Cinematography and Performance of The Social Network (2010)
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Cinematography and Performance of The Social Network (2010)



you when the social network came out in 2010 I remember a friend of mine saying he didn't want to see it because it was a movie about Facebook an allegation that the cast and crew seemed to resent it's really not about Facebook at all it's not a movie about a website yes that is one of the elements of it but it's about number five or six on the list of what this movies actually about the thing that grabbed me was that there elements in this story that are resolved as storytelling itself of friendship and loyalty jealousy class power betrayal modern ambition you know within this kind of old business world and what it really is is about two friends and something that that's amazing that they create that ultimately ends up breaking their friendship so it's true the film is about Facebook but it's also about Universal ideas what makes it a landmark picture is the way in which these themes are communicated from the mists onsen elements of costuming and action to sound in cinematography the film was outstanding by any measure but what really makes the story is the relationship between mark and Eduardo and how the director David Fincher and cinematographer Jeff Cronin with show its evolution early in the film Mark and Eduardo are best friends the actors performances established this with help from the buddy nature of the few two shots the interesting thing is that the two are mostly only shown in the same frame when good things happen to Eduardo like in this scene when Eduardo tells mark he was punched by the Phoenix or here when Eduardo is being asked out this framing is used so that the audience can thoroughly understand the complexity of their friendship it helps the audience to identify with marks jealousy as the film progresses the two-shot motivation switches and they're only used in scenes where mark has the upper hand this switch makes it all the more jarring at the end of the thing when Eduardo does this the photography is not only used to show the relationship between mark and Eduardo it's used also to determine the relationship between mark and the audience he's frequently shown in medium close-ups by himself even when he's in a crowded place the depth of field is usually so shallow that the other characters are obscured the effect that this creates is helped by the film's lonely school wasn't really scored to any specific point it was just kind of like he said well here's an idea and here's an idea and I was sort of thinking of this for this but we would sort of move stuff around and edit things and sort of fit it and then that track so I were playing I think was track 7 ironically I was in my office and I was scrolling through a little mp3 and all of a sudden I heard this weird it's almost like Liga d2 The Shining kind of like this odd dissonance this guttural sound and then over the top of it came this little piano melody and I heard it and I said that's the main titles I was amazed at how much the music could change your expectation of the film and impression and set the whole tone and not that I didn't know music could do that but seeing it do that and it was pretty a pretty eye-opening and just exciting experience to witness and be a part of it was kind of astounding because it seemed to talk about this loneliness the piano was this lonely it was almost childlike and yet it had this kind of seething anger vitriol that was sort of bubbling under it but the score is just part of sound design what David wanted to maintain constantly throughout this film was the sense of really actually being in the environment and he want us to create a sense of youth you know he goes this is a place where they know there's certain $3 beers man you know it's gotta be noisy I think perhaps it sounding like bad is actually makes the film edgy and makes it interesting for the audience because it really sucks them into like okay hold on you're gonna really have to pay attention here you're breaking up with me you are gonna introduce me to people I wouldn't normally have the chance to meet what the what is that supposed to mean we'd settle down what is it supposed to mirror God the reason we're able to sit here and drink right now is cuz you used to sleep with the door guy the door guy his name is Bobby I have not slept with the door guy the door guy he's a friend of mine and he's a perfectly good class of people then what part of Long Island are you from Wimbledon wait there's a trend in films now to make a sound effect every time there's a computer it's all this kind of business and it's very technological and and we talked about that and we thought well let's do our version of that but what does it really sound like well it sounds like hard drives chirping and it sounds like motors Fanning and it sounds like rapid-fire keystrokes this unconventional sound design puts the audience into the world but as impressive and immersive as the sound is its effect would be lost without acute performances from every member of the cast do you see any of your code on Facebook do you see any of your code on Facebook do you see any of your code on Facebook do you see any of your code on Facebook do you see any of your code on Facebook so could you mark wait did it did I use any of your code fellas match.com for Harvard guys can I continue you know you really don't need a forensics team to get to the bottom of this if you guys were the inventors of facebook at facebook.com for Harvard guy I continue with my deposition you know you really don't need a forensics team to get to the bottom of this if you guys were the inventors of Facebook you'd have invented Facebook you know it's arduous and it's exhausting but I think that there's sort of a brilliant design behind it in a way it forces you out of your head you almost don't have time to think you know between takes he'll give you a note and it's just like you got to go right back into it eventually you've done it so many times it's like if I take 45 you're so tired that you're not even thinking about it and that's where you should be but it's nice you know because you're with a director who likes to do that many takes and he's very much a perfectionist so if he doesn't think it's right he's going to keep going until he gets what he wants which is as an actor the most comforting thing you can hear you know I feel very protected in this it's some bliss for an actor to have that feeling that you're able to you need that in order to find whatever it is that you're looking for that you don't you they you have no idea of you know that unknown thing that you can't ever consciously create what was your only friend get one friend how does your only friend yeah one friend my father won't look at me one thing that helps us identify with the characters is the costuming it helps the actors to find their voice and to craft the performance it makes a difference in how you walk you know and that makes a difference in how you talk because it changes your timing get to this point to where I didn't feel right until I had the Sean Parker hero watch on it definitely makes a difference in the character portrayal but what really makes the performances soar is the cinematography remember the framing from earlier that's what acquaints the audience so intimately with mark that it's funny when he does this pose or this it's the cinematography and performance that makes the audience feel sympathy so that in this moment we feel marks regret and here instead of thinking he's pathetic we think he's relatable that's what makes the theme stand tall and that's what makes the story worth telling

34 Comments

  • Michael Edward

    At least, now I know that Fincher has a very bad collection of untagged MP3…Track No 7? What is that?

  • MagnumDB

    To incorrectly paraphrase Jessie Eisenberg, “If it was a movie about Facebook, it would have been called Facebook.”

    But it not called “Facebook”, it’s called “The Social Network” because the movie is about the social life of Mark Zuckerberg and the network of friends/business associates/partners who’s bridges he burns.

  • Nate DS

    Really its not about Facebook it’s about relationships being broken by success. It’s just the ultimate irony that the story of the destruction of social relationships is about the invention of a website capitalizing on relationships.

  • at t

    Excuse me, which is your original source? I mean where i can find the interviews of them (they are talking on a white background) It would be important for me knowing that because its for class… thanks¡

  • La Serpenta Canta

    Cinematography today is so clumsy, so badly done and derivative of experimental modernist filmmaking that it constantly reminds you that there is a camera. The director is the star now, not the story. It's the legacy of Scorcese, Spielberg and all of them, and modern charlatans like David Fincher follow it to a t. You always see Fincher's intrusive hand everywhere. That is not auterism. They are so unaware and oblivious they don't even know that's what they are doing, because it's in every shot.

    I would never have noticed this until I finally understood golden age hollywood cinematic language. Where the story is the point and the star and that's how you do it, that's the common thread in all narrative storybased mediums, all the great works of art share this perspective. That is why golden age hollywood still shines and trumps everything that came after, because it's truly visceral and has an order that speaks directly to us, no bullshit.

  • Drones and Sneakers

    Watched the movie litterally like 20 times and didn’t realize the twins were actually just one person…

  • Chronically Curious

    I liked the video, but I wish there was much less usage of clips from the bonus features. I just came from those and didn't want to watch them again. Your point about the cinematography was great, but more of that and less lifts from the features would be great and improve the video for everyone and not just those who haven't had access to the bonus features.

  • Thomas Sorensen

    OP, I think this is the first video of yours I've ever stumbled onto. As someone who enjoys browsing the many film-critique kind of YouTube videos & has acted, directed, and designed, I must say yours is a cut about the rest.

    Edit: I can't believe this is OP's only content. I hope he's still doing something along these lines, I think he'd be good at it.

  • Clare Chenoweth

    Man, some of these video essayists are reaching with completely erroneous analysis. The motivation for shot choices outlined here has absolutely nothing to do with the actual intent of the filmmaker. Bad, bad, bad, bad, bad essay. Just terrible. literally everything being pointed out is film school 101 or completely wrong…. ugh.

  • Han-Ter Park

    This was great, man. No doubt it took a lot of time to put it together, but I'm sure I won't be alone in appreciating any future analysis pieces.

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