Trent Reznor And Atticus Ross

David Fincher is a perfectionist in relation to how he shoots his films. When David Fincher’s Oscar-successful movie The Social Network hit screens in 2010, Facebook had 500 million users and a valuation of $25 billion — information which appear on the film’s closing slides, along with the data that Mark Zuckerberg had just lately been minted as the world’s youngest billionaire.\n\nThe company employs 17,000 folks in 15 international locations, boasts practically a third of the world’s population as users of its service, and has invested heavily in a buzzy, controversial challenge to make the internet (and Facebook) accessible to everyone on the planet.\n\nAnd Zuckerberg is the contemporary-faced poster boy for tech optimism and flashy philanthropy He’s left the door open for a facet-career in politics, and these days, he’s been taking part in with a notion of himself as the steward of the internet’s soul.\n\nThe Social Network was and still is likely one of the sharpest motion pictures I’ve ever seen — it’s the rare example where Sorkin’s reflex for writing witty, whiny men with outsized intellect and poorly disguised narcissism serves as an advantage as a substitute of a handicap.\n\nIt’s paced with the precision of a metronome, it’s shot and edited like a daylight-hours horror movie, it’s a more seductive scene portrait than Nearly Famous or Annie Hall, and it has no less than four career-high solid performances (Andrew Garfield, the quietly Oscar-snubbed!).