From Facebook to ‘Fuck-You Flip-Flops’: How Aaron Sorkin and David Fincher Made ‘The Social Network’ a Fiery Word-Off

Adam Buffery
May 28, 2019

I’ve been Mark Zuckerberg—there are times in my life where I’ve acted that way. There are times in my life where I’ve been Eduardo Saverin—where I’ve gone and made a scene and regretted it and where I’ve been emotional and felt silly and stupid. And there are times when I’ve felt self-righteous and I’ve acted out in this other way… Look, what Mark does is no different than directing a movie—it’s what I do for a living every day. You grow something, and your job is to grow it well and to make sure it gets enhanced and to take care of it. That’s the subject of the movie. And if you have to hurt people’s feelings in order to protect that thing, that’s what you have to do. It’s a responsibility. You want to love every character in the movie. You want to be able to understand them. You want to be able to relate to them. But, as a director, the characters’ behaviors are inevitably related to facets of moments in your own life. You look at the work and say, Maybe I do know what that is. I’ve been the angry young man. I’ve been Elvis Costello. I know what that’s like. The anger is certainly something I felt that I could relate to—the notion of being twenty-one and having a fairly clear notion of what it is you want to do or what it is you want to say and having all these people go, well, we’d love to, we’d love you to try. Show us what it is that you want to do. It’s that whole condescending thing of having to ask adults for permission because the perception is that you’re too young to do it for yourself. And that’s why I understood Mark’s frustration. You have a vision of what this thing should be. And everyone wants to tell you, Oh, well, you’re young. You’ll see soon enough. —David Fincher

The 21st century computer-scribes who work behind the scenes behind the screens, creating culture and beauty with code, got an anti-hero to remember on the silver-screen in 2010 with David Fincher’s 8th feature film. From a once-in-a-generation, “holy shit” screenplay by Aaron SorkinThe Social Network is a movie about a 19-year-old Harvard student creating Facebook while losing the relationships in his life. It is an examination of a social outsider who built one of the biggest “clubs” the world’s ever seen, and it’s about the new age zooming past the old. It’s about ignorance in high places, that awkward moment when powerful hired officials prove they have no concept of what simple features on Facebook are in a hearing on Facebook security. It’s about a new language of coding that’s sweeping and running the globe, and about treating coding with the respect it deserves. It’s about coders being taken as seriously as writers, musicians, filmmakers, film producers, painters, costume-designers, photographers, and all other artists and creators. It’s about attaining power even though you’re socially anxious or awkward, and about finding that inner drive that helps you accomplish your goals. It’s about what happens when you lose your humility in your thirst for greatness, and about the fragility of the line between “passionate” and “ass-hole.” The Social Network is simultaneously about a seismic shift in the zeitgeist and your best friend getting your company in trouble for feeding his fraternity chicken a piece of chicken. It’s about creating and solidifying one’s identity, and everything and anything else that goes with what Fincher once jokingly referred to as “the Citizen Kane of John Hughes movies.”

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Film stills by Merrick Morton (Sony Pictures)

Other in-depth articles on films by David Fincher on Cinephilia & Beyond:

Alien3: “Take all of the responsibility, because you’re going to get all of the blame”

Se7en: A Rain-Drenched, Somber, Gut-Wrenching Thriller that Restored David Fincher’s Faith in Filmmaking

Downwards Is the Only Way Forwards: Welcome to David Fincher’s The Game

Fight Club’: David Fincher’s Stylish Exploration of Modern-Day Man’s Estrangement and Disillusionment

Fincher’s Zodiac As Easily One Of The Best Thrillers Of The Millennium So Far

Cinephilia & Beyond, one of the finest websites dedicated to the art and craft of Film, is struggling financially and needs your support: DONATE

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Just a small sample of all the precious filmic resources bestowed by Cinephilia & Beyond:

1993. Alien3 01

Alien3: “Take all of the responsibility, because you’re going to get all of the blame”

1995. Se7en

Se7en: A Rain-Drenched, Somber, Gut-Wrenching Thriller that Restored David Fincher’s Faith in Filmmaking

1995. The Game

Downwards Is the Only Way Forwards: Welcome to David Fincher’s The Game

1999. Fight Club

Fight Club: David Fincher’s Stylish Exploration of Modern-Day Man’s Estrangement and Disillusionment

2007. Zodiac

Fincher’s Zodiac As Easily One Of The Best Thrillers Of The Millennium So Far

1982. David Fincher at ILM

Cinephilia & Beyond, one of the finest websites dedicated to the art and craft of Film, is struggling financially and needs your support: DONATE

‘Se7en’: A Rain-Drenched, Somber, Gut-Wrenching Thriller that Restored David Fincher’s Faith in Filmmaking

(May 27, 2017)
Cinephilia & Beyond

Slightly more than 22 years ago, David Fincher, a talented filmmaker who made music videos and commercials and was left by his directorial stint on his first feature Alien 3 so disillusioned and bitter he felt “he’d rather die of colon cancer than do another movie,” stumbled upon a script that would renew his faith in the filmmaking business. This particular piece was written by Andrew Kevin Walker, and was deemed too dark and bleak to succeed. The story was largely shaped by Walker’s experience of living in New York City for a couple of years, where he felt alienated, lonely and unhappy. Desperately trying to get his story made, Walker agreed to rewrite the screenplay on the demand of director Jeremiah Chechik (Christmas Vacation), and it was this altered version that should have ended up in Fincher’s hands. But the studio made a mistake, delivering Walker’s original piece to Fincher, who was immediately intrigued and, even when the mistake was explained, chose to insist on the utter darkness Walker envisioned. By mere happenstance, therefore, Se7en found its director and made the first, crucial step on its way to cinematic immortality. […]

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