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 Posted:   Nov 2, 2013 - 5:35 PM   
 By:   First Breath   (Member)

I finally saw the film. Can't say I was particularly impressed, I guess the reason why it was succcessful was that it actually told the Facebook story. Had it been about some other more unknown company, the film may had vanished without a trace.

The score was different and quite refreshing, and I love the fact that a score like this can actually win an Oscar. I wouldn't call it a masterpiece though, and it's not a CD I have any plans of buying, but a track like Intriguing Possibilities nails the story musically, in a Jan Hammer kind-of-way.

http://www.youtube.com/watch?v=2vvs4__2XRI

 
 Posted:   Nov 2, 2013 - 11:14 PM   
 By:   Shaun Rutherford   (Member)

Yeah, I didn't get all the hate for it, though I did think Inception deserved the win that year. "Intriguing Possibilities" is one of the highlights for me, too.

 
 
 Posted:   Nov 3, 2013 - 3:01 AM   
 By:   Thor   (Member)

The film is a little too dialogue-heavy for my taste, but I love the moments where Fincher's visionary style came to the fore, like the rowing sequence. And the photography.

I also really dig the score, and thought it was a well-deserved Oscar winner. I love this kind of textural, electronic writing. It was in many ways a musical mirror of the technological aspects of the story.

 
 Posted:   Nov 3, 2013 - 5:44 AM   
 By:   Mr. Jack   (Member)

The fact that this won an Oscar illustrates just how dire film music has become over the last decade.

 
 
 Posted:   Nov 3, 2013 - 5:57 AM   
 By:   Thor   (Member)

^
^
Now there's a classic FSM response if there ever was one.

 
 
 Posted:   Nov 3, 2013 - 10:50 AM   
 By:   MikeP   (Member)

The hate for the score did go a bit overboard ( i may have contributed a tiny tiny bit razz ) , but how in hell did it win an Oscar ( or even the Golden Globe ) ?

For me it really didn't even make enough of an impression to even make it hate it big grin It was just... there ... the music never really supported or enhanced the drama at all.

There are other recent scores which I do feel are just completely awful ( like the score for the recent Dwayne Johnson thriller Snitch ), but this isn't really one. It just was kinda - there. Eh, this is one of those headscratchers I'll never ever understand. smile





 
 Posted:   Nov 3, 2013 - 11:55 AM   
 By:   johnmullin   (Member)

I worked with Atticus Ross recently, and he's a lovely guy who wrote some terrific music for us. I think that he and Trent Reznor wrote the right score for THE SOCIAL NETWORK… people on this board seem to consistently forget that that is what film music is all about.

I don't especially enjoy listening to SOCIAL NETWORK or the English-language GIRL WITH THE DRAGON TATOO, but in both cases, those guys seemed to understand what the movies were and what kind of music they needed, and they hit the mark both times.

 
 Posted:   Nov 3, 2013 - 11:59 AM   
 By:   Erik Woods   (Member)


For me it really didn't even make enough of an impression to even make it hate it big grin It was just... there ... the music never really supported or enhanced the drama at all.


This!

-Erik-

 
 
 Posted:   Nov 3, 2013 - 12:36 PM   
 By:   Thor   (Member)

I worked with Atticus Ross recently, and he's a lovely guy who wrote some terrific music for us. I think that he and Trent Reznor wrote the right score for THE SOCIAL NETWORK… people on this board seem to consistently forget that that is what film music is all about.

I don't especially enjoy listening to SOCIAL NETWORK or the English-language GIRL WITH THE DRAGON TATOO, but in both cases, those guys seemed to understand what the movies were and what kind of music they needed, and they hit the mark both times.


Exactly. Not every film needs to slap you over the head with heavy musical rhetorics. In the case of SOCIAL NETWORK -- which was so dialogue-heavy -- it was more a matter of creating ambiance. Which made the non-dialogue sequences all the more important -- like the rowing sequence with the cool synth version of "Hall of the Mountain King" by Grieg.

I love scores that are more discrete like that.

 
 
 Posted:   Nov 4, 2013 - 6:11 AM   
 By:   MikeP   (Member)





For the record, their Dragon Tattoo score worked much better, especially the parts that copy Tangerine Dream wink

 
 Posted:   Nov 6, 2013 - 8:16 PM   
 By:   nuts_score   (Member)

For the record, their Dragon Tattoo score worked much better, especially the parts that copy Tangerine Dream wink

Not really sure I hear a lot of Tangerine Dream in this score... care to elaborate?

 
 Posted:   Nov 9, 2013 - 9:50 AM   
 By:   First Breath   (Member)

^
^
Now there's a classic FSM response if there ever was one.


Yeah, that guy is as predictable as the bad weather in november.

 
 
 Posted:   Nov 9, 2013 - 3:31 PM   
 By:   The Beach Bum   (Member)

Not every film needs to slap you over the head with heavy musical rhetorics. In the case of SOCIAL NETWORK -- which was so dialogue-heavy -- it was more a matter of creating ambiance.

I agree. I thought the film was superb, and while my taste in film music is more "old school", The Social Network had the right kind of score. Both Zuckerberg or the Winklevoss twins were cold, unsympathetic characters so a melody-driven score would not have suited them.

 
 
 Posted:   Nov 9, 2013 - 3:46 PM   
 By:   MikeP   (Member)

For the record, their Dragon Tattoo score worked much better, especially the parts that copy Tangerine Dream wink

Not really sure I hear a lot of Tangerine Dream in this score... care to elaborate?


I don't have the soundtrack and have only seen the movie once, so I can't pinpoint exactly. But there was a scene, maybe a montage - seem to remember it was something basically indoors, Craig typing, maybe a research montage or something - yes this IS as vague as possible big grin - but there was a track that to me sounded very very much like Tangerine Dream's Phaedra/ Rubycon style. Some other ambient passages also had that vibe to me.

It was enough to stand out to me while watching and think "oh wow, some TD influence here". Now it was maybe by accident or totally unrelated but just sounded like TD to me - but that was the biggest memory I had from the score.

Anyway I don't wanna be like some more recent dear departed board members razz . I love electronic scores, am a huge defender of them, but Social Network, for me, just wasn't a good one. In no way was it Oscar material, but hey, how many times do most of us agree with the Academy on that one?

I know the score and the movie have an audience and that's great. Carry on. All is well. Peace, love and understanding.

 
 Posted:   Nov 9, 2013 - 3:49 PM   
 By:   LeHah   (Member)

I greatly enjoy Fincher's output so when I say I despised this film, no one is more surprised than I.

Basically: everyone in the film is an unmitigated asshole and I'm forced to watch these sociopathic children for untold minutes upon hours upon eternities.

Didn't take to the score either, but except for Alien 3 and Zodiac, don't cotton much to Fincher's approach to film scoring.

 
 
 Posted:   Nov 9, 2013 - 4:15 PM   
 By:   joan hue   (Member)

I loved this movie and have watched it several times. I thought the dialogue was brilliant and the acting and characterizations outstanding. I did not think the music deserved an Oscar, and I wouldn't play it as a stand-alone. However, I did think the music was a perfect marriage to this particular kind of movie. I find the music rather cold, distant and "techie" sounding, just like the main character. This particular music served the motion picture.

 
 Posted:   Nov 9, 2013 - 6:37 PM   
 By:   Mr. Jack   (Member)

^
^
Now there's a classic FSM response if there ever was one.


Yeah, that guy is as predictable as the bad weather in november.


As predictable as today's lousy film music.

 
 Posted:   Nov 10, 2013 - 12:39 AM   
 By:   Mr Greg   (Member)

I love the moments where Fincher's visionary style came to the fore, like the rowing sequence. And the photography.

This much I certainly agree with.

The score? For my tastes, dull and just...meh....I don't know...I couldn't do any better I guess...

 
 Posted:   Nov 10, 2013 - 8:10 AM   
 By:   nuts_score   (Member)

I don't have the soundtrack and have only seen the movie once, so I can't pinpoint exactly. But there was a scene, maybe a montage - seem to remember it was something basically indoors, Craig typing, maybe a research montage or something - yes this IS as vague as possible big grin - but there was a track that to me sounded very very much like Tangerine Dream's Phaedra/ Rubycon style. Some other ambient passages also had that vibe to me.

Ah, I think I catch your drift now. I think the piece you might be referring to is "Intriguing Possibilities" on the album. I'm hearing it now, in the elements, though the Reznor/Ross combo makes my mind wander to thoughts of Brian Eno and Robert Fripp collaborations, especially their (being Reznor and Ross) work on The Girl with the Dragon Tattoo.

 
 Posted:   Feb 28, 2014 - 9:25 AM   
 By:   Loren   (Member)

The score was different and quite refreshing, and I love the fact that a score like this can actually win an Oscar.

I still love this score and
actually it makes me hope that a modern masterpiece like GRAVITY could win the Academy award as well!!

 
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