The Social Network (Spoilers)

I didn't hate Benjamin Button, it just didn't connect on me on any type of emotional level at all. My least favorite Fincher movie, and that includes Alien3.

I've noticed a backlash against The Social Network lately for some reason, and I don't understand why.
 
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I will be buying this immediately.
 
Joe Kalicki said:
I've noticed a backlash against The Social Network lately for some reason, and I don't understand why.
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I think a lot of people just like to criticize anything that is popular, or popularly perceived as being good, as a way to set themselves apart.

Did I mention that I ****in' hate Inception?
 
LOLburgerz, INCEPTION couldn't even make it's money back it was so bad.

At least THE LAST AIRBENDER keeps me warm at night.
 
Bass said:
I really liked that part. I liked how it was shot with a tilt-shift (which is why the depth of field and focus is so tight and blurring outside) which makes everything look like a miniature. They did this throughout the film, I suppose to make everyone look more petty and emphasise how everyone is rather tunnel-focused on their desire to the exclusion of everything else.
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David Fincher: No. No. You can't do a tilting lens board kind of stuff on boat mounts. It was all splits. We could only have 12 camera positions at Henley, so all of the close ups of them was shot without the 250,000 people that come to Henley and line the shores, so we had to add all that stuff in later. I mean, we had eleven or thirteen days from the time we shot the material at Henley to when we had to lock picture.

So, we had to find a length and dramatic piece of music that we could slug in and go, "Okay, our scene is going to be a minute and forty-four seconds" or whatever. Then we went out and shot the material and cut the material to that piece of music, which we already agreed on so we had the dramatic structure of the thing. We had to go and collect the pieces.

When you see the guys rowing and all the stuff that is going by on the banks on either side of the boats, those are all still photographs of people at Henley. We went out and took 3,000 pictures of people with parasols and people in striped suits. We didn't have the time to shoot it motion picture, we just had a bunch of stills.

So, I said "If we make focus very, very shallow then we'll get away with stills in the background. Just track the stills in behind and roto(scope) the people out of the foreground."

We shot… I think the most wide open we got was like a 2 or 2.3. We never got down to a 1.3, which is what we were sort of trying to do. But in the end it turned out to be okay because we could just take it and exaggerate the degree to which it was out of focus, later.

Quint: Have you gotten the tilt shift speculation a lot?

David Fincher: Yeah, I mean there's a lot of would-be know-it-alls.

Quint: (laughs) And now I'm in the would-be know-it-all camp!

David Fincher: (laughs) No, that's a way of doing it and that's certainly the way you would have had to have done it before Photoshop. Like, Z-depth; that stuff is readily available. And in the end the degree to which it is done well… that's obviously the key to it.

They made so any mattes, thousands of frames of mattes had to be generated for it because in the wide shots, from the grandstands, we had the real race going one, which was probably two four-man boats instead of the eight-man boats. So, to get the crowds in we had to shoot a race that was actually taking place.

And then when our race came up because it was fake and bogus everybody left the stands. They all went out and had caviar and champagne or whatever they have… oh, Pimm's Cup!

Then we had to strip our boats into the plates where the crowd was. So, you had to shoot one version of the race with the actual racers that didn't match our boats at all and then we'd shoot our boats in the midst of the race, but everybody would be leaving. Then you'd take those plates and split them together. The only way to really make that work was to make the backgrounds out of focus.

David Fincher rules.
 
ProjectX2 said:
David Fincher: No. No. You can't do a tilting lens board kind of stuff on boat mounts. It was all splits. We could only have 12 camera positions at Henley, so all of the close ups of them was shot without the 250,000 people that come to Henley and line the shores, so we had to add all that stuff in later. I mean, we had eleven or thirteen days from the time we shot the material at Henley to when we had to lock picture.

So, we had to find a length and dramatic piece of music that we could slug in and go, "Okay, our scene is going to be a minute and forty-four seconds" or whatever. Then we went out and shot the material and cut the material to that piece of music, which we already agreed on so we had the dramatic structure of the thing. We had to go and collect the pieces.

When you see the guys rowing and all the stuff that is going by on the banks on either side of the boats, those are all still photographs of people at Henley. We went out and took 3,000 pictures of people with parasols and people in striped suits. We didn't have the time to shoot it motion picture, we just had a bunch of stills.

So, I said "If we make focus very, very shallow then we'll get away with stills in the background. Just track the stills in behind and roto(scope) the people out of the foreground."

We shot… I think the most wide open we got was like a 2 or 2.3. We never got down to a 1.3, which is what we were sort of trying to do. But in the end it turned out to be okay because we could just take it and exaggerate the degree to which it was out of focus, later.

Quint: Have you gotten the tilt shift speculation a lot?

David Fincher: Yeah, I mean there's a lot of would-be know-it-alls.

Quint: (laughs) And now I'm in the would-be know-it-all camp!

David Fincher: (laughs) No, that's a way of doing it and that's certainly the way you would have had to have done it before Photoshop. Like, Z-depth; that stuff is readily available. And in the end the degree to which it is done well… that's obviously the key to it.

They made so any mattes, thousands of frames of mattes had to be generated for it because in the wide shots, from the grandstands, we had the real race going one, which was probably two four-man boats instead of the eight-man boats. So, to get the crowds in we had to shoot a race that was actually taking place.

And then when our race came up because it was fake and bogus everybody left the stands. They all went out and had caviar and champagne or whatever they have… oh, Pimm's Cup!

Then we had to strip our boats into the plates where the crowd was. So, you had to shoot one version of the race with the actual racers that didn't match our boats at all and then we'd shoot our boats in the midst of the race, but everybody would be leaving. Then you'd take those plates and split them together. The only way to really make that work was to make the backgrounds out of focus.

David Fincher rules.
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Cool, thanks for putting that up!
 
Ice said:
Watched it today. Incredible. It definitely deserved all the awards it won and will win.
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:shock: ARE YOU FROM THE FUTURE HOW CAN YOU KNOW THESE THINGS
 
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