So a few of the big November Oscar-bait releases are starting to trickle into Japan. It'll be nice to see movies on time again when I move back to the States; on the other hand, I have not once in three and a half years heard a sound out of any audience member in a Japanese movie theater. If someone was stabbed I think they'd rather bleed out than disturb the other audience members. I love this country.
Today I saw The Social Network. I know a guy who went to Harvard and was somewhere in the low ten thousands when Facebook still numbered their profiles—and anyone who remember those old days is truly ancient, having witnessed what Rashida Jones' attorney calls our "creation myth." I'm not sure I'm cool with the founders of Facebook being talked of in the same tones as the Hopi elders emerging from a hole in the ground, but that's not really up to me.
Trent Reznor really surprised me with his work on this movie. I knew Aaron Sorkin would write amazing dialogue. Aaron Sorkin could adapt the phone book into a collection fast-talking, witty autodidacts. And David Fincher knows when to make a row boat or restroom stall into an forbidding monoliths and when to just sit back and let Sorkin's dialogue do the talking.
But Reznor really knows how to heighten the mood in a way that we're not used to in Sorkin films. Hell, he manages to make the single most used piece of music in movie history seem new and fresh. That's not as big an accomplishment as inventing Facebook, but it's quite something.
Today I saw The Social Network. I know a guy who went to Harvard and was somewhere in the low ten thousands when Facebook still numbered their profiles—and anyone who remember those old days is truly ancient, having witnessed what Rashida Jones' attorney calls our "creation myth." I'm not sure I'm cool with the founders of Facebook being talked of in the same tones as the Hopi elders emerging from a hole in the ground, but that's not really up to me.
Trent Reznor really surprised me with his work on this movie. I knew Aaron Sorkin would write amazing dialogue. Aaron Sorkin could adapt the phone book into a collection fast-talking, witty autodidacts. And David Fincher knows when to make a row boat or restroom stall into an forbidding monoliths and when to just sit back and let Sorkin's dialogue do the talking.
But Reznor really knows how to heighten the mood in a way that we're not used to in Sorkin films. Hell, he manages to make the single most used piece of music in movie history seem new and fresh. That's not as big an accomplishment as inventing Facebook, but it's quite something.