Generation Why? by Zadie Smith. The Social Networka film directed by David Fincher, with a screenplay by Aaron Sorkinby Jaron Lanier. Showtime Full Flicka 2 Online Free. Knopf, 2. 09 pp., $2.

Merrick Morton/Columbia Pictures. Jesse Eisenberg as Mark Zuckerberg, the founder of Facebook, and Rooney Mara as his girlfriend Erica in The Social Network. How long is a generation these days? I must be in Mark Zuckerberg’s generation—there are only nine years between us—but somehow it doesn’t feel that way.

This despite the fact that I can say (like everyone else on Harvard’s campus in the fall of 2. I was there” at Facebook’s inception, and remember Facemash and the fuss it caused; also that tiny, exquisite movie star trailed by fan- boys through the snow wherever she went, and the awful snow itself, turning your toes gray, destroying your spirit, bringing a bloodless end to a squirrel on my block: frozen, inanimate, perfect—like the Blaschka glass flowers.

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Doubtless years from now I will misremember my closeness to Zuckerberg, in the same spirit that everyone in ’6. Liverpool met John Lennon. At the time, though, I felt distant from Zuckerberg and all the kids at Harvard. I still feel distant from them now, ever more so, as I increasingly opt out (by choice, by default) of the things they have embraced.

We have different ideas about things. Specifically we have different ideas about what a person is, or should be. I often worry that my idea of personhood is nostalgic, irrational, inaccurate.

Perhaps Generation Facebook have built their virtual mansions in good faith, in order to house the People 2. I feel uncomfortable within them it is because I am stuck at Person 1. Then again, the more time I spend with the tail end of Generation Facebook (in the shape of my students) the more convinced I become that some of the software currently shaping their generation is unworthy of them.

They are more interesting than it is. They deserve better. In The Social Network Generation Facebook gets a movie almost worthy of them, and this fact, being so unexpected, makes the film feel more delightful than it probably, objectively, is.

From the opening scene it’s clear that this is a movie about 2. Aaron Sorkin and David Fincher, forty- nine and forty- eight respectively).

It’s a talkie, for goodness’ sake, with as many words per minute as His Girl Friday. A boy, Mark, and his girl, Erica, sit at a little table in a Harvard bar, zinging each other, in that relentless Sorkin style made famous by The West Wing (though at no point does either party say “Walk with me”—for this we should be grateful). But something is not right with this young man: his eye contact is patchy; he doesn’t seem to understand common turns of phrase or ambiguities of language; he is literal to the point of offense, pedantic to the point of aggression. Final clubs,” says Mark, correcting Erica, as they discuss those exclusive Harvard entities, “Not Finals clubs.”) He doesn’t understand what’s happening as she tries to break up with him. Wait, wait, this is real?”) Nor does he understand why. He doesn’t get that what he may consider a statement of fact might yet have, for this other person, some personal, painful import: ERICA: I have to go study. MARK: You don’t have to study.

ERICA: How do you know I don’t have to study?! MARK: Because you go to B. U.! Simply put, he is a computer nerd, a social “autistic”: a type as recognizable to Fincher’s audience as the cynical newshound was to Howard Hawks’s. To create this Zuckerberg, Sorkin barely need brush his pen against the page. We came to the cinema expecting to meet this guy and it’s a pleasure to watch Sorkin color in what we had already confidently sketched in our minds. For sometimes the culture surmises an individual personality, collectively. Or thinks it does.

Don’t we all know why nerds do what they do? To get money, which leads to popularity, which leads to girls. Sorkin, confident of his foundation myth, spins an exhilarating tale of double rejection—spurned by Erica and the Porcellian, the Finaliest of the Final Clubs, Zuckerberg begins his spite- fueled rise to the top. Cue a lot of betrayal. A lot of scenes of lawyers’ offices and miserable, character- damning depositions. Your best friend is suing you!”) Sorkin has swapped the military types of A Few Good Men for a different kind of all- male community in a different uniform: GAP hoodies, North Face sweats. At my screening, blocks from NYU, the audience thrilled with intimate identification.

But if the hipsters and nerds are hoping for Fincher’s usual pyrotechnics they will be disappointed: in a lawyer’s office there’s not a lot for Fincher to do. He has to content himself with excellent and rapid cutting between Harvard and the later court cases, and after that, the discreet pleasures of another, less- remarked- upon Fincher skill: great casting. It’ll be a long time before a cinema geek comes along to push Jesse Eisenberg, the actor who plays Zuckerberg, off the top of our nerd typologies.

The passive- aggressive, flat- line voice. The shifty boredom when anyone, other than himself, is speaking. The barely suppressed smirk. Eisenberg even chooses the correct nerd walk: not the sideways corridor shuffle (the Don’t Hit Me!), but the puffed chest vertical march (the I’m not 5'8", I’m 5'9"!).

With rucksack, naturally. An extended four- minute shot has him doing exactly this all the way through the Harvard campus, before he lands finally where he belongs, the only place he’s truly comfortable, in front of his laptop, with his blog: Erica Albright’s a bitch.

You think that’s because her family changed their name from Albrecht or do you think it’s because all B. U. girls are bitches? Oh, yeah. We know this guy. Overprogrammed, furious, lonely.

Around him Fincher arranges a convincing bunch of 1. If it’s a three- act movie it’s because Zuckerberg screws over more people than a two- act movie can comfortably hold: the Winklevoss twins and Divya Navendra (from whom Zuckerberg allegedly stole the Facebook concept), and then his best friend, Eduardo Saverin (the CFO he edged out of the company), and finally Sean Parker, the boy king of Napster, the music- sharing program, although he, to be fair, pretty much screws himself. It’s in Eduardo—in the actor Andrew Garfield’s animate, beautiful face—that all these betrayals seem to converge, and become personal, painful. The arbitration scenes—that should be dull, being so terribly static—get their power from the eerie opposition between Eisenberg’s unmoving countenance (his eyebrows hardly ever move; the real Zuckerberg’s eyebrows never move) and Garfield’s imploring disbelief, almost the way Spencer Tracy got all worked up opposite Frederic March’s rigidity in another courtroom epic, Inherit the Wind.

Still, Fincher allows himself one sequence of (literal) showboating. Halfway through the film, he inserts a ravishing but quite unnecessary scene of the pretty Winklevoss twins (for a story of nerds, all the men are surprisingly comely) at the Henley Regatta. These two blond titans row like champs. One actor, Armie Hammer, has been digitally doubled.

I’m so utterly 1. I spent an hour of the movie trying to detect any difference between the twins.) Their arms move suspiciously fast, faster than real human arms, their muscles seem outlined by a fine pen, the water splashes up in individual droplets as if painted by Caravaggio, and the music! Trent Reznor, of Nine Inch Nails, commits exquisite brutality upon Edward Grieg’s already pretty brutal “In the Hall of the Mountain King.” All synths and white noise. It’s music video stuff—the art form in which my not- quite generation truly excels—and it demonstrates the knack for hyperreality that made Fincher’s Fight Club so compelling while rendering the real world, for so many of his fans, always something of a disappointment. Anyway, the twins lose the regatta, too, by a nose, which allows Fincher to justify the scene by thematic reiteration: sometimes very close is simply not close enough.

The Social Network (soundtrack) - Wikipedia. The Social Network is a dark ambientsoundtrack by Trent Reznor and Atticus Ross for David Fincher's film of the same name.

It was released on September 2. On September 1. 7, a five- track sampler was also made available for free.[2] The film's score bears a similar sound to the previous Reznor/Ross 2. Ghosts I- IV, and even features two slightly reworked tracks from Ghosts : the track "Magnetic" (reworked from "1.

Ghosts II") and "A Familiar Taste" (a remixed version of "3. Ghosts IV"). Critical reception of the soundtrack has been generally favorable, with high praise and widespread acclaim across the film industry being bestowed upon it. The score won nine major awards, including the 2. Golden Globe award for Best Original Score – Motion Picture,[3] and the Academy Award for Best Original Score at the 8. Academy Awards.[4]Background[edit]When Trent Reznor was originally asked by director David Fincher to score The Social Network, he initially declined, partly due to just finishing up a long touring and recording schedule.[5][6] After further reflecting, Reznor apologized and told Fincher to keep him in consideration, to which he told Reznor that he had been waiting for him to accept.

On July 1, 2. 01. Reznor publicly announced that he and Ross were taking part in the soundtrack on nin. I was planning on taking some time off after the continual waves of touring that ended last fall and spend this year experimenting around with what would become How to Destroy Angels and some new NIN. Well, that plan didn't work out so well. David Fincher started inquiring about my interest in scoring his upcoming film, The Social Network. Yeah, the movie about the founding of Facebook.

I've always loved David's work but quite honestly I wondered what would draw him to tell that story. When I actually read the script and realized what he was up to, I said goodbye to that free time I had planned.

Atticus Ross and I have been on a creative roll so I asked him if he wanted to work on this with me and we signed on. Months later, I'm happy to tell you we're nearing the completion of this and I couldn't be happier with how it's turned out. The level of excellence that David operates on is inspiring and the entire process has been challenging and truly enjoyable. As Atticus and I near the end of the scoring process, we're looking forward to the next phase - distilling the large amount of music we've written for this down to a satisfying record (or two). The film opens Oct 1 in the US with the record likely available a couple of weeks ahead of that.

Speaking of the film.. And dark![7]The film initially had a "John Hughes vibe" to it, which concerned Reznor at first, but after meeting with Fincher and trying out different ideas with Atticus Ross, it turned out to work a lot more smoothly after all. Reznor recalled, "The whole process was fun for me because I liked answering to someone I respect and not having to make all the decisions for a change." Reznor and Ross would try sketches of songs, figuring they would have to revise it eventually, only for Fincher to get back to them and say, "I don't have anything bad to say – that's never happened before."[8]The idea of recording "In the Hall of the Mountain King" came from a scene at the Henley Royal Regatta and trying to find a song that would match up with its Edwardian eragarden party theme. Fincher told them to try a Wendy Carlos version of it, which Reznor admits "threw [him] for a loop" and says it took four weeks to work on.[8]Packaging[edit]The album's art was created by Nine Inch Nails' creative director Rob Sheridan, based upon the designs used to promote the film, mixed with Sheridan's style of image distortion. He explained the ideas, techniques and methods that made up the compositions that were used for the physical release: For The Social Network soundtrack art, my goal was to walk the line between representing the film and creating something that stood as a piece of art on its own, much as the soundtrack itself does. For the cover, I needed to represent the branding of the film, but neither Trent nor I wanted the photo of Jesse Eisenberg to be the cover as directly as it was in the film's poster. By blurring out the photo and placing the title text over Eisenberg's eyes, I was able to create a cover that evoked the film's branding while distancing itself from it at the same time.

The style of fonts used in the film and its marketing were something Trent and I both really liked, so we preserved that for the soundtrack. For the internal art, Sony gave me a batch of publicity stills from the film to utilize if I wanted.

By their nature none of them were particularly artistic, and I wasn't sure how useful they'd be for the artwork. Trent expressed an interest in creating a package that could stand on its own whether or not listeners had seen the film. Given that we conceded a bit on the album cover, he said "let's make the inside packaging weird."An early idea I had was to digitally corrupt the images we had from the film, combining a "glitch art" visual aesthetic I've always been interested in with a metaphor for digital images shared on Facebook, the corruption they're susceptible to, and the corruption portrayed in the film. This idea resonated with Trent, so I began experimenting with different ways to destroy the publicity stills Sony had sent me. Whereas in previous projects (especially With Teeth and Year Zero) I'd used careful manual processes to create digital glitches, this time I actually destroyed images by opening them up in a text editor and adding/removing text to their raw code. It was a very experimental, trial- and- error process - I tried different file types, different rendering methods (for example, damaged Photoshop files render much more interestingly in OSX's Preview than in Photoshop itself), and different types of text injected into the image files (I grabbed random paragraphs of text from around the web - ridiculous fan- fiction sites were a fun source). These images were distorted through manual editing of the image files in a text editor, not through intricate Photoshop work.

The CD, Blu- ray, and vinyl editions of the album all utilize slightly different artwork elements.[9]Release[edit]The first track from the soundtrack, "Hand Covers Bruise (No Piano)" debuted on The Social Network's website on August 3. The album was released by The Null Corporation and distributed by Sony Music. A five- track sampler for the album was released on September 1. The Null Corporation's homepage.

On the day of the five- track sampler's launch, Reznor posted about the release on the Null Corporation's site: This is what Atticus and I have been working on for the last few months. We had a great time working with David Fincher on this and the film turned out excellent - something we're very proud of.

It opens in theaters Oct 1 and you should check it out. Musically, this all came out of our secret laboratory - electronic in basis, but mostly organic sounding. Lots of experiments and emphasis on sound fraying around the edges while focusing on the proper emotional tone for the various scenes. Regarding the purchase options, sorry about the "clunkiness" of not offering the full record digital download pre- sale (and having to visit Amazon). My agenda was to be able to offer this for the lowest possible price and this was the best way to achieve that.

Amazon has been a great partner with past projects and I appreciate your understanding.[1. The album was released for digital download on September 2. Amazon MP3, and is available in three physical formats: CD, Blu- ray.

October 1. 1, 1. 8 and 2. It was the first release from The Null Corporation to be marked with a Null number, being Null 0. Nine Inch Nails halo numbers catalog system.