September 18, 2010 by staff
Mark Zuckerberg, I stuffed Aaron Sorkin. It arrived the day before our first meeting, and it seemed appropriate interaction with the man who wrote on social networking, the film is fast becoming the unofficial original fable perhaps the phenomenon of cultural definition this still new century, first dramatic exploration of exactly how a virtual world was created. Pierce, as more than 500 million Facebook users know, is the lowest form of communication in not quite the utopia that Mark Zuckerberg, founder of the company 26 years, is built equivalent broadband then a grunt, or a cross whispered: “Hey.” Sorkin But pokes me back. What should I do with his lack of reaction? Had it with coldness N ‘ did not see my pocket? Is it just not the type of spades? Or as it probably is, I did not really poke Sorkin at all, but some users of Facebook, which happens randomly just to have affected his identity?
Such are the vagaries of communication in the infinitely popular and widely imperfect world of Facebook. But when I meet the real Sorkin next day for lunch in West Hollywood, he quickly made it clear that the issues matey how people connect or fail to connect in social media is fascinating bit modern him. He says unashamedly that knows almost nothing about the 2010 iteration of Facebook, adding that his interest in computer-aided communication goes only as far as e-mailing friends. This puts him in an awkward position, as with the Social Network (which opens Oct. 1), it has previously dramatized undramatizable-Invention of a website with the right spirit and resolute as he will probably become the wise go-to for countless “What does all this mean?” panels, editorials, forums, and meetings, he likes it or not the concert.
Sorkin script, which tells the story, or rather, the dispute, the conflicting stories of the founding of Facebook, can boast of more punch Zeitgeist-y alone. It resulted in a remarkable rarity in contemporary cinema studio: a film that Hollywood could restore some claim to the national cultural conversation, which, in the last decade, virtually co-opted by television. The social network is a film adults can fight over it rips in red meat of the art of business ethics of war, the necessity of Cruelty to post a new invention from concept to reality, the problem of saying “Nothing personal!” As the Shiv approaches coast of your colleague and the thorny question of just who has an idea, though, like the film version Zuckerberg says, “a guy who did a very good chair owes money to anyone who has ever made a chair. ” In addition, social network raises a number of questions about film ethics in particular, how much artistic license can and must be taken to transform a group of ambitious young men not far from 20 years of movie characters. He is intelligent, he is provocative, and he will be polarized.
Fortunately, Sorkin likes to fight, and he was steeling himself for it for over a year now, since it was announced he would write the script and David Fincher, director of Zodiac protean and The Curious Case of Benjamin Button, would make the movie. As to what Sorkin calls “the collective” Ugh “? First heard on the web, “people have reacted negatively to the video they have imagined it would be,” he said, “That has been friending people to each other and push each other and fall in love on social network. Which is obviously not. ”
Sorkin had something else in mind. He chose to focus on the years 2003-2005, during which Zuckerberg, an undergraduate student at Harvard, Facebook took a cracker joke one night FaceMash called to a site with 1 million users. Sorkin is less interested in the consecration that “Eureka!” Time it is in the counting of the cost, literally, in both cases it means a lot in the scenes flash-forward filing. The first is a lawsuit filed by fellow students Cameron and Tyler Winklevoss, a pair of (you can not make this up) from six to five identical-twin Olympic rowing and founding members of the crowd who claimed to cool Zuckerberg stole their idea, and ended up getting a report and 65 million on-court settlement (they are now fighting for more). The second is the split between Zuckerberg and his then-best friend Eduardo Saverini, which began as financial director of the fledgling company (it was originally called Facebook) and ended as the victim of One of backstabbing corporate and personal (his version) or his own myopic view of where the company needed to go (mostly Zuckerberg version). It is a complex, not particularly flattering, sometimes scathing portrait of the man the ubiquitous subway posters have labeled “Punk. Billionaire. Genius. “And who has already created enough controversy to a spokesman for Facebook to call the film” fiction “in a front page article in The New York Times. Presumably, this is not” millionaire “or” genius “who has raised hackles society.
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