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Fincher/Sorkin: The Social Network


Sylph

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I'm really looking forward to this movie - for Sorkin's script, Justin Timberlake and the new Peter Parker. I also like behind-the-scenes movies. but I won't go see it in the theatres (since there's no big special effects). I'll wait for the DVDrip. :)

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<object width="480" height="385"><param name="movie" value="

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I thought Justin did very well in the film. Of course a better actor could have been chosen for his role, but he does not ruin the movie or anything.

Its a good film, i am amused they the people behind it are all "dont call us the facebook movie" ummm, dudes, ya made a movie about facebook. of course its gonna be labeled the facebook movie.

I really do not get the oscar buz for it tho, not at all.

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Sorkin is preparing a new TV pilot, apparently – anyway, this is a good read:

<span style="font-size:18pt;">Inventing Facebook</span>

<span style="font-size:13pt;">In Internet wunderkind Mark Zuckerberg, TV wunderkind Aaron Sorkin may have found his perfect subject: the wunderkind genius jerk. But is The Social Network the scathing portrait of Zuckerberg that Facebook fears? You'll be arguing about that for weeks.</span>

<span style="font-size:9pt;">By Mark Harris</span>

<span style=font-size:9pt;">I poked Aaron Sorkin. It happened the day before we first met, and it seemed an appropriate initial interaction with the man who wrote The Social Network, the movie that's about to become the unofficial origin fable of perhaps the defining cultural phenomenon of this still-new century—the first dramatic exploration of exactly how a brave new virtual world was created. Poking, as the more than 500 million users of Facebook know, is the lowest form of communication in the not quite Utopia that Mark Zuckerberg, the company's 26-year-old founder, built—it's the broadband-era equivalent of a passing grunt or a muttered "Hey." But Sorkin did not poke me back. What was I to make of his unresponsiveness? Was he being standoffish? Did he not see my poke? Is he just not the poking type? Or—as is likely the case—did I not actually poke Sorkin at all, but rather some random Facebook user who just happens to have appropriated his identity? Such are the vagaries of communication in the vastly popular and vastly imperfect universe of Facebook. But when I meet the real Sorkin the next day for lunch in West Hollywood, he quickly makes it clear that the touchy-feely issues of how people connect or fail to connect within modern social media hold little fascination for him. He says unapologetically that he knows almost nothing about the 2010 iteration of Facebook, adding that his interest in computer-aided communication goes only as far as e-mailing his friends. That puts him in an awkward position, because with The Social Network (which opens October 1), he has dramatized the previously undramatizable—the invention of a website—with such tough-minded wit that he is probably going to become the go-to sage for countless "What Does It All Mean?" panels, op-eds, forums, and talkbacks, whether he wants the gig or not.

Sorkin's script, which tells the story—or rather, the contentious, conflicting stories—of the founding of Facebook, can boast more than mere Zeitgeist-y oomph. It's yielded a remarkable rarity in contemporary studio filmmaking: a movie that could recapture for Hollywood some claim to the national cultural conversation that has, in the last decade, been virtually co-opted by television. The Social Network is a film adults can brawl over—it rips into the red meat of Art of War business ethics, the necessity of ruthlessness in bringing a new invention from concept to reality, the problematics of saying "Nothing personal!" as your shiv approaches your colleague's ribs, and the thorny issue of just who owns an idea—whether, as the movie version of Zuckerberg puts it, "a guy who makes a really good chair owes money to anyone who ever made a chair." In addition, The Social Network raises a number of questions about filmmaking ethics—specifically, about how much artistic license can and should be taken in turning a group of ambitious young men not far from 20 years old into movie characters. It's smart, it's provocative, and it's going to be polarizing.

Read more on NYMag.com.</span>

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The movie is getting great reviews (I haven't read any though. I like to see movies through "fresh eyes") and a ton of Oscar buzz. It's 97% fresh on Rotten Tomatoes for all critics and 100% fresh by top critics. I really want to see this movie because I love Sorkin, I like Fincher and the cast....but I don't go see straight out dramas (no action) in the theatres.

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