apple Teeny is around. 4 Apple
• 1:15:25
  Teenies. I mean, he's about to use as
• 1:15:29
  soon as he turns off his knee. So Slick knows the way it was by
• 1:15:32
  name which is always a big red flag for me.
• 1:15:33
  I don't like people who know the way it was.
• 1:15:35
  His name for some reason just overly smoke, overly self
• 1:15:38
  confident and everything he says.
• 1:15:40
  Like when Chrissy says oh you made a name for yourself and he
• 1:15:42
  and he discussing you or dry. Just so creepy.
• 1:15:47
  And those constant cutbacks to Eduardo are pretty hilarious
• 1:15:51
  because everyone else is enraptured in Sean's stories.
• 1:15:54
  Eduardo feels like a bulldog chewing a wasp, just not
• 1:15:58
  impressed in the slightest. And he's right because Sean is
• 1:16:01
  off on these paranoid rants about phone tapping, about honey
• 1:16:04
  traps with high class escorts, and Mark just sat there nodding
• 1:16:07
  along like an absolute fool. Just taking it all on face
• 1:16:10
  value. Yeah, the tension between Sean,
• 1:16:13
  Mark and Eduardo is off the scale here as this conversation
• 1:16:16
  progresses. It's like Mark agreeing with
• 1:16:19
  everything as well as yeah, that's all right, Facebook's
• 1:16:21
  cool is. This all right?
• 1:16:22
  Yeah, it's like that bit when Sean praises that particular
• 1:16:25
  strategy because he thinks was Mark's idea.
• 1:16:28
  And Eduardo does waves the spoon in.
• 1:16:29
  Yeah, thanks. That was mine.
• 1:16:31
  Yeah, I love that. Yeah, that's great.
• 1:16:33
  That's like a brilliant moment for him.
• 1:16:35
  Cuts through the bullshit. Cuts through it all.
• 1:16:37
  With a spoon. With a spoon.
• 1:16:39
  And at least. I didn't use a spoon, Prince of
• 1:16:45
  Thieves. In.
• 1:16:46
  A social network Who could have done that?
• 1:16:48
  You, only you. And I just think it's such a
• 1:16:52
  funny contrast between Mark and the restaurant ways.
• 1:16:54
  He's practically looking at Sean with big puppy dog eyes.
• 1:16:57
  But then we keep cutting back to the deposition where he is
• 1:17:00
  silently fuming because every single bit of Eduardo's
• 1:17:03
  description of this meeting just some sort of how ridiculous Sean
• 1:17:07
  Parker was and how Eduardo was absolutely right not to trust
• 1:17:10
  him. Yeah.
• 1:17:11
  Yeah, such a cool montage as well.
• 1:17:13
  Isn't it though? It's a real Fincher moncharge.
• 1:17:16
  It's like the music kicks in and they could just have fun with
• 1:17:19
  it. It's great.
• 1:17:20
  Yeah, I think the phrase charm offensive has never been so apt.
• 1:17:23
  Sean like sweeps through the scene like a hurricane, wound
• 1:17:26
  his way in between Mark and Eduardo effortlessly.
• 1:17:28
  I think it's like the definitive scene in the film, inspired by
• 1:17:31
  real events but certainly not 100% accurate.
• 1:17:34
  Develop the character drama at the core of the film.
• 1:17:36
  It's edited together really slickly.
• 1:17:38
  We do get yet another montage when Sean's got them all Downing
• 1:17:41
  drinks and nicking lobster. How many montage?
• 1:17:44
  It's like Rocky 4. It's like 4 but it makes sense.
• 1:17:49
  But the. Great thing about it is that
• 1:17:51
  it's it's almost like an interview for Sean and he
• 1:17:53
  absolutely bewitches everyone on the other side of the table
• 1:17:56
  apart from Eduardo, which is really important.
• 1:17:58
  I mean, there's lots of thing as as well.
• 1:17:59
  When Sean's like $1,000,000 isn't cool, you know what's
• 1:18:02
  cool? You.
• 1:18:03
  That's great. And then there's that cut before
• 1:18:06
  he says a billion. Then it cuts back to the
• 1:18:08
  deposition, though. Yeah, that's so good.
• 1:18:11
  It is brilliant, although Sean's lying.
• 1:18:13
  A billion dollars probably doesn't sound quite as
• 1:18:14
  impressive the day where billionaires seem to be 10 a
• 1:18:17
  penny. It sounds a bit like Doctor Evil
• 1:18:18
  today. Going one. $1,000,000.
• 1:18:22
  It's basically a business meeting.
• 1:18:24
  But again, Fincher makes it thrilling, the energy to bring
• 1:18:27
  the dry scene through, like create a filmmaking again and
• 1:18:30
  again. It's just astonishing to me.
• 1:18:32
  Edward calls it Sean a thon to venture a thon for me.
• 1:18:35
  Yeah. Yeah.
• 1:18:36
  And as we've mentioned, when Sean arrives, he orders
• 1:18:38
  appletini's all around for the table.
• 1:18:40
  But when the real Mark Zuckerberg saw this, he didn't
• 1:18:43
  know what an Appletini was. So he tried on and apparently
• 1:18:45
  loved it so much that for a while Appletini was the official
• 1:18:49
  drink of Facebook. Yeah, it's vodka and some kind
• 1:18:54
  of apple due to liqueur. I think a more hydro version of
• 1:18:57
  an apple sours, Right. OK.
• 1:18:58
  But it's great when Sean says, Christy, what do you like?
• 1:19:01
  And she's like apple teeny. Sean goes great for those.
• 1:19:05
  That's one charming motherfucking pig, that.
• 1:19:10
  This meeting didn't really happen, at least not like it
• 1:19:12
  does in the film. The real meeting between Sean
• 1:19:15
  Parker and Mark Zuckerberg apparently involved Travis
• 1:19:17
  Kalanick, who went on to found Uber.
• 1:19:20
  By me, all right. So Park I said they went club
• 1:19:23
  and afterwards, but was otherwise all made-up by Sokkin.
• 1:19:27
  Yeah, I know that Sokin met the real Sean Parker when he was
• 1:19:30
  writing the film. And Park, I said Sokin was by
• 1:19:32
  far the weirdest person he's ever met.
• 1:19:35
  You could be saying something coming from a tech bro
• 1:19:38
  billionaire. Yeah, did they get an Uber back
• 1:19:42
  though? I'll get this one.
• 1:19:43
  Fuck off. I don't need a surprise.
• 1:19:46
  This is a fabrication. I mean, turning up for a billion
• 1:19:49
  dollar business meeting and just getting smashed?
• 1:19:51
  Probably not the best tactic, no.
• 1:19:52
  Well, or maybe. It seemed to work.
• 1:19:56
  So a couple of big meeting scenes.
• 1:19:57
  They're both pretty different, but in different ways.
• 1:20:00
  Pretty great. Yeah, great.
• 1:20:02
  Yeah. The fallout from both those
• 1:20:06
  meetings is swift and significant, with Mark in
• 1:20:09
  California and Eduardo in New York.
• 1:20:11
  Sean takes more clubbing and Twist the Knife and Eduardo's
• 1:20:14
  back. Meanwhile, having been put in
• 1:20:16
  their place by Larry Summers, the Winklevi headed the UK for
• 1:20:19
  the Henley Regatta board race. They come off second best there
• 1:20:22
  too, and finally decide to meet Mark in court.
• 1:20:26
  So, Wesley, how's this all go for you?
• 1:20:29
  I mean, this is that amazing moment where you've got Mark and
• 1:20:31
  Sean in the club, yeah. And this is the turning point
• 1:20:35
  for Mark 100% because do you trust Sean?
• 1:20:39
  Do you know what he's saying? Is he just saying stuff because
• 1:20:42
  it relates to what Mark's thinking?
• 1:20:44
  He's just got no place to stay. It's a different girl in
• 1:20:48
  California. I saw the chimney.
• 1:20:50
  Are you waiting for the chimney? Did you sabotage the chimney?
• 1:20:54
  But I think this whole monologue, the whole Victoria's
• 1:20:57
  Secret monologue is incredible. What he does is give Mark like a
• 1:21:01
  second skin. He gives him an extra confidence
• 1:21:04
  to say I'm CEO bitch. Yeah, That's what you're going
• 1:21:07
  to believe in. That's what I want from you.
• 1:21:09
  Yeah. He's almost like he's laminating
• 1:21:11
  them with a friendship. It's just very superficial.
• 1:21:14
  It's very much on the surface. And the way he takes Eduardo
• 1:21:18
  down, he should be here. And you know the bit that I
• 1:21:21
  said, that Eisenberg looks directly at the camera.
• 1:21:24
  It's when he says my dad is a Victoria's Secret model.
• 1:21:28
  And he looked at the camera and it's a split second is that if
• 1:21:31
  you wouldn't need a place to stay, it's going to be with me.
• 1:21:33
  And he's like Sean Parker is then in, he's done, let's set up
• 1:21:38
  a line of shots, bang, bang, bang.
• 1:21:40
  And he really does sell the character here.
• 1:21:42
  It's a wonderful scene. Yeah, it definitely is.
• 1:21:46
  I mean, the moral of the story seems to be if you want to make
• 1:21:48
  a company with a billion dollar valuation, just keep getting
• 1:21:50
  hammered. There's a scene before there's a
• 1:21:52
  Harvard where Mark interviewing developers by having them carry
• 1:21:55
  out a hacking test. Like his necking shots.
• 1:21:57
  Ridiculous. It all just relates to him
• 1:21:59
  though, doing face smashing when he had a couple of drinks.
• 1:22:03
  This is how you do something. Emotionally, that's not really
• 1:22:05
  the case. And the club scene, yet again,
• 1:22:07
  is way more engaging than it has any right to be.
• 1:22:10
  That opening crane shot that moves across the dance floor and
• 1:22:13
  then opened over the rail to Mark and Sean.
• 1:22:15
  I mean, wow, one of the best shots to pull you into a
• 1:22:17
  conversation I've ever seen. Which you'll forget about
• 1:22:20
  immediately. Exactly.
• 1:22:22
  Yeah, And the way the conversation is shot, like loads
• 1:22:25
  of close-ups, the way the lighting kind of bounces off
• 1:22:27
  Sean's face, it's not filming like a business meeting.
• 1:22:30
  It's filmed more like a seduction, which is basically
• 1:22:32
  what it is. I think this is the moment that
• 1:22:34
  Sean gets Mark. Yeah.
• 1:22:35
  And tell you what Sean loves and like Dort, doesn't he?
• 1:22:39
  Every chance he gets, he's in there with the story.
• 1:22:41
  Yeah. Yeah, it's the Victoria's Secret
• 1:22:43
  one. But he's like some master
• 1:22:45
  manipulator. Yeah, the genius of the editing
• 1:22:47
  as well, and the way that he's covered this venture is that
• 1:22:49
  you've got a lot of over the shoulders, you've got a lot of
• 1:22:52
  foreground to focus on so that you're involved in the
• 1:22:54
  relationship. And then it cuts to close-ups
• 1:22:56
  when he's talking about this whole monologue.
• 1:22:58
  And then it goes back to a wide shot.
• 1:22:59
  And as soon as he's finished, it cuts back to them both and
• 1:23:02
  you're like, OK, it's masterfully done.
• 1:23:04
  It's ridiculous. Brilliant.
• 1:23:06
  And that Roy Raymond and Victoria's Secret story that
• 1:23:09
  Sean tells Mark that was actually changed a bit for the
• 1:23:11
  film. In real life, Raymond sold
• 1:23:13
  Victoria's Secret for $1 million, not $4,000,000, because
• 1:23:17
  the company was gone bankrupt and he killed himself after a
• 1:23:19
  number of failed businesses, not because he sold Victoria's
• 1:23:22
  Secret too early. Yeah, but that's classic Sean
• 1:23:24
  Parker though, isn't it? He's like he's going to cut out
• 1:23:27
  the fat and just go. It's because of this it's 4
• 1:23:29
  million and then he killed himself because she wants to get
• 1:23:31
  some thigh eyes. Yeah, well.
• 1:23:35
  Yeah, that's the point he's making, isn't it?
• 1:23:36
  He's telling Mark don't cash in on Facebook yet, which is kind
• 1:23:39
  of widewater wants to deal with all the advertising he's saying.
• 1:23:41
  Yeah, exactly. And when the film this nightclub
• 1:23:44
  scene, there wasn't any music playing on the set, which would
• 1:23:47
  have been an absolute nightmare for anyone who's on the sound to
• 1:23:50
  try and match this. The extras from mine and dancing
• 1:23:53
  Eisenberg and Timberlake were shouting their lines as if they
• 1:23:57
  couldn't really hear each other. And the Sound of Violence by
• 1:23:59
  Dennis Dillahat was out of in post production, which I think
• 1:24:02
  is a perfect song for it, Right? But there's sound balance on
• 1:24:05
  this. This sequence is fantastic.
• 1:24:07
  You wouldn't even notice. No, I know it's I'm just talking
• 1:24:09
  legit. Yeah.
• 1:24:10
  And that Music Choice is a perfect one for the scene, I
• 1:24:12
  think as well. Yeah, after this thought you get
• 1:24:15
  I think one of the most unique and memorable scenes in the
• 1:24:18
  film, which is the boat race. Because like whenever the actual
• 1:24:21
  boat race, the big famous one in this country comes around, I
• 1:24:24
  always think what an absolute waste of time.
• 1:24:27
  Like I can't think went. From a boring any sporting
• 1:24:30
  offend for me. Well, yeah, exactly.
• 1:24:31
  I feel like Wesley talking about this.
• 1:24:33
  Just like two teams of Poshaw splashing about in the water.
• 1:24:37
  Lovely. You know, class Warrior.
• 1:24:39
  There we go. Let's just say it like it is.
• 1:24:41
  Then you get this and it's like I'm watching a penalty shootout
• 1:24:43
  in the World Cup final. I couldn't be more invested,
• 1:24:45
  even though at the same time I kind of don't care because I
• 1:24:48
  don't really know who's in there.
• 1:24:49
  It's really strange, but it's just so unique.
• 1:24:51
  I mean, the music, it could be laughable, but it really works.
• 1:24:55
  Those opening shots where it looks like a model are
• 1:24:57
  incredible and it's the breaking point, I think, for the
• 1:25:00
  Winklevi. They've lost the race, pretty
• 1:25:02
  much get blanked by royalty, and our Facebook has gone global.
• 1:25:06
  I do think that line from that guy about how his daughter is
• 1:25:09
  now on Facebook, I think that's pretty clunky.
• 1:25:11
  I would set up the rest of it. It's like, oh, could not have
• 1:25:15
  thought something a bit cleverer for that.
• 1:25:17
  And I think, like, considering some of the allegations about
• 1:25:20
  Hammer's personal life when he says let's get the fucking nerd,
• 1:25:24
  that's a bit unfortunate. Oh, yeah.
• 1:25:27
  Well, yeah. Finchard, like let's get a ball
• 1:25:29
  race in there. Slow motion, out of focus, loads
• 1:25:32
  of close-ups, Grieg in the background and it's going to be
• 1:25:36
  awesome. I mean, at this point it is like
• 1:25:38
  Rocky Four should have been the Winklevi versus the Russians.
• 1:25:42
  But it's superb. The use of soft focus in the
• 1:25:44
  background, how the rollers go in and out of focus is the move.
• 1:25:47
  It's brilliant. This is how they should start
• 1:25:49
  doing rowing in the Olympics in the whole of the mountain King
• 1:25:52
  in the background. I might watch it maybe.
• 1:25:56
  It all looks like it's very much on the tilt and shift lens where
• 1:25:59
  you can choose your focus point. Right.
• 1:26:02
  A lot of lenses you would basically choose your focus
• 1:26:04
  point and then just fall off naturally.
• 1:26:05
  But the tilt and shift, you can really focus where that's going
• 1:26:08
  to be sharp, which works really well because I don't really like
• 1:26:12
  the look of our country in a wide shot.
• 1:26:16
  They should sell glasses like this.
• 1:26:17
  I'd buy them. Yeah, exactly.
• 1:26:19
  Some total shifts. Yeah.
• 1:26:20
  It's a Buckingham Palace. You can't see the palace.
• 1:26:23
  The Winklevi though, they really did roll for Harvard in the
• 1:26:25
  final of the Grand Challenge Cup, but they could only film 3
• 1:26:29
  races at the Henley Royal Ricotta and Fincher had to film
• 1:26:32
  the inserted Eaton and the only time they could film there was
• 1:26:35
  six weeks before the film is due for release.
• 1:26:38
  And this is one of the reasons the backgrounds are out of
• 1:26:40
  focus. It's a quick way to make it less
• 1:26:42
  obvious than not shotted the same place.
• 1:26:44
  All right. Nice.
• 1:26:45
  Yeah, that makes sense. Yeah, yeah, sign of a great
• 1:26:48
  director. I think he takes the kind of
• 1:26:49
  negative and turns into a positive.
• 1:26:51
  Yeah. Really stylized, it looks really
• 1:26:53
  good. Does yeah it.
• 1:26:55
  Looks really cinematic. It does.
• 1:26:57
  It really cold. And wet.
• 1:27:01
  It's. Freezing.
• 1:27:04
  It was Fincher's idea to score the scene with in the whole of
• 1:27:07
  the mountain. And
• 1:27:19
  if you're our age, you know for a fact that means Alton Towers
• 1:27:25
  advert on telly and it used this and it was fucking overused.
• 1:27:28
  It was by Edward Gregg, he said to the composers, Trent Resner.
• 1:27:31
  And that goes Frost. What about this pretty I've been
• 1:27:34
  written by Wendy? Carlos no play.
• 1:27:37
  Reznor said. Like the first version of it
• 1:27:39
  sound like a video game, but we really worked on it and worked
• 1:27:42
  on it and apparently that was the hardest track on the
• 1:27:44
  soundtrack to get right. But I honestly think the nail
• 1:27:47
  this is the only version of this that I listen to and take
• 1:27:50
  seriously. Yeah, Wendy Carlos wrote the
• 1:27:52
  score for The Shining, didn't she?
• 1:27:54
  Yeah, she did, Yes. I guess Ross said it's a great
• 1:27:56
  melody but must have listened to it 20,000 times and he said if
• 1:28:00
  it hadn't been approved would probably have killed ourselves.
• 1:28:05
  From the guy who wrote closer, I mean.
• 1:28:09
  The arrangements, fantastic. I love it.
• 1:28:11
  Yeah. It is wonderful.
• 1:28:12
  I say. It's the only time I'm like,
• 1:28:14
  yeah, that's acceptable now because I'd heard it in so many
• 1:28:17
  different forms, but added such an edge to it, such a harshness
• 1:28:21
  to it. Yeah, it became like something
• 1:28:23
  that was like, truly evil. And I really dig that.
• 1:28:31
  And we've made it through the middle in one piece, a couple of
• 1:28:34
  business meetings and then epic sport race, and it's pretty
• 1:28:37
  difficult to pick out the one that's the most thrilling
• 1:28:40
  classic venture. Classic venture.
• 1:28:42
  Very classic venture. The crew.
• 1:28:50
  As we've been talking about, David Fincher worked very
• 1:28:52
  collaboratively on the social network with his crew, and it's
• 1:28:55
  time to talk about some of those people now.
• 1:28:57
  Yeah. Trent Reznor Matic as Ross's
• 1:28:59
  composers, are two of them, and Jeff Kroenwerth as director of
• 1:29:02
  photography is another. And we will talk about them.
• 1:29:05
  But we're going to begin with the screenplay.
• 1:29:08
  OK, Yeah. We've mentioned him a lot
• 1:29:10
  already, and the writer of The Social Network was Aaron Sorkin,
• 1:29:13
  already a well known screen writing name at this point.
• 1:29:16
  Yeah, adopting Ben Mezrich's non fiction book The Accidental
• 1:29:18
  Billionaires. This was Sorkin's fifth screen
• 1:29:20
  writing credit and he also created three hit TV shows,
• 1:29:24
  including The West Wing. Yes.
• 1:29:26
  Aaron Sorkin Westy, A genius according to some, a weirdo
• 1:29:30
  according to Sean Parker. Where do you stand on the
• 1:29:32
  writing? Well, from The West Wing, you
• 1:29:38
  see what it did there. I'm surprised you didn't write
• 1:29:40
  that one in there, John. You fucking failed.
• 1:29:42
  I've missed out. I will say the one thing that I
• 1:29:45
  get from this is that this is Fincher going up to Sauron and
• 1:29:48
  going, can we just appreciate each other as much as humanly
• 1:29:51
  possible about what we do as artists and as creatives and
• 1:29:55
  something going, yeah, OK. And Fincher going, yeah, OK.
• 1:29:58
  And they've got so much respect for each other.
• 1:30:00
  Oh, yeah. And the dialogue here is the
• 1:30:02
  plot. This screenplay was absolutely
• 1:30:05
  on fire when it was delivered to Hollywood.
• 1:30:08
  It was electric. Everybody one of the piece of
• 1:30:11
  it. And we say so many times, or I
• 1:30:13
  say so many times, and I'll put it on myself, that films are
• 1:30:16
  made. There's a lot of ad Lib, there's
• 1:30:18
  a lot of room this rewrites this, but there's no room to
• 1:30:22
  rewrite anything. You have to take what's written
• 1:30:25
  and condense it down by 20 pages.
• 1:30:28
  They've already got exactly what the need, and to me, this is an
• 1:30:32
  absolute blueprint and it makes Fincher work to the degree that
• 1:30:36
  he wants to work to, to the pace that he wants to work to.
• 1:30:40
  Tokens got such a hold on this dialogue, such a hold on this
• 1:30:44
  story. He knows what he wants to say
• 1:30:46
  and he doesn't give a fuck that it's about Facebook.
• 1:30:49
  It's a human commentary and he knows what he wants to say and
• 1:30:52
  the characters are perfect. It's something that you can
• 1:30:55
  relate to as a human being to any of these characters.
• 1:30:58
  You can plug into any of these characters from a writer's point
• 1:31:01
  of view and get it. It's a novel.
• 1:31:04
  It is a short film, it's a long film.
• 1:31:07
  It is classic start to finish, genius dialogue.
• 1:31:12
  That is cool as fuck. I mean, we went over the whole
• 1:31:14
  like Sean wagon up in the apartment.
• 1:31:17
  Nice to meet you. I mean that.
• 1:31:18
  Who wouldn't want to do that once in the life, just once?
• 1:31:22
  To. Anybody just once.
• 1:31:23
  And you'd be like, that was the best moment I've ever had in my
• 1:31:26
  life. And I'm 78 years old.
• 1:31:28
  And I did that once and I said it once and it was amazing.
• 1:31:31
  And he does that over and over and over again in this film.
• 1:31:36
  I don't know of a screenplay, maybe Robert Towne do in
• 1:31:40
  Chinatown maybe, but I don't know of a screenplay that's
• 1:31:45
  related to a film so well that I would just rather read the
• 1:31:48
  screenplay and go here, I get this.
• 1:31:51
  That's on the page. For me.
• 1:31:53
  This is his Everest, and I don't think he's done better.
• 1:31:55
  I don't think he will and I don't think he needs to.
• 1:31:59
  Yeah, I mean, the writing is brilliant.
• 1:32:01
  I agree. The dialogue is zinger after
• 1:32:03
  zinger. As a character study of Mark,
• 1:32:05
  it's interesting. He's a character with depth and
• 1:32:08
  layers and there's a rugs to riches like courtroom drama.
• 1:32:11
  I think it's compelling. The only criticism the film
• 1:32:13
  seems to come in for from a writing point of view is its
• 1:32:16
  accuracy. As in it's not 100% historical
• 1:32:19
  accurate. I understand the criticism
• 1:32:21
  because what happens here sometimes is true, but very
• 1:32:24
  often not how things played out in real life.
• 1:32:26
  And that bothers me not one bit to be honest.
• 1:32:30
  Exactly. I know it does some others and I
• 1:32:32
  do get why. The reason I don't mind is
• 1:32:34
  because talking hasn't written this as a history lesson.
• 1:32:36
  No, he hasn't. And there's a great line in the
• 1:32:38
  whole thing that people miss. And when they're sitting there
• 1:32:41
  and Sean turns around the mark and goes, this is where the film
• 1:32:43
  The Taran Inferno. Yeah, that's not the same thing,
• 1:32:47
  is it? It's totally different.
• 1:32:48
  Like we're comfortable. That is what Sorkin trying to
• 1:32:50
  say. It's genius.
• 1:32:52
  Exactly. Yeah, He's written this is like,
• 1:32:53
  exploration of themes like friendship and social status,
• 1:32:56
  and that's why he makes changes to support the points he's
• 1:32:59
  making or to ask a question or just to create drama.
• 1:33:02
  Soaking himself says this isn't about the real Mark Zuckerberg.
• 1:33:05
  This is about the Mark Zuckerberg in the film.
• 1:33:07
  So that's how I watch it, as a movie inspired by real events.
• 1:33:10
  It could be about any invention in the last 20 years.
• 1:33:13
  Exactly, Yeah. Anything.
• 1:33:14
  I think that's why he calls it the social network and not like
• 1:33:17
  Facebook begins. Or something.
• 1:33:19
  Facebook. Facebook rises.
• 1:33:22
  That's the third part. I'll start writing that now.
• 1:33:26
  I mean, it's not about Zuckerberg and the others as
• 1:33:27
  much as it is about friendship generally.
• 1:33:29
  It's not about Facebook as much as it is about social status and
• 1:33:32
  social media generally. Yeah, above all else, I think
• 1:33:35
  the point SO is making is that real life relationships or what
• 1:33:38
  matter? Like I said, Mark loses the two
• 1:33:41
  people who gave a meaningful relationships in favor of
• 1:33:43
  literally social media, and he ends up more isolated because of
• 1:33:46
  it. That's the message I take from
• 1:33:48
  it. So yeah, as a historical
• 1:33:50
  document, the social network doesn't have too much value.
• 1:33:52
  But as a piece of art, a cautionary tale on the pitfalls
• 1:33:56
  of social media, I think it's a stunning piece of writing on the
• 1:33:59
  whole, Yeah. A social relationships, not even
• 1:34:01
  social media, Yeah. Now how you deal with any
• 1:34:04
  success that comes your way, It's always been the same.
• 1:34:06
  It could be about anyone that's going to be like John Lennon and
• 1:34:08
  Paul McCartney. Yeah, it could have.
• 1:34:10
  It could have. It could have.
• 1:34:11
  It's exactly the same. It's timeless.
• 1:34:13
  Or Ringo and George maybe? Not so much.
• 1:34:17
  Yeah, 5. Percent shares.
• 1:34:22
  It's very, very soaking. I mean, I was a huge fan of The
• 1:34:25
  West Wing back in the day. So this style is a very
• 1:34:28
  familiar. It's a weird thing because the
• 1:34:31
  more familiar you are with his work, it almost becomes to its
• 1:34:34
  detriment because this is what he does.
• 1:34:36
  He makes every single character the single smartest, wittiest
• 1:34:41
  person ever, and it can become quite interchangeable when
• 1:34:44
  everyone talks the same. Like he wrote Steve Jobs a few
• 1:34:47
  years later. And you could swap out Erica's
• 1:34:49
  dialogue in this for the scene with Steve Jobs daughter in that
• 1:34:53
  and you would barely tell the difference.
• 1:34:54
  Yeah, this certainly is me saying it's bad.
• 1:34:57
  I mean, I just feel a little bit distant because everyone in this
• 1:35:01
  is this like hyper realistic machine thrown out one liners
• 1:35:05
  and it just loses a little bit of humanity for me along the
• 1:35:08
  way. I mean, it's great writing how
• 1:35:10
  would elevate such a potentially dry story?
• 1:35:12
  But I think I agree with Wesley. This is like his Everest and it
• 1:35:15
  is great. But once you realize he only
• 1:35:18
  ever does dialogue one particular way, you just start
• 1:35:21
  to see a little bit of the the kind of cracks in it in a way.
• 1:35:25
  Well slammed. Well.
• 1:35:27
  It's so really good. He didn't slam it.
• 1:35:29
  It's fine. I think the thing for me is that
• 1:35:32
  I hadn't seen The West Wing. I wasn't that aware of Sokens
• 1:35:34
  writing. And this to me is like, if this
• 1:35:36
  the first time you become accustomed to it, then wow,
• 1:35:39
  punches are right in the face. Yeah.
• 1:35:41
  So the roots of the film go back to The Accidental Billionaires,
• 1:35:44
  a non fiction book that was written by Ben Mesrick and told
• 1:35:47
  the story of the founding of Facebook.
• 1:35:49
  That is kind of Facebook begins. And Meslick said that he got a
• 1:35:52
  random e-mail from a Harvard student at 2:00 in the morning
• 1:35:55
  saying my friend Co founded Facebook and nobody's ever heard
• 1:35:58
  of him. He arranged a meeting with this
• 1:35:59
  guy's friend and then walked Eduardo Savrin, right?
• 1:36:02
  And when he told him the story, Meswick was shocked at how
• 1:36:05
  dramatic it was. And in a world where drama is
• 1:36:08
  everything, that is the thing. Yeah.
• 1:36:14
  Yeah, and as soon as Mesrick's publisher read his treatment,
• 1:36:17
  they knew it could be big and started sending around film
• 1:36:20
  studios. While Mesrick was writing the
• 1:36:21
  book. Mesrick had also written a book
• 1:36:23
  called Bringing Down the House, which had been adapted into a
• 1:36:26
  film called 21 and that was produced by Kevin Spacey's
• 1:36:29
  production company, Trigger St. Productions.
• 1:36:32
  He loved the treatment and he brought in the other companies
• 1:36:34
  who worked on 21, which was Columbia, Michael De Luca
• 1:36:37
  Productions and Relativity Media, right?
• 1:36:40
  Right. And Relativity Media, they just
• 1:36:43
  worked on Charlie Wilson's War, also written by Aaron Sorkin,
• 1:36:46
  went by Sorkin. Yeah, yeah, yeah.
• 1:36:47
  So that's how he got the treatment right?
• 1:36:50
  And after reading 3 pages he was like, this is like Shakespeare.
• 1:36:55
  3 pages. But he also said luckily
• 1:36:56
  Shakespeare wasn't available, so they asked me instead.
• 1:36:59
  Amazing, yeah. Sultan's first trip was 178
• 1:37:03
  pages long and the studio told me how they cut it out by at
• 1:37:06
  least 30 pages when he got it down to 162.
• 1:37:11
  And then Fincher came in and said he wanted to keep all of it
• 1:37:14
  and told the student he would film it and come in at like 2
• 1:37:16
  hours. How on earth?
• 1:37:19
  162 pages? That's a minute a page, right?
• 1:37:21
  I'm, I'm bringing that into two hours, sorry.
• 1:37:24
  And he did that by directing the actors talking very quickly,
• 1:37:26
  like we said with the stopwatch thing, Aaron.
• 1:37:29
  So he's going to read it out. OK, It's going to be 40 seconds
• 1:37:31
  quick out. OK, Well if Jesus Christ, the
• 1:37:33
  confidence of this guy is amazing.
• 1:37:36
  I mean, there's only the off the lips, off the time, the actors.
• 1:37:39
  You want absolute speed talkers. I think me and you would fit in.
• 1:37:41
  Yeah. West yeah, I reckon.
• 1:37:42
  Yeah, I think we would not acting.
• 1:37:45
  No, probably not. And because Mesrick and Sorkin
• 1:37:48
  were writing at the same time, Sorkin took some artistic
• 1:37:52
  licence. We've been talking about the
• 1:37:53
  real story as we go on. We've talked about some changes,
• 1:37:55
  but some of the other ones include the story about Eduardo
• 1:37:59
  and the chicken is initiation into the Phoenix club that
• 1:38:02
  didn't happen. Good.
• 1:38:03
  The Harvard Crimson did publish an article about chicken torture
• 1:38:06
  in the club, but it had nothing to do with Eduardo.
• 1:38:10
  You'd be furious, wouldn't you? Would like make him look like a
• 1:38:12
  lunatic obsessed with the chicken.
• 1:38:15
  So I had a chicken and they had chicken and I fed the chicken to
• 1:38:19
  the chicken. I'm hearing too much chicken.
• 1:38:22
  Chicken for two weeks. Cannibalism.
• 1:38:24
  A. Detail that is true though is
• 1:38:26
  the line where the Winklevise say they're going after Mark is
• 1:38:28
  like the Cobra Kai and The Karate Kid.
• 1:38:30
  Oh, nice, yeah. Yeah, that was something the
• 1:38:32
  real Winklevise said to Ben Mesrick when he interviewed
• 1:38:34
  them. All right, nice.
• 1:38:37
  That's the only frame of reference.
• 1:38:38
  Yeah. Brilliant.
• 1:38:42
  In the film, Mark drops out of Harvard to move to California
• 1:38:45
  and work on Facebook. This is true, but Harvard gave
• 1:38:48
  him an honorary degree in 2017. Yeah.
• 1:38:51
  And Mark's Facebook house in Palo Alto really did have a zip
• 1:38:54
  line running from the roof to the pool.
• 1:38:55
  Apparently. Nice.
• 1:38:57
  Would you fancy one of those in your garden?
• 1:38:58
  Not sure I would. To be really small zip line,
• 1:39:01
  yeah. It's going to say you'd hit the
• 1:39:04
  ground very quickly. Into a paddling pool.
• 1:39:08
  The moment where Eduardo goes to the bank and fees is the
• 1:39:11
  Facebook account. That did really happen as well.
• 1:39:13
  And it was around the time that Peter Thiel did make his
• 1:39:16
  $500,000 investment. Terrible timing from Eduardo
• 1:39:21
  that oh, it is like, isn't it? But I'm meeting with Peter
• 1:39:25
  Thiel. That's my kind of meeting.
• 1:39:26
  No nonsense. Mark walks in, he just goes,
• 1:39:28
  Congrats, we're giving you half $1,000,000.
• 1:39:30
  He doesn't even sit out straight in.
• 1:39:32
  Brilliant. Yeah.
• 1:39:35
  Real Zuckerberg really did get a 1600 SAT score like he says in
• 1:39:38
  the film, and he really did have a business card that said I'm
• 1:39:41
  CEO bitch. Yeah, nice.
• 1:39:44
  I mean a perfect SAT score and a terrible business card.
• 1:39:49
  I'm CEO comma bitch. It's awful, yeah.
• 1:39:52
  I wonder what Padre Bateman to make of that.
• 1:39:55
  Discarded immediately. I can't believe Bryce prefers
• 1:39:58
  Zuckerberg his card to mine. That's blue.
• 1:40:05
  That font is Sansoriff, and Sorkin has a cameo as well.
• 1:40:12
  He plays the ad executive who meets with Mark and Eduardo when
• 1:40:15
  they talk about advertising on Facebook.
• 1:40:18
  He had coming on his own films before this one.
• 1:40:21
  But. This was, this wasn't his idea,
• 1:40:24
  he said. The Fincher was insistent that
• 1:40:26
  he played the part. And I think he's really good in
• 1:40:28
  it. He's like, what is that?
• 1:40:30
  What are you doing? And it's a way to shot as well.
• 1:40:33
  It's shot so beautifully. They're reflected in the glass
• 1:40:35
  and he's completely clear that he doesn't understand what
• 1:40:38
  they're talking about. Like it's, it's a great team.
• 1:40:41
  Yeah, there's behind the scenes footage of that.
• 1:40:43
  I think it might be in that documentary where see where
• 1:40:45
  they're filming the scene and then after each take Fincher
• 1:40:47
  just like. Faster.
• 1:40:48
  Go faster. Faster, faster.
• 1:40:49
  Yeah, yeah. Yeah, yeah.
• 1:40:53
  You read it faster. And the last shot filmed DM
• 1:40:57
  production was one of the shots for the face smash montage Shane
• 1:41:01
  and that was directed by Sorkin. Fincher told him he was leaving
• 1:41:04
  and Sorkin had to get the last shot.
• 1:41:06
  And Sorkin thought he was joking until he saw Fincher get in his
• 1:41:09
  car and drive away hard enough. Yeah, that's it taking too long.
• 1:41:14
  Yeah. I think that's a beautiful
• 1:41:16
  sentiment from Venture. Yeah.
• 1:41:17
  And that shot that he does is like, what's it 2 seconds if
• 1:41:21
  that if that 3 seconds. And talking did 2 takes of it
• 1:41:25
  and Bob Wagner who was the assistant director said no, no,
• 1:41:28
  if we only get 2 takes, David will kill us.
• 1:41:31
  So they shot the exact same thing about eight times in
• 1:41:34
  Finch. That's great.
• 1:41:37
  Yeah. For his work is right around The
• 1:41:40
  Social Network. Aaron Sorkin was nominated for
• 1:41:42
  and won Best Adapted screenplay at the Oscars.
• 1:41:45
  No complaints on that from us. I don't think no.
• 1:41:47
  No, no, King's Speech, come fuck off.
• 1:41:55
  Aaron Sorkin hadn't worked with David Fincher before, but the
• 1:41:57
  same wasn't true of the composers on the film.
• 1:41:59
  The score for The Social Network was written by Trent Reznor and
• 1:42:02
  Atticus Ross. Reznor started as the lead
• 1:42:05
  singer and songwriter of American rock band 9 Inch Nails
• 1:42:08
  before moving into movies. This was his first film credit
• 1:42:11
  and I guess Ross had been a producer for various artists,
• 1:42:13
  including Nine Inch Nails, and this was his third film credit
• 1:42:16
  after New York, I Love You and The Book of Eli.
• 1:42:19
  That's. Right.
• 1:42:20
  Right, Reznor and Ross together in movies at last night.
• 1:42:23
  How was their music? Yeah, I mean, I think this music
• 1:42:26
  just really knits everything together.
• 1:42:28
  And it's strange because it's not a soundtrack I'd have a
• 1:42:31
  listen to on its own, but. Oh, really?
• 1:42:34
  Yeah, I don't. I don't think it would.
• 1:42:36
  Listen to it daily. Well, you do.
• 1:42:38
  Of course you do on violence. Yeah, I do.
• 1:42:41
  It's. Amazing.
• 1:42:42
  I mean, it's a film of meetings and depositions and geeks
• 1:42:45
  crowding around over laptops. None of this is exciting.
• 1:42:48
  None of this is sexy stuff. But the scar really juices the
• 1:42:52
  film open. And you've said it, John, it
• 1:42:53
  does make the film sexy. The music's so integral to that.
• 1:42:56
  It's so pounding. You'll go back to the restaurant
• 1:42:58
  scene with Sean, like as a montage doesn't really do
• 1:43:02
  anything by itself, but you put the music on the top of that and
• 1:43:05
  it's just a complete seduction. It's the same when Mark gets it
• 1:43:08
  spreading around campus and it's gone viral again.
• 1:43:11
  The music just pounds and it just pulses its way through
• 1:43:14
  scenes and it makes you sit up and pay attention.
• 1:43:17
  I think it's absolutely fantastic.
• 1:43:19
  I totally agree. I mean, Trent Reznor, Atticus
• 1:43:21
  Ross, stranger names, but very good writers and brilliant
• 1:43:25
  producers. For me, I mean, the electronic
• 1:43:27
  music to reflect the world of digital we're in is a fairly
• 1:43:30
  obvious thing to do, but it's executed extremely well.
• 1:43:34
  Yeah, the score stands out in the film, like instantly and
• 1:43:37
  constantly for me. After the opening, when markets
• 1:43:40
  dumped by Erica, he's running back to his dorm and the music's
• 1:43:42
  got this like recurring deep motif.
• 1:43:49
  It's like, oh, see, we look at this guy.
• 1:43:51
  It's got that feel. I think of it almost like a 21st
• 1:43:54
  century Bernard Herman. It's ominous.
• 1:43:57
  It's ominous. It's like The Shining as well.
• 1:43:59
  Yeah, it is. Yeah, it is.
• 1:44:01
  It's powerful. Well, I hear about the
• 1:44:02
  soundtrack, and I guess this comes from Reznor and Ross
• 1:44:04
  starting in bands, is that the tracks have got actual titles.
• 1:44:07
  Yeah, They're not called like Deposition Scene 3.
• 1:44:10
  They call things like Penetration and Magnetic.
• 1:44:13
  Malcolm's dead, yeah. Exactly.
• 1:44:16
  Qui Gon's noble death. Yeah.
• 1:44:21
  But yeah, like I said before, Fincher doesn't just direct
• 1:44:23
  what's on the page, and then Reznor and Ross don't just write
• 1:44:26
  what's on the screen. It's so artistic, but not
• 1:44:28
  remotely pretentious. Until it's important to the
• 1:44:31
  storytelling, it's essential. One of the best scores this
• 1:44:34
  century for me. Yeah, I mean, I totally agree.
• 1:44:37
  I love 9 Inch nails. I thought they'd be right up
• 1:44:39
  yours. Three, yeah.
• 1:44:40
  Down Much Spiral is one of my favorite albums never made.
• 1:44:43
  He's just got such a handle on this real depth in this
• 1:44:49
  industrial sound that he brings to this, but he also brings
• 1:44:52
  something to it that's so soft. I think Anika Squash has a lot
• 1:44:55
  to do with that. But to me, this is really about
• 1:44:59
  the synthesizer using that computer sound.
• 1:45:02
  It's against lies and truth, ambition versus loyalty, and
• 1:45:06
  what we get a lot of the time in soundtracks.
• 1:45:08
  We've got a piano, right? And then you'll get a cello.
• 1:45:12
  It's kind of against each other and it plays against things.
• 1:45:15
  But it's just the way that he relates that.
• 1:45:17
  And it's very, it's very Fincher esque.
• 1:45:19
  And for this to be his first foray into this whole
• 1:45:23
  soundtrack, I think it's very 9 inch Nils.
• 1:45:26
  But it's not. It's very accessible.
• 1:45:28
  It's very exciting. It's very, very good.
• 1:45:31
  And there's always the two sides to everything.
• 1:45:33
  If Trent Reznor did it by himself, I don't think it would
• 1:45:36
  have been as good. I think he needs Atticus Ross to
• 1:45:37
  go. Yeah, I'm the piano, you're the,
• 1:45:40
  you're the metal, and I'm the rules.
• 1:45:42
  You're the young. Yeah, this year and young, this
• 1:45:45
  kind of black and white with this light and dark, this Charis
• 1:45:48
  cure that always just works with the soundtrack.
• 1:45:50
  And this week I put it on and I've listened to it driving to
• 1:45:53
  and from work and going to like the supermarket and coming back.
• 1:45:57
  And I'm like, I'll get everything done a lot quicker.
• 1:46:01
  And I feel a little bit better about it.
• 1:46:03
  And I don't quite know why. And I think that's the whole
• 1:46:05
  point. It just really reinforces the
• 1:46:07
  whole narrative of the film. But it's a wonderful thing.
• 1:46:11
  Well, Resna had worked as music producer on Natural Born Killers
• 1:46:15
  and Lost Highway, and he'd also written a score for One Hour
• 1:46:18
  Photo, but that got rejected by the studio.
• 1:46:21
  So he said it was a surprise when Fincher called him just out
• 1:46:23
  of the blue. And he from off was surprised
• 1:46:25
  when he taught them in films about Facebook.
• 1:46:27
  But he said, I mean, this is a recurring theme.
• 1:46:30
  Within a few minutes of reading the script he decided to do it
• 1:46:33
  and he brought in Atticus roster work with him.
• 1:46:35
  Nice. I would have fucking loved to
• 1:46:37
  hear a score on One Hour Photo. My favorite films of all time.
• 1:46:41
  Yeah, that would be an incredible.
• 1:46:42
  Would have changed it completely.
• 1:46:44
  Yeah, yeah. Well, Finch already.
• 1:46:45
  He was closer by 9 inch nails on the opening tails of seven.
• 1:46:48
  Seven, Yeah. Yes, yeah, yeah.
• 1:46:50
  He's directed some soft. Yeah, he directed the video for
• 1:46:53
  only another song by 9 Inch Nails.
• 1:46:55
  Yeah, Yeah, it sounds like he's a fan.
• 1:46:57
  And yeah, it seems like it was a matter of time before the road
• 1:46:59
  score for. Yeah, it's good job I didn't get
• 1:47:01
  Madonna in there. That would have been a bit
• 1:47:06
  different. I did Vogue divided on the
• 1:47:08
  soundtrack for a social network, so the music plays of the
• 1:47:14
  opening titles is called Hand Covers Bruise.
• 1:47:16
  It's played two other times during the film during
• 1:47:19
  deposition scenes. For each time it was used,
• 1:47:21
  Reznor recorded the piano further away to make it sound
• 1:47:24
  more ecui as Mark started to become more isolated.
• 1:47:27
  So what it is, it's like it's this dark and rich combination
• 1:47:31
  of things and he's losing his self into this Internet world
• 1:47:36
  and I think it's just wonderful how they the emotions removed
• 1:47:39
  and the money takes over and these lovely piano notes just
• 1:47:42
  disappear throughout the film. It's wonderful.
• 1:47:44
  Yeah, it's maybe the most well known piece from the score.
• 1:47:47
  I think so, yeah. Starts with like the distorted
• 1:47:50
  chaotic strings, and then that piano comes in plays like you
• 1:47:56
  say, over the titles and over some of the big plot points add
• 1:47:58
  dramatic heft. Every time we hear it, it's like
• 1:48:01
  a musical grenade, That piano. Every note, it's a bang.
• 1:48:05
  Yeah, yeah, yeah. And Fincher had originally
• 1:48:08
  planned to use Beyond Belief by Elvis Costello of the organ
• 1:48:10
  titles Lovely, but he changed his mind when he heard hand
• 1:48:13
  covers boots. So would.
• 1:48:18
  I And he was so impressed by the score that during the edit he
• 1:48:21
  started cutting the film to match the music.
• 1:48:23
  I mean, that's amazing. Yeah.
• 1:48:25
  I mean, the type of filmmaker Fincher is, he's like to the
• 1:48:27
  millimeter to get him to go back and change things.
• 1:48:30
  It's already decided upon. You've got to be bringing some
• 1:48:32
  serious quality to the table, I think.
• 1:48:34
  Yeah. And when Fincher was listening
• 1:48:36
  to the soundtrack originally listening to as he was kind of
• 1:48:39
  in his office and it was this, he said it was the 7th track
• 1:48:42
  that was sent over by Trent Resnet.
• 1:48:44
  And he's like, not that's definitely the opening sequence.
• 1:48:46
  Yeah. Right.
• 1:48:47
  And they thought it was just going to be somewhere in the
• 1:48:49
  middle of just whatever else, he said.
• 1:48:50
  No develop that. Works so well, doesn't it?
• 1:48:52
  Perfect. It's a synth and piano, he said.
• 1:48:55
  That's the jump to position between his whole mindset and
• 1:48:59
  who he needs to be. For their music on the Social
• 1:49:02
  Network, Trent Reznor and Atticus Ross were also nominated
• 1:49:05
  for and also won an Oscar. They beat out Hans Zimmer for
• 1:49:08
  Inception, no less. Wow.
• 1:49:10
  Oh wow. I mean, that's.
• 1:49:11
  That's impressive. That's a fight, OK?
• 1:49:14
  It really is. Imagine The King's Speech had
• 1:49:16
  beaten both them. Yeah, I'm Johnny Moore.
• 1:49:18
  Johnny Moore's furious. I think we agree though.
• 1:49:23
  Outstanding score here. Oh, it's worth, yet outrageously
• 1:49:26
  good. Yeah, it's honestly it's it's
• 1:49:28
  superb. Do you come as to David Fincher
• 1:49:33
  films in the writing and the kind of in the music then?
• 1:49:36
  But that wasn't the case with the cinematography.
• 1:49:38
  The director of photography was Jeff Cronenworth.
• 1:49:41
  This was his Fifty Chairs, DP and 2nd collaboration with
• 1:49:44
  Fincher having a shot Fight Club 11 years earlier.
• 1:49:47
  Yes. The visuals and Wesley how did
• 1:49:49
  Jeff Cronin with do? Oh.
• 1:49:54
  Wesley's just frozen. Froze and you know how how rich
• 1:49:58
  this is, how dog it is? It's just like caramel.
• 1:50:02
  It's just like shadowy caramels and it just, it just flows
• 1:50:07
  around and it's just like didn't give a fuck If you can't see
• 1:50:10
  anything. It doesn't care.
• 1:50:11
  The cameras just shut the fuck up.
• 1:50:13
  This is what I'm looking at. There's nothing immature about
• 1:50:17
  the way this film shot. It's the most mature film that
• 1:50:20
  I've seen shot for the most immature content possible.
• 1:50:24
  Yeah. And that is what makes it work.
• 1:50:26
  And Jeff Crum brings everything to this.
• 1:50:30
  It's just what angle do you need it from?
• 1:50:32
  You've got it. Do we need a reveal of the
• 1:50:34
  camera just moving around here? Do you want anything special?
• 1:50:37
  No. Do you want the digital work to
• 1:50:39
  be invisible? Yep.
• 1:50:40
  I just want you to just. Fucking go in there and.
• 1:50:43
  Create something. It's so palatable that for
• 1:50:47
  anyone to watch it go, this looks like I'm sprinting through
• 1:50:51
  a fucking art gallery. It like you're sprinting through
• 1:50:54
  the Louvre and you're just looking at stuff left and right
• 1:50:56
  at midnight before anyone catches you.
• 1:50:58
  It's so dark, it's so rich, it's so beautiful.
• 1:51:01
  I don't think it could look any better.
• 1:51:03
  And if I ever, ever create anything that's 10 minutes that
• 1:51:07
  looks as good as this two hours, I'll die a happy man.
• 1:51:10
  It's a beautiful piece of work. It absolutely is.
• 1:51:13
  I think one of Fincher trademarks for me is like that
• 1:51:16
  kind of ultra precision in how his films tend to look.
• 1:51:19
  He knows exactly where the shadows need to be.
• 1:51:22
  Yeah, but Kronomath knows that. Fincher knows like it's already
• 1:51:26
  there. And Vinchers walking a bit.
• 1:51:27
  That's one thing I don't have to worry about.
• 1:51:29
  Yeah, I guess he must have known he could do that, having worked
• 1:51:32
  with him before. So he's kind of brought him back
• 1:51:33
  for that reason. But I always think there's a bit
• 1:51:35
  of a Stanley Kubrick kind of influence in his visuals in that
• 1:51:38
  way, and what Fincher and Cronin with do here with what they have
• 1:51:41
  to work with. I think it's fantastic.
• 1:51:43
  I mean, Harvard's a really old college.
• 1:51:44
  It's been around since 1636 or 1638, according to the Phoenix
• 1:51:49
  Club. And the lean into it.
• 1:51:51
  There's so much texture and depth in the Harvard scenes.
• 1:51:53
  Yeah, it feels really modern. In fact, I think it has a kind
• 1:51:56
  of near future feel to it. Yeah, Find cinematic visuals
• 1:52:00
  where most couldn't. I think the moment that were
• 1:52:02
  mentioned before where Eduardo freezes the account, that shot
• 1:52:05
  when he walks into the bank, he's in the distance, out of
• 1:52:07
  focus, then in focus as he gets closer.
• 1:52:10
  But there's no focus, Paul. I don't think he walks into
• 1:52:13
  focus. I love that shot.
• 1:52:14
  Yeah. And the deposition scenes, there
• 1:52:16
  must be 20 different camera angles in that room.
• 1:52:19
  Yeah. Yeah.
• 1:52:20
  And those kind of vivid, striking images are on the
• 1:52:22
  screen all the way through the film.
• 1:52:23
  I saw an interview with Fincher where he said there was no set
• 1:52:26
  up that took them more than 20 minutes to light, which I
• 1:52:28
  couldn't believe because that's not how it looks, you know?
• 1:52:30
  It's all so exact that I imagine setups taking like I was and
• 1:52:34
  then no, do it again. See, to me that the reason I
• 1:52:38
  really love this, it's because if the simplicity of it, it does
• 1:52:41
  seem like this just one light on on a character, or maybe one
• 1:52:45
  light and then a little bit of kicker in the background.
• 1:52:46
  Yeah. They're trying to make it look
• 1:52:48
  stylized without it being stylized, whereas Fight Club did
• 1:52:51
  that. But I would imagine that took
• 1:52:52
  longer. Yeah.
• 1:52:53
  Yeah. This feels like I don't have any
• 1:52:56
  anxiety watching it and thinking about the setup.
• 1:52:58
  It's so well shot it's fucking outrageous.
• 1:53:02
  It is. And since this came out, surely
• 1:53:04
  just about any filmmaker at any level who's shooting somebody
• 1:53:07
  typing on a laptop. It's look at the social network
• 1:53:09
  to see how they did it first. Yeah, exactly.
• 1:53:11
  It's never been done better. It's all right, isn't it?
• 1:53:15
  I'm. Getting away with it too dark.
• 1:53:19
  No, I'm very much class this alongside how effective the
• 1:53:22
  music is because again, on the page it's not the most cinematic
• 1:53:26
  of ideas. I would have thought the
• 1:53:28
  temptation is to make it seem quite dry, to make it look like
• 1:53:31
  all the presidents men, but the don't don't go for that almost
• 1:53:35
  documentary kind of look. Instead it's got this really
• 1:53:38
  rich colour palette. I think the lighting is real
• 1:53:41
  stand out how all those offices and meeting rooms and things
• 1:53:44
  that ordinarily you think they're just going to look dull,
• 1:53:47
  but they don't hear, so it's not film.
• 1:53:50
  I think the cinema trophy is great because it looks packed
• 1:53:54
  full of iconic imagery. For me, it's great because, like
• 1:53:57
  the music, it's not what I expect a film of this topic, of
• 1:54:01
  this genre to look like. It's constantly surprising.
• 1:54:04
  Yeah, that's what I love about it.
• 1:54:06
  Yeah. Looks fantastic.
• 1:54:08
  So Fincher was already a champion of shooting on digital,
• 1:54:11
  and it shot parts of Zodiac and the Curious Case Benjamin Button
• 1:54:14
  that way. But this was the first time we
• 1:54:16
  shot a whole film digitally, said They used the Red One
• 1:54:19
  digital camera, which had the new chip that allowed for
• 1:54:22
  greater color spectrum. So it was a little bit
• 1:54:25
  experimental for them. But I mean, I'm talking about
• 1:54:27
  2010. I've used cameras that are miles
• 1:54:29
  better than this, right? And the images are miles worse
• 1:54:32
  than this, right? So it doesn't matter what camera
• 1:54:34
  you're using, it's just how good you are at creating that image.
• 1:54:37
  Yeah, I mean, you always used to be using state-of-the-art
• 1:54:39
  technology. I think maybe that could play a
• 1:54:41
  part now as films always have such a modern look to them.
• 1:54:44
  Yeah, I mean, Red did create the Xenomorph.
• 1:54:47
  It's basically just an Alien head.
• 1:54:49
  As a camera. It.
• 1:54:52
  Must cause a right headache for the camera crew though.
• 1:54:54
  There must be like can we not just use something we know how
• 1:54:57
  to use already just once? No, it's an alien head.
• 1:55:00
  Put on the tripod and shut the fuck up.
• 1:55:03
  There's nine of them, by the way.
• 1:55:06
  As with the writer and composers on the film, Jeff Cronin with
• 1:55:08
  was also Oscar nominated for The Social Network.
• 1:55:11
  He didn't win though. You know who won best
• 1:55:13
  cinematography that year? Who did Inception?
• 1:55:18
  Wesley was at Fister. Who was Fister did Inception but
• 1:55:21
  he didn't win. He did.
• 1:55:23
  It was Wally Fister for Inception.
• 1:55:24
  Did he? OK.
• 1:55:25
  All right. But again, some brilliant work
• 1:55:28
  from Jeff Cronin. Worthier for us.
• 1:55:30
  Yeah, it's incredible. Yeah, it's perfect for me.
• 1:55:37
  The end. The final act of The Social
• 1:55:41
  Network sees Fincher turning the screw and really ratcheting up
• 1:55:44
  the character drama. The climax where we get
• 1:55:47
  resolutions to Mark's relationships with Eduardo and
• 1:55:49
  Sean is coming. But first, we're talking the big
• 1:55:52
  moments with Eduardo that lead up to that fallout.
• 1:55:55
  Yes. Yeah, Heartbreakers.
• 1:55:57
  Yeah, so having quit his New York internship on his first
• 1:56:00
  day, Eduardo finally decides to head to California.
• 1:56:03
  But it's kind of too late. First, Eduardo turns up in Palo
• 1:56:07
  Alto to find Sean living there rent free, and then goes through
• 1:56:11
  a break with his own when Christie tries to burn the
• 1:56:13
  department down. Yeah.
• 1:56:16
  The walls are on. Eduardo are crumbling, Westie.
• 1:56:18
  They are. What do you make of it?
• 1:56:20
  Bong hit. That's what I make of it.
• 1:56:26
  Brilliant. How?
• 1:56:27
  That's just staged in the background.
• 1:56:29
  Yeah. It's never really addressed.
• 1:56:30
  Pop Midwater. Like, how old are they, Sean?
• 1:56:32
  I've read some things and Sean's come back here and the delivery
• 1:56:35
  from Timberlake is wonderful. You know how much I've heard
• 1:56:38
  about you? Nothing.
• 1:56:39
  Yeah, I. Kind of hate him, but I kind of
• 1:56:43
  wish I could do that, you know what I mean?
• 1:56:45
  What a what a fucking Dick move. But it is cool at the same time.
• 1:56:49
  Just as Mark walks in and Mark's like, yeah, all right, yeah, he
• 1:56:52
  knows the power shift and the power play is definitely there.
• 1:56:55
  And Fincher knows how to do that so well.
• 1:56:57
  But I feel so sorry for Eduardo here.
• 1:56:59
  And I think you're supposed to, but I think I'd be far more
• 1:57:03
  pissed off being stood there. The airport, he's supposed to
• 1:57:05
  pick us up. Then all you've got to show for
• 1:57:07
  it is the wall. Is that it?
• 1:57:09
  Is that what? You're doing.
• 1:57:10
  The wall I'm not. Interested in that.
• 1:57:13
  It's a great, great moment where they're just talking, but he's
• 1:57:16
  completely gone. Mark's completely gone over to
• 1:57:18
  the dark side and he's like saying to Edward, this is where
• 1:57:21
  we're headed, this is what we've done.
• 1:57:22
  I've made the decision. It's like a break up, this scene
• 1:57:25
  almost. It's like, you know?
• 1:57:26
  Yeah, it's the early stages of a breakup, isn't it?
• 1:57:29
  It absolutely is and it's played that way and I think it's played
• 1:57:32
  beautifully by both actors. I think they both bring exactly
• 1:57:35
  what they need to bring to it and keep it very believable.
• 1:57:38
  Could be really over the top. There could be a lot of things
• 1:57:40
  thrown around. Tell the girls to get out of,
• 1:57:42
  you know, smashing the place up. And it's not played that way.
• 1:57:44
  It's played very human. It's played very much like nerds
• 1:57:46
  would have a disagreement because I am one, so I know
• 1:57:49
  this. It works for me on every level.
• 1:57:53
  I think it's a great, great sequence.
• 1:57:55
  Yeah, Eduardo turns up at the house, and Sean's made himself
• 1:57:57
  right at home. He's got the girls, they're
• 1:58:00
  doing bongs, he's making mojitos, he's bossing Dustin
• 1:58:03
  about, which is outrageous. It is outrageous when he puts
• 1:58:06
  the mojitos on the laptop I have a fuck panic attack every
• 1:58:09
  single. Don't put them on the computer
• 1:58:10
  man. You've got like no respect for
• 1:58:12
  the technology either. He just wants the money.
• 1:58:13
  It's brilliant. Exactly.
• 1:58:15
  And Eduardo standing there like a drowned rat in the rain.
• 1:58:17
  I'd be furious as well. And that argument between Mark
• 1:58:20
  and Eduardo is pretty telling. Where Mark seems like terrified
• 1:58:23
  of Sean, where he's like, please don't tell him I said that.
• 1:58:26
  Yeah, with this little licorice whip or whatever it is.
• 1:58:28
  Yeah. Grew up man.
• 1:58:30
  And when he says I need my CFO, I think what he really needs is
• 1:58:34
  I need my friend because deep down, you know, Sean isn't his
• 1:58:37
  friend. Yeah.
• 1:58:38
  I mean, knowing what's to come, I find it quite tough to watch
• 1:58:40
  the argument. And yeah, Sean's think that
• 1:58:42
  Eduardo, know what I've read about you?
• 1:58:44
  Nothing. Throw that guy in the pool,
• 1:58:47
  Eduardo. Yeah.
• 1:58:48
  But it is great drama. Yeah, definitely.
• 1:58:50
  Yeah, I'm going to go from one break up to another, which is
• 1:58:53
  Eduardo with Christie. Except this one's quite
• 1:58:56
  justified though, isn't it? Well, yeah, it is a little.
• 1:58:59
  Bit I mean, it obviously Hawks back to the early on with Mark
• 1:59:02
  and Erica because again, everything Eduardo does or says
• 1:59:05
  here is just completely the wrong thing.
• 1:59:08
  You know, why does he stay as his single on your Facebook
• 1:59:10
  page? I mean, that's a question you
• 1:59:12
  don't have a good answer to, especially if you're, like, CFO
• 1:59:15
  of Facebook. Yeah, What is the answer to
• 1:59:17
  that? And again, when he just says
• 1:59:19
  calm down. Oh, don't say that way.
• 1:59:21
  And then also telling him what a present is before she even opens
• 1:59:24
  it. Yeah.
• 1:59:25
  Like, to be fair, he is quite a rubbish boyfriend.
• 1:59:28
  I mean, jump into attention as soon as Mark rings.
• 1:59:30
  I'm not quite sure about the writer Christie at this point
• 1:59:33
  because she's kind of gone from this like shallow groupie almost
• 1:59:37
  now being like a borderline cycle stalker.
• 1:59:40
  That writing doesn't quite sit well with me just because I
• 1:59:42
  think it's such a boys club of a movie.
• 1:59:44
  I think she could be a bit stronger, but it is pretty funny
• 1:59:47
  when she sets that scarf on fire because it's that great visual
• 1:59:50
  gag of that's happening in the background while Eduardo's
• 1:59:53
  trying to put out like the metaphorical fire with Mark over
• 1:59:55
  the phone. Yeah, that works really well,
• 1:59:57
  Yeah, But I just don't know how much this relationship with
• 2:00:00
  Christie adds to the story or adds to the characters.
• 2:00:02
  I would have loved it to be. She introduces Sean to them
• 2:00:04
  both. And then they turn the backs on
• 2:00:07
  her, and then she has a quiet word going, I introduced you,
• 2:00:09
  Sean. I made this.
• 2:00:10
  Don't forget about that. And then shuts the door.
• 2:00:12
  But I think just that overreaction is just a little
• 2:00:14
  bit cliched. Yeah, yeah.
• 2:00:16
  That's what I think. Yeah, Yeah, I agree.
• 2:00:18
  It probably is, But I think isn't it a great scene where
• 2:00:20
  there's kind of two things going at once, but this time they're
• 2:00:22
  all happening in the same time frame?
• 2:00:24
  You've got Eduardo and Christie arguing in the bedroom while
• 2:00:27
  Eduardo was arguing with Mark on the phone about the bank
• 2:00:29
  accounts. I know when they recorded this
• 2:00:31
  scene, Jesse Eisenberg was on the set reading his lines to
• 2:00:34
  Andrew Garfield had something to react back to, which works well.
• 2:00:37
  Love when they do that. And there's a good gag there
• 2:00:38
  when Christie has a go at Eduardo for not changing his
• 2:00:41
  Facebook relationship status. And Eduardo was like, I promise
• 2:00:44
  you, the Silicon Valley slots don't care what anyone's
• 2:00:46
  relationship status is on Facebook.
• 2:00:49
  That's really funny. And really true, probably.
• 2:00:52
  Yeah. And Christie, she's played by
• 2:00:54
  Brenda Song, who at the time she was mostly known for working on
• 2:00:57
  the Disney Channel. And apparently Disney tried to
• 2:00:59
  tell her she couldn't do this role because of that bathroom
• 2:01:02
  sex scene early on, but she just did it anyway.
• 2:01:06
  Yeah, I think you're right, Martin.
• 2:01:07
  The writing of Christie probably is a bit simplified, but I think
• 2:01:10
  Brenda Song is really good. Are playing that part.
• 2:01:13
  Oh, she is. Yeah.
• 2:01:13
  She's really funny when she's like, do you know I said 47
• 2:01:16
  texts as if she's in the right. That's great.
• 2:01:19
  Yeah. And do you know who her partner
• 2:01:21
  is now in real life? Brenda Song.
• 2:01:23
  No. I don't it's Macaulay Culkin.
• 2:01:26
  All right. Yeah.
• 2:01:26
  Wow. She's married now, isn't she?
• 2:01:28
  They've got a kid. I think I'm there.
• 2:01:29
  Yeah, I think they have, yeah. I think they have, yeah.
• 2:01:31
  All right. Yeah, lovely.
• 2:01:33
  As for the film, some big decisions made by Eduardo and
• 2:01:36
  we're about to find out their consequences.
• 2:01:39
  Yeah, definitely. The climax of the Social Network
• 2:01:44
  is where it all goes off. Sean kind of does what Sean does
• 2:01:47
  and gets arrested for cocaine possession.
• 2:01:50
  But not before Eduardo was called into the new Facebook
• 2:01:52
  officers where, after inadvertently signing his own
• 2:01:55
  death certificate of being kicked out of the company, he
• 2:01:57
  has a showdown with Mark. Yeah.
• 2:02:00
  It's an ambush mat. It is.
• 2:02:01
  How does it all play out so satisfyingly?
• 2:02:06
  This is my favorite scene in the film, when Eduardo finally snaps
• 2:02:10
  because you just think, thank God, finally stand up for
• 2:02:13
  yourself. Yeah, it's massive.
• 2:02:15
  It's massive. It's so invigorating, and it's
• 2:02:17
  so much what comes down to that editing and how sharp it is.
• 2:02:20
  Back and forth from the deposition.
• 2:02:22
  Eduardo's dialogue didn't know to dress for a party or a
• 2:02:25
  business meeting until he realized it didn't matter
• 2:02:27
  because it's an ambush. And then bam, you're properly
• 2:02:30
  into this scene. And The thing is, because these
• 2:02:32
  guys are geeks. They're not the physical
• 2:02:34
  athletes. They don't roar.
• 2:02:35
  They're not the winkleby. When Eduardo picks up that
• 2:02:38
  laptop and smashes it, that's just as much impact as if he'd
• 2:02:42
  smacked Mark right in the face. Yeah.
• 2:02:45
  What I love, though, is Sean finally gets what's coming to
• 2:02:48
  him because he's been so snidey in this scene.
• 2:02:51
  Yeah, it's almost unbearable, these little comments he throws
• 2:02:54
  in. Yeah, he tries to give him the
• 2:02:56
  check. So I love it when Eduardo just
• 2:02:58
  fakes that punch and he makes some flinch in the dialogues we
• 2:03:02
  had. Yeah, I like something next to
• 2:03:03
  you. Sean makes me look so tough,
• 2:03:05
  brilliant. And Eduardo just leaves with
• 2:03:07
  that bit of dignity which is so important.
• 2:03:09
  Sorry, I'm going. That's a fast swallow of pride
• 2:03:12
  that like yeah, I don't know if I'll be able to do it.
• 2:03:14
  I don't know if me ego would definitely went out definitely
• 2:03:18
  not hitting Zuckerberg where it hurts by smashing his laptop,
• 2:03:20
  not his face that. Hurts.
• 2:03:22
  Even more. Yeah, as character drama goes,
• 2:03:25
  this two or three minutes where it all comes to a head, I think
• 2:03:27
  it's about as good as it gets. The cross cutting between
• 2:03:30
  Eduardo and Mark in the Facebook office and the two of them
• 2:03:32
  across the deposition table, that's superbly put together.
• 2:03:35
  The tone of the scenes is totally different, but the
• 2:03:37
  transitions are seamless. And like, seeing you're talking
• 2:03:40
  about Matt between Eduardo and his lawyer is just devastating.
• 2:03:44
  What was Mr. Zuckerberg's ownership share diluted down to?
• 2:03:48
  It wasn't. What was Mr. Moskovitz's
• 2:03:51
  ownership share diluted down to? It wasn't.
• 2:03:54
  What was Sean Parker's ownership share diluted down to?
• 2:03:57
  It wasn't. What was Peter Thiel's ownership
• 2:04:00
  share diluted down to? It wasn't.
• 2:04:02
  And what was your ownership share diluted down to .03%?
• 2:04:11
  Talk about dramatic drops. Yeah, never before someone
• 2:04:14
  saying a number to two decimal place has been so upsetting.
• 2:04:17
  Yeah. And that look between Eduardo's
• 2:04:19
  lawyer and Marks, where even the lawyers like.
• 2:04:21
  Yeah, I know. Yeah.
• 2:04:24
  Massive. Even he's sorry that he's such a
• 2:04:26
  Dick. And I think.
• 2:04:28
  The great thing is as well, going back to that documentary
• 2:04:30
  that I've spoke about, the amount of smashed laptops that
• 2:04:33
  are on there. I can't imagine.
• 2:04:35
  There's about 50 smashed laptops on there with God knows how many
• 2:04:39
  times he did that. It was actually 40 takes of this
• 2:04:42
  argument between Edward one Mark.
• 2:04:44
  It was 40. 40 and Garfield said he was so exhausted he was just
• 2:04:48
  sitting on the floor, worried about how many more he could
• 2:04:50
  manage. Apparently Fincher picked him
• 2:04:52
  up, shook his hand and said, moving on.
• 2:04:55
  Oh, perfect. Yeah, I think it's one of the
• 2:04:58
  best argument scenes in any film I've seen.
• 2:05:00
  Yeah, yeah, the moment the Eduardo comes through the doors
• 2:05:02
  and starts pacing towards Mark. That track and shot.
• 2:05:05
  No one's looking away at that point.
• 2:05:07
  Yeah, and Garfield's brilliant and equal measure.
• 2:05:09
  I get that Eduardo's raging with anger but also he's massively
• 2:05:13
  hurt and it's really sad for me. It's the delivery by As he's
• 2:05:16
  walking, it says Mark twice. Yeah, yeah, Mark.
• 2:05:19
  Then it's Mark. It's like he realizes what's.
• 2:05:21
  Like John Doe and seven. Detective.
• 2:05:25
  Cheap on his fingers. Yeah.
• 2:05:29
  It's printering. The way to get rid of Eduardo by
• 2:05:34
  creating new shares to dilute his overall ownership is how it
• 2:05:37
  happened in real life. In reality, the way Eduardo
• 2:05:40
  shares were reduced to 10% not nought point nought 3 and
• 2:05:43
  Zuckerberg's plan wasn't to leave him with nothing like it
• 2:05:46
  is here, It was to reduce his control and give him a huge
• 2:05:49
  payoff at the end of it. Right.
• 2:05:51
  Yeah, and the reason was that apparently Sovereign had agreed
• 2:05:53
  to do certain things and not done them, and apparently he'd
• 2:05:56
  been working on his own business instead of Facebook.
• 2:05:58
  Yeah, still not great, but not quite as ruthless as it's
• 2:06:01
  portrait. Yeah.
• 2:06:01
  What's he done? Since he's had 30% of Facebook,
• 2:06:04
  he's away a couple of weeks, right?
• 2:06:05
  Yeah. I mean, you've got to be the
• 2:06:07
  devil himself to reduce your best made at no point, no degree
• 2:06:10
  of anything. Exactly.
• 2:06:11
  Yeah, well, just in case anyone is as crushed by this scene as I
• 2:06:15
  am, the real Eduardo Sovereign is now worth $26 billion.
• 2:06:18
  So don't feel too bad for him. So he's all right, really.
• 2:06:22
  Yeah. Basically every major character
• 2:06:24
  in the film is now a multi billionaire, including the
• 2:06:26
  Winklevi. Even Chris Hughes has half a
• 2:06:28
  billion. He's only in two scenes.
• 2:06:32
  So like Matt says, Sean gets his come up and and rightly so.
• 2:06:35
  And it's in a place where he shouldn't be and he's just
• 2:06:38
  really flexing the muscles that he's trying to flex that he has
• 2:06:40
  done all through the film. And this really shows his
• 2:06:43
  paranoia and this really shows his weakness because when the
• 2:06:46
  police get a hold of him and the strip his identity and what's
• 2:06:48
  that? It's an EpiPen parts in here
• 2:06:50
  also. You're physically weak.
• 2:06:53
  You haven't got that about you. It's all just a performance.
• 2:06:56
  And I love the flashlights here. And this is so seven and
• 2:06:59
  probably the same to them. Police officers like you, like
• 2:07:01
  the scene, like the seven. Let's just have a little
• 2:07:03
  playback to that, which always works.
• 2:07:05
  But he's always blaming other people.
• 2:07:08
  Did they put the cork there? Because it was there?
• 2:07:09
  It's not my fault I didn't do this.
• 2:07:11
  And he's so weak when it comes to the actual crunch that he
• 2:07:14
  just hides behind everything. And this is really great when
• 2:07:16
  you see that power shift and the visual takes here, they're
• 2:07:20
  implied by Fincher and the production department are
• 2:07:22
  wonderful. As soon as Marky as the news,
• 2:07:25
  all the lights grow behind him in the Facebook office as if it
• 2:07:28
  all shuts down. And I think that is just really,
• 2:07:31
  really powerful. And then seeing that card, that
• 2:07:34
  final cutaway at that close up of I'm CEO Bitch is just
• 2:07:38
  heartbreaking because he was almost there.
• 2:07:40
  And I think if he'd kept Eduardo on board, it all would have
• 2:07:43
  worked out, I think. Yeah, I mean, the party, it's
• 2:07:46
  like the smokiest house ever. They must all be absolutely
• 2:07:49
  baked off the map. Yeah, I mean, we've been to some
• 2:07:52
  uni parties back there. Very.
• 2:07:54
  Similar. That's all I know.
• 2:07:56
  Never got busted though, not yet.
• 2:08:00
  Yeah, well, Sean gets busted. He calls Mark.
• 2:08:02
  Mark's still in the office, and he says, go home, Sean, go home,
• 2:08:05
  Mark. They're all by himself.
• 2:08:08
  And when Sean gets rumbled at the party, the policeman, like,
• 2:08:10
  pulls his hand out. He's got coke all over his
• 2:08:12
  fingers. And he just goes, that's not
• 2:08:15
  mine. Brilliant.
• 2:08:16
  That's not going to fly. Doesn't really matter, doesn't
• 2:08:19
  it? It's on your hand.
• 2:08:21
  But you won't get his come up. And narratively, it had to
• 2:08:23
  happen. I think it's just a shame we
• 2:08:24
  don't get to see Edward's response either.
• 2:08:26
  Be loving it. Yeah.
• 2:08:27
  He would have been. Yeah.
• 2:08:28
  Get the chicken out. Fix the chicken up.
• 2:08:30
  That's not mine. Cool all over.
• 2:08:33
  It's big. Yeah, in this party sequence,
• 2:08:37
  this is the only part of the film that's filmed with a
• 2:08:39
  handheld camera and Fincher said he did that to reflect the fact
• 2:08:43
  that Sean is drunk and high here.
• 2:08:44
  But the scene had to be re edited to avoid an R rating and
• 2:08:47
  they had to remove a shot of the girl on the table with coke on
• 2:08:50
  her body as the snoddled offer. Well, yeah, that'll make another
• 2:08:55
  change earlier on as well for the ratings.
• 2:08:56
  When marks in Class A girl passes a no.
• 2:08:59
  But the woman that says you Dick?
• 2:09:01
  Yeah. Yes, but originally didn't say
• 2:09:03
  Dick it was a sea bomb. Oh really?
• 2:09:05
  So that had to change it to get APG 13?
• 2:09:07
  Yeah. That would have been heard.
• 2:09:10
  The roll, the note. That would have been mad.
• 2:09:12
  I love to see Bone. I love to see Bone.
• 2:09:15
  From there, it's the final scene of the film.
• 2:09:17
  Mark and his attorney's assistant, Marilyn Delpy, played
• 2:09:20
  by Rashida Jones, are in the office.
• 2:09:22
  Yes, we find out what happened to all the gang.
• 2:09:24
  And as we fade out, Mark has left alone with his laptop on
• 2:09:27
  Facebook, requesting to be friends with Erica.
• 2:09:30
  So how was this for a way to end everything?
• 2:09:33
  I don't think Mark has ever looked more of a kid than he
• 2:09:35
  does here. He doesn't seem big enough for
• 2:09:37
  that chair. Like when he realizes Marilyn
• 2:09:40
  has only had a salad. It's the first time he seems
• 2:09:42
  human and genuinely concerned for someone else, but it's just
• 2:09:46
  all too late from the whole thing.
• 2:09:47
  It's like, you know when you were a kid and you were ever
• 2:09:50
  taken to like, your mum and dad's place of work because that
• 2:09:52
  no one will look after you and they're just, it's in the corner
• 2:09:55
  playing the Game Boy. Read your book.
• 2:09:56
  That's what they're saying. It's like it's the first time he
• 2:09:58
  seems human, but he's just a kid.
• 2:10:01
  Yeah. I think it ties into what I was
• 2:10:02
  saying earlier about Mark sacrificing the things he really
• 2:10:04
  wants to get something that he thinks he wants.
• 2:10:07
  The thing that he gets is Facebook, and he tries to use it
• 2:10:09
  to get what he really wants, like meaningful connection.
• 2:10:12
  And it's got him a lot of Facebook, but it can't get him
• 2:10:14
  that. I mean, what an ending for me.
• 2:10:17
  When Sorkin wrote that he must have thought shit, just got to
• 2:10:20
  retire now. Never going to be that.
• 2:10:22
  He hasn't. It's a visual metaphor, so good.
• 2:10:26
  I'm not even sure it's a metaphor.
• 2:10:28
  The message of the film is literally what's happening in
• 2:10:30
  front of us. There can't be many films with
• 2:10:31
  such a perfect final scene. It's like the whole movie in one
• 2:10:34
  shot. I'm kind of in awe of it.
• 2:10:36
  And then just when you think I can't get any better, Fincher
• 2:10:39
  goes and credits. Here's The Beatles.
• 2:10:42
  Yeah, bombs going off all over the place.
• 2:10:45
  It's like the end of Doctor Strange.
• 2:10:46
  Love. Fincher is Cooper.
• 2:10:48
  It's just wonderful how this all comes together.
• 2:10:51
  The fact that he asks if she wants something to eat, that's
• 2:10:53
  kind of all he's got. And that's what he said to Erica
• 2:10:55
  at the start to try and stop the situation from happening.
• 2:10:57
  Do you want to get something to eat?
• 2:10:58
  Yeah, She actually reinforces what Erica said.
• 2:11:01
  You're not an asshole. You're just trying to be.
• 2:11:03
  I mean, Rashida Jones is wonderful in the scene.
• 2:11:06
  Always like her, yeah. Absolutely brilliant.
• 2:11:09
  Quincy Jones, daughter Richard. Yeah, baby, you're a rich man.
• 2:11:12
  Like you said, John is by The Beatles.
• 2:11:14
  But I believe that that song's about being emotionally rich.
• 2:11:17
  And I think that is lost on a lot of people because that's why
• 2:11:20
  he's put that in at the end. Money's not going to get it.
• 2:11:23
  And that's reinforced by that beautiful moment.
• 2:11:26
  And this is so Fincher. And this is just how I'd won
• 2:11:28
  every film to finish. Just not getting the answer you
• 2:11:31
  want. Just that refresh.
• 2:11:33
  Just that refresh. And it's just saying, you know,
• 2:11:35
  he's the youngest billionaire in the history of the world, and
• 2:11:39
  he's still not happy. Did you go and see this film
• 2:11:41
  with somebody that you love? Then you're richer than Mark
• 2:11:44
  Zuckerberg. Lovely.
• 2:11:46
  And with that, we get some title cards telling us Facebook has
• 2:11:49
  500 million members and is valued at $25 billion today.
• 2:11:53
  It has 3 billion monthly users and in 20/21 was valued at $1
• 2:11:57
  trillion. So turned out well for the real
• 2:12:01
  guys. And in terms of the movie, a
• 2:12:03
  good ending for us, the audience too.
• 2:12:05
  Yeah, it's spot on this end. Yeah, it's great.
• 2:12:07
  Yeah. Reception and awards.
• 2:12:15
  So that is the story of the Social Network and it opened in
• 2:12:18
  cinemas in October 2010. How do they do when it's
• 2:12:21
  release? Well, one of the Silicon Valley
• 2:12:23
  sluts is he had to tell us. So Matt, take it away.
• 2:12:28
  Absolutely outrageous. You've never mentioned my
• 2:12:31
  relationship status on Facebook. I'll be honest with you, Thanks.
• 2:12:35
  So as we've mentioned, production budget of $40 million
• 2:12:38
  and it grossed $224.9 million worldwide, absolutely massive.
• 2:12:44
  And also did well at the Oscars. In total, 8 nominations, winning
• 2:12:48
  three of those Reznor and Ross for Best Original Score, Salk
• 2:12:51
  and as we've said for Adapted Screenplay, and Angus Wall and
• 2:12:54
  Kirk Baxter for Best Film Editor.
• 2:12:57
  All massively deserved, I think. Definitely.
• 2:13:00
  Yeah, Definitely. Yeah.
• 2:13:01
  I saw me that one for writing, music and editing and was
• 2:13:03
  nominated for cinematography. That's like the building blocks
• 2:13:06
  of filmmaking right there. Yeah, yeah, yeah.
• 2:13:09
  Really is. And someone else that deserves
• 2:13:11
  to mention here is Neil Keller House, and he was the designer
• 2:13:14
  who created the poster and he was only given a couple of head
• 2:13:17
  shots of Jesse Eisenberg as Mark Zuckerberg.
• 2:13:20
  He came up with the tagline. You don't get 500 million
• 2:13:23
  friends without making a few enemies.
• 2:13:24
  Oh wow. That's a great tagline as well.
• 2:13:26
  It is a great tagline. Well, all the shots out of
• 2:13:28
  focus. Imagine that.
• 2:13:32
  That's what I do for a living. Me just there's three shots of
• 2:13:34
  Jesse Eisenberg. Two of them are out of focus.
• 2:13:37
  Do something with that. And he did?
• 2:13:39
  Yeah. Well, apparently it was 300
• 2:13:41
  million at first, but Facebook was growing that fast by the
• 2:13:44
  time the film came out that to change it to 500 million.
• 2:13:46
  All right. OK.
• 2:13:48
  It's got a good ring to it, though.
• 2:13:49
  It's more rounded, isn't it? 500 million?
• 2:13:51
  Yeah. And you buy it.
• 2:13:52
  You buy it. And when the film was released,
• 2:13:54
  the real Mark Zuckerberg paid for Facebook employees to go and
• 2:13:57
  see it. And he said he was amused by how
• 2:14:00
  far off it was from what actually happened.
• 2:14:02
  Though he did say he was surprised by how accurate his
• 2:14:05
  clothes were. And he said that apparently
• 2:14:06
  Jesse Eisenberg was wearing some clothes he had actually owned.
• 2:14:11
  I mean, that flip flops and socks combination is possibly
• 2:14:14
  the most offensive thing he does in the film.
• 2:14:16
  So that one to myself, to be honest.
• 2:14:18
  No one as well. It's outrageous.
• 2:14:21
  Must be the billionaire still shopping a gap.
• 2:14:25
  Well, on to the critics. And we'll start, we usually do
• 2:14:27
  with Roger Ebet. The big Raj so.
• 2:14:30
  What did Big Raj make of the film?
• 2:14:31
  Do we think? Oh.
• 2:14:32
  I don't know, This is quite divisive and either really got
• 2:14:35
  it or it really didn't give a fuck about it.
• 2:14:38
  And so I'm going to say 4. I'll go three.
• 2:14:42
  It was a whopping 4 stars out of four.
• 2:14:45
  And he said Finches film has the rare quality of being not only
• 2:14:49
  as smart as a brilliant hero, but in the same way it is
• 2:14:52
  cocksure, impatient, cold, exciting and instinctively
• 2:14:55
  perceptive. It makes an untelable story
• 2:14:58
  clear and fascinating. Yeah, I'm sure he would have
• 2:15:00
  appreciated the craft behind it as well.
• 2:15:02
  Definitely, yeah. I think impatience is a good
• 2:15:04
  word. It's like Finch.
• 2:15:05
  I couldn't wait to get home every night watching the film.
• 2:15:07
  Yeah, yeah, yeah, yeah. Next Scene.
• 2:15:09
  Next Scene. Peter Travers of Rolling Stone
• 2:15:12
  also gave the film the full four-star treatment, and he said
• 2:15:15
  The Social Network is the movie of the year.
• 2:15:17
  But Finch and Salk and triumph by taking it further.
• 2:15:20
  Lacing their scathing weight with an aching sadness, they
• 2:15:23
  define the dark irony of the past decade.
• 2:15:26
  Nice. Yeah, witty, sad and scathing.
• 2:15:28
  I think it is all those things. It is.
• 2:15:30
  Yeah. Not quite.
• 2:15:32
  Full marks from Empire magazine. They rated the film four stars
• 2:15:35
  out of five and said a rich, understated character drama that
• 2:15:39
  gleefully exposes the petty playground politics at the
• 2:15:42
  center of one of the Internet era's most bitter court cases.
• 2:15:46
  Petty playground politics? That's your subtitle?
• 2:15:48
  Lovely, surely? Yeah.
• 2:15:49
  Yeah, yeah, that's really good. But I mean, four out of five for
• 2:15:52
  Empire. It's no Phantom Menace, is it?
• 2:15:54
  Let's be honest. So today on Rotten Tomatoes,
• 2:15:58
  Social Network has a very big 86% audience approval rating and
• 2:16:03
  an even bigger 97% from critics. And on IMDb it's 7.8 out of 10.
• 2:16:09
  Yeah, huge scores there, especially from the critics.
• 2:16:12
  I guess they admiring that filmmaking craft.
• 2:16:15
  Definitely. Yeah, definitely.
• 2:16:17
  So The Social Network was released as a pretty instant
• 2:16:19
  David Fincher classic. Huge box office hit, success at
• 2:16:22
  the Oscars, great reviews at the time and still highly thought of
• 2:16:25
  now. Not quite a once in a generation
• 2:16:28
  holy shit idea. Maybe, but it's OK for itself.
• 2:16:32
  Very much so, yeah. We'll see.
• 2:16:33
  We'll see. It might come around again.
• 2:16:38
  Sequels and influence. David Fincher has never made a
• 2:16:43
  sequel to any of his films, so no surprise there hasn't been
• 2:16:46
  one for The Social Network, although Fincher said he and so
• 2:16:49
  can have discussed it. But he said it's a can of worms,
• 2:16:53
  whatever that means. Would you like a sequel to The
• 2:16:56
  Social Network? Nah, I don't think so.
• 2:17:00
  I think there's a lot happened with Facebook since the film
• 2:17:02
  came out, like the Cambridge Analytica scandal, the Mueller
• 2:17:04
  report. So there are stories to tell.
• 2:17:06
  I'd only want to see if it was Fincher, Salk and the original
• 2:17:09
  cast back though I think. I think it would be good if it
• 2:17:12
  was called the social networks and then it was about Instagram,
• 2:17:15
  Twitter, next Mosque was in there.
• 2:17:18
  Who's playing him? Let's think Nicolas Cage.
• 2:17:25
  Nicolas Cage would be good. He's got the hairline.
• 2:17:29
  I think that would work. I'd enjoy that.
• 2:17:32
  Well, at this point in our episodes, we usually talk about
• 2:17:34
  the legacy and influence of the film in question, but I'm going
• 2:17:37
  to hand over to one of our patrons, Dean Josey, as he has a
• 2:17:40
  great question in that vein. Hello, Dean.
• 2:17:42
  Hello, Dean. Dean says hey fellas, wanted to
• 2:17:45
  thank you for the good work as always.
• 2:17:47
  Thank you for that. It's.
• 2:17:47
  Very nice. Oh, thanks, Dean.
• 2:17:50
  With social media at the core of this film, I wanted to ask a
• 2:17:52
  general question. Do you believe that the rise of
• 2:17:54
  social media has had a positive or negative effect on filmmaking
• 2:17:58
  and the nature of films in general over the past 10 to 15
• 2:18:01
  years? Check out the big Brain on day
• 2:18:04
  that's. A great question.
• 2:18:06
  That's the kind of worms you were talking about?
• 2:18:08
  It is, yeah. What do you think about the
• 2:18:10
  influence of social media or specifically as film, if you
• 2:18:13
  like, on the film industry? Social media, on the film
• 2:18:16
  industry, I have to see. I would come down on the side
• 2:18:18
  with being pretty bad overall. I think the way that let's just,
• 2:18:23
  you know, say who they are. Angry nerds will now descend on
• 2:18:26
  a film en masse in the kind of harass it stars until something
• 2:18:31
  which should be fun, where you can interact with fans.
• 2:18:33
  It becomes just a cesspit instead.
• 2:18:35
  You know, the abuse that Leslie Jones got for the Ghostbusters
• 2:18:38
  remake, what Kelly Marie Tran got for The Last Jedi.
• 2:18:41
  Just nothing but fit you all in here because people didn't like
• 2:18:44
  those films. Appalled in that.
• 2:18:46
  Yeah, there's part. It's just like, grow up, you
• 2:18:48
  know what I mean? Perfectly entitled and not like
• 2:18:49
  the film, but don't blame it on the actors.
• 2:18:52
  And I think the worst thing about it is social media let's
• 2:18:55
  these people get organised and start creating negative
• 2:18:58
  feelings. Months and advancing.
• 2:19:00
  They'll call it review bomb and Dawn there where they just pick
• 2:19:02
  a film. Yeah, that they're going to say
• 2:19:04
  no, we're going to sync this one and they're just descend on it.
• 2:19:06
  So that happened with Ghostbusters.
• 2:19:08
  Captain Marvel I think happens as well.
• 2:19:10
  There we go. That's it.
• 2:19:11
  Let you know. Let's face it, this is quite
• 2:19:12
  appropriate constant what we see in this film, but it's almost
• 2:19:15
  always angry young men wanting to destroy any genre film with
• 2:19:19
  female leads so. Yeah, Wasn't this something to
• 2:19:21
  do with the Dark Knights? IMDb, They try to bring that
• 2:19:23
  down. Yeah, well, they were trying to
• 2:19:25
  make that number 10. They were trying to bring it up.
• 2:19:28
  It was trying to beat the Godfather, wasn't it?
• 2:19:30
  Yeah. And then I think just the knock
• 2:19:32
  on effective as you get film makers who will start listening
• 2:19:35
  to these people instead of just making the film that they want
• 2:19:37
  to make, the saw, making the films of the fans.
• 2:19:40
  And I don't think that's a good way to make a film, to be
• 2:19:42
  honest. Yeah.
• 2:19:44
  I mean, on the back of this film, there were a spate of,
• 2:19:46
  like, real life dramas set in the modern day.
• 2:19:48
  Steve Jobs, Moneyball, the Big Short Spotlight.
• 2:19:51
  So Fincher, maybe open the door for those kind of films for a
• 2:19:54
  bit. Yeah.
• 2:19:55
  As for the wider question, the general impact of social media
• 2:19:58
  on movies, I mean, social media has had a massive impact on just
• 2:20:00
  about everything, and Hollywood's no different.
• 2:20:03
  One of the biggest impacts has maybe been on marketing.
• 2:20:05
  I think a good example is Marvel Studios where you have huge
• 2:20:08
  films with a younger audience demographic and they're all on
• 2:20:11
  social media. And with a new film, Marvel
• 2:20:13
  release trailers that are exclusive to YouTube.
• 2:20:16
  They're released behind the scenes footage during the
• 2:20:17
  production that are exclusive on Instagram.
• 2:20:19
  They have somebody making real time updates from the set on
• 2:20:22
  Twitter or X on a new Avengers film and things like that.
• 2:20:25
  I mean, these go out and get millions of views at a time and
• 2:20:27
  the cost tiny compared to TV spots or trailers.
• 2:20:30
  I mean, that's giving fans great insight into the films they
• 2:20:32
  love. So that I think is a good thing
• 2:20:35
  and negative, though obviously, like you're saying, much
• 2:20:37
  revolves around the fandom toxicity you often get on social
• 2:20:40
  media. Was it Fantastic Four where the
• 2:20:42
  film was recut after a backlash to clips on social media?
• 2:20:46
  I mean, fans shouldn't have that much power, no.
• 2:20:49
  For me, if I had that in the past, half the films we talked
• 2:20:52
  about was classics probably wouldn't exist.
• 2:20:54
  That wouldn't exist at all. Imagine that The Exorcist came
• 2:20:57
  out. Yeah, we don't go and say this
• 2:20:58
  film. Exactly.
• 2:20:59
  Yeah. I mean, you could write a book
• 2:21:00
  about social media or movies. So I mean, there's a Fincher, so
• 2:21:03
  I can see what I like to see. Larry so much taken down, all
• 2:21:05
  the Internet douche bags. I'll be brilliant.
• 2:21:08
  That'd be great, yeah. Against Harvey Knowles.
• 2:21:11
  I mean, I agree with both of you.
• 2:21:12
  I think it has got positive elements and I think it has got
• 2:21:15
  negative elements and I think the positive elements were
• 2:21:17
  brought out when it first just the Internet.
• 2:21:19
  I mean, look what happened with Blair Witch and had that website
• 2:21:23
  and it was like, oh, I can find out more here.
• 2:21:24
  Yeah. That was brilliant, although.
• 2:21:26
  Yeah, and that's genius if you're going to go for the
• 2:21:28
  marketing point of view. But I think it's gone too far.
• 2:21:30
  And what it's done is it's creating content that isn't what
• 2:21:35
  we would deem to be like a classic in the cinema anymore.
• 2:21:38
  What they're trying to do is make a classic on Netflix so
• 2:21:41
  that people talk about every episode and they're starting to
• 2:21:43
  make something to make people have an opinion on it.
• 2:21:46
  Everything needs to roll with the punches, and I understand
• 2:21:48
  that. And we all know for a fact that
• 2:21:51
  this is a business at the end of the day.
• 2:21:53
  But I do think it is very, very detrimental how everyone thinks
• 2:21:57
  to know what the fucking talking about when it comes to
• 2:21:59
  everything. Jesus Christ.
• 2:22:01
  Just do some research, listen to other people.
• 2:22:04
  I think that's the main take away of social media is don't
• 2:22:07
  talk. Listen, because somebody you
• 2:22:09
  don't know who it is might just know a little bit more than you
• 2:22:12
  and you might be able to learn something.
• 2:22:14
  And that's a great platform to learn so much about cinema and
• 2:22:17
  film and the history of it. I mean, our Facebook groups
• 2:22:20
  great because people could mention a movie and we're like,
• 2:22:22
  oh shit, I didn't even think about watching that, but I'm
• 2:22:23
  going to give that a go now. So I think the main take away
• 2:22:26
  from social media is use it to your own advantage.
• 2:22:30
  Dive into the information and get involved in it and really
• 2:22:33
  appreciate the art form. So there haven't been any
• 2:22:35
  sequels to The Social Network as yet, but hey, who knows someday.
• 2:22:39
  And the influence of the film, and more so social media
• 2:22:42
  generally, has been huge at Hollywood.
• 2:22:44
  Some for good, but certainly not all of it.
• 2:22:47
  Yeah, I'm going to have to copyright that social networks
• 2:22:50
  idea. The more I'm thinking about
• 2:22:51
  that, the more I'm going to do. I like that, yeah.
• 2:22:57
  All the right movies ranking. And we've done it.
• 2:23:01
  The Social Network completed. Now it's time for our very own
• 2:23:05
  face MASH, where we each rate the film out of 10.
• 2:23:09
  Compared to what? So.
• 2:23:10
  Ask you, what do you think your summary and score for the Social
• 2:23:13
  network? It is a masterpiece of craft for
• 2:23:16
  me. It's a personal masterpiece.
• 2:23:17
  It's ambitious, it's better than people think it is.
• 2:23:21
  It's going to be ready for the next generation to hook on do,
• 2:23:25
  and I'm not going to get left behind by that.
• 2:23:27
  I think it's one of the last great studio thrillers that
• 2:23:30
  we've had. The studio was kind of when
• 2:23:32
  we're going to put a lot of money into this, but we're going
• 2:23:33
  to trust the film maker. And I think there is a
• 2:23:35
  generation coming up, specifically my kids, who might
• 2:23:38
  watch this in like 1015 years time and go.
• 2:23:41
  Where did Facebook come from? Where did all this shit start?
• 2:23:45
  And yeah, it's not factually correct in every single regard.
• 2:23:48
  But then again, it's not fucking Braveheart.
• 2:23:50
  It's got everything in there to make you think.
• 2:23:53
  I cannot fault the craft of it. I think the ending is perfect.
• 2:23:56
  I think the opening is perfect. I think everything in between is
• 2:23:59
  paste so perfect. It's our generations, all the
• 2:24:02
  president's men. So I'm going to give it all the
• 2:24:05
  president's 10. Wow.
• 2:24:07
  Huge. Yeah, I have to.
• 2:24:09
  It's that good. Well, yeah, a lot to get into
• 2:24:12
  with this film, and hopefully we've covered it.
• 2:24:14
  And my views, as I've said throughout, is that this is
• 2:24:16
  filmmaking of the highest level. Yeah, from Aaron Sorkin's
• 2:24:20
  writing, where the dialogues really show up in the nonlinear
• 2:24:23
  narrative is hugely engaging, complemented by the dynamite
• 2:24:26
  editing from Angus Wall and Kirk Baxter.
• 2:24:29
  The cast are all Gray, especially for me.
• 2:24:31
  Jesse Eisenberg, the best I've ever seen him.
• 2:24:33
  Yeah, easy. The music from Trent Reznor,
• 2:24:35
  Maticus Ross elevates the film and I think is among the best
• 2:24:38
  scores of the century. And the guy with the overall
• 2:24:40
  vision pulling it all together is David Fincher.
• 2:24:43
  Yeah. I mean, this is just a master
• 2:24:44
  filmmaker at work for me. What could have been a dry
• 2:24:47
  subject matter, he turns into like a dramatic thrill ride to
• 2:24:50
  me. It moves like a rocket.
• 2:24:52
  The dramatic moments go off like bombs.
• 2:24:54
  And it's slick. It's cool.
• 2:24:56
  It's sexy as hell. It's a far better film about the
• 2:25:00
  building of a website that anybody has any business making.
• 2:25:03
  Yeah, there's no right for it to be this good.
• 2:25:05
  No way. No way.
• 2:25:07
  Combined with the fact I have an interest in the subject matter,
• 2:25:09
  that makes me love the film. A contender for my favorite film
• 2:25:12
  in the 21st century and I'm wired in.
• 2:25:15
  It's 10 out of 10 for me as well.
• 2:25:16
  Nice. If you'd got 9.5 there, would
• 2:25:19
  have lost. Shit.
• 2:25:21
  And marching in smashing your laptop.
• 2:25:23
  John. John.
• 2:25:25
  And Mark finishes off, then your submarine score no.
• 2:25:28
  Pressure, bro. I mean, Fincher here, he really
• 2:25:31
  does elevate something that on the surface should be so dry,
• 2:25:34
  should be so straightforward into something really slick,
• 2:25:37
  hugely entertaining. And the fact that all the films
• 2:25:39
  that have come after this that are obviously influenced by to
• 2:25:42
  the Steve Jobs film, BlackBerry film couple years ago, Big Short
• 2:25:46
  even they're good. See, I don't think they stand up
• 2:25:48
  like this one does, which pays tribute to this.
• 2:25:50
  And it really is a film of Korea best performances from pretty
• 2:25:54
  much everyone involved. But at the same time, that
• 2:25:57
  slickness, it kind of disguises the fact that is this much more
• 2:26:02
  than you can do courtroom drama with a very shiny coat of paint
• 2:26:06
  like it does touch on ethics and betrayal and class and
• 2:26:09
  privilege. It just doesn't quite get under
• 2:26:11
  the skin enough for me. And when it takes so many
• 2:26:14
  liberties with the truth, I just end up feeling a little bit of
• 2:26:17
  unsure of therefore, what is the point of this?
• 2:26:20
  Like, what is the story you tell me if it's not the actual story
• 2:26:22
  that's, you know, so prevalent today?
• 2:26:25
  So, you know, and there's no right or wrong answer with
• 2:26:27
  historical accuracy in films. I think it's just a case by case
• 2:26:30
  basis in this one just doesn't sit quite right with me.
• 2:26:33
  So very much enjoy it. It's just got a little bit of
• 2:26:36
  hollowness at the center. So I can only give it a nine.
• 2:26:39
  That's fair enough. I see where you're coming from.
• 2:26:41
  Yeah. Well, we also put this out there
• 2:26:43
  to our Twitter or X followers to get their thoughts.
• 2:26:46
  OK, no comments from Mark Zuckerberg nemesis seal on Musk.
• 2:26:49
  Unfortunately, though he does follow us, which is a bit weird.
• 2:26:53
  Does he? Oh, that's weird.
• 2:26:54
  Now the feedback was generally positive, but there was some
• 2:26:57
  negativity as well. So in the interest of balance,
• 2:26:59
  I've got 2 positive, two negative comments.
• 2:27:02
  OK, that makes sense. So ART at yes I Rap one said one
• 2:27:07
  of the best edited movies of the 20 Tens with probably my
• 2:27:10
  favorite ending of Fincher films outside Fight Club Peak Andrew
• 2:27:14
  Garfield. Fincher doesn't know how to drop
• 2:27:18
  a needle at the end of a film. He does the Pixies at the end of
• 2:27:20
  Fight Club, isn't it? It is.
• 2:27:21
  Yeah, I think 7's better than like, I mean, come on.
• 2:27:27
  So ART did like it. However, James Link at RP Guy 16
• 2:27:31
  said for a very linear and unimaginative biopic.
• 2:27:36
  It's one of the most imaginative films I've ever seen about a
• 2:27:39
  fucking website that you try to do it bro it's impossible.
• 2:27:43
  And it's not a biopic. Yeah, once.
• 2:27:44
  It's biopic now. It's not any of those things.
• 2:27:48
  Back to the positivity and one of our patrons, Troy Gilbert
• 2:27:51
  said everything about this movie is perfect.
• 2:27:54
  The acting, directing, writing, cinematography, special effects.
• 2:27:58
  The music alone is a gift. Flawless film.
• 2:28:01
  I can watch it anytime, anywhere.
• 2:28:03
  Background or foreground films in the background.
• 2:28:06
  Is this you, Wesley? That's me.
• 2:28:09
  I'm going to take that. The music is a gift.
• 2:28:11
  That's a nice line. I'm taking that the
• 2:28:13
  cinematography is a fucking gift, yes.
• 2:28:17
  And another one of our patrons, Christine, who guilt said.
• 2:28:20
  I recognize that it's a very well made film.
• 2:28:23
  I've just found zero connection with any of the characters or
• 2:28:25
  the subject matter, so I can't give it more than six out of 10.
• 2:28:29
  That's a real heartbreak of that.
• 2:28:30
  When you recognize the genius of it, though, you can't.
• 2:28:33
  You can't actually connect to it.
• 2:28:35
  Like I've had that with certain films where I can see how good
• 2:28:38
  it is, but it's just not resonating.
• 2:28:40
  And that that's a really brave thing to say, to be fair.
• 2:28:42
  I mean, you could. It is, yeah.
• 2:28:44
  Yeah, it's fair enough from Christine.
• 2:28:45
  The subjective parts don't land with you.
• 2:28:47
  It doesn't matter how well put together it is really just.
• 2:28:49
  Watch it again, Christine. Watch it again.
• 2:28:53
  So positive leaning but mixed opinions from our followers and
• 2:28:56
  patrons and altogether they rated the film as What do you
• 2:28:59
  think I would attend? It's going to be a nine, isn't
• 2:29:02
  it? Yeah, I've got 9.
• 2:29:03
  Pretty popular. It was 8 out of 10.
• 2:29:08
  So in total, that gives the social network how much out of
• 2:29:12
  40? Well, we are 29. 37, hang on,
• 2:29:18
  I'm just checking your mouth on that.
• 2:29:20
  Yes, I got the same thing. I got the same 37 out of 40 for
• 2:29:24
  the social network and that's just done on the social network.
• 2:29:28
  Hopefully it hasn't made you want to burn down your bedroom.
• 2:29:31
  No. Or someone else's.
• 2:29:34
  But next time out, Luke, Westy and Matt are getting their
• 2:29:37
  leather boots and trunks out as they talk Darren Aronofsky,
• 2:29:40
  Mickey Rourke and The Wrestler. Yeah.
• 2:29:43
  We are first Aronofsky we've covered.
• 2:29:45
  I believe it. Is.
• 2:29:47
  Which is a surprise to stay in this wild get room, but
• 2:29:50
  definitely deserves the attention.
• 2:29:51
  It definitely does. I can't think of another one to
• 2:29:53
  introduce Aronofsky to be honest.
• 2:29:55
  I'm not going to do Pile. Rather the wrestler than Noah,
• 2:29:58
  that's for sure. No, but I am looking forward to
• 2:30:00
  it. It's a great turn for Mickey
• 2:30:01
  Rourke. It's a great film.
• 2:30:02
  I'm looking forward to talking about that one, yeah.
• 2:30:04
  Well, in the meantime, to find out more about becoming a
• 2:30:06
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• 2:30:09
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• 2:30:22
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• 2:30:25
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• 2:30:27
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• 2:30:30
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• 2:30:34
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• 2:30:38
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• 2:31:02
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• 2:31:03
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• 2:31:05
  Yeah, exactly. And our website, full of great
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  Cleaner. But come back for the wrestler.
• 2:31:27
  And as always, thanks for listening everyone.
• 2:31:29
  Thanks. So we've even had part of your
• 2:31:31
  attention, you know, the minimum amount.
• 2:31:32
  Good. Luck with your video game.