The Social Network (2010)

PG-13 | 120 mins | Drama | 1 October 2010

THIS TITLE IS OUTSIDE THE AFI CATALOG OF FEATURE FILMS (1893-1993)
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Director:

David Fincher

Writer:

Aaron Sorkin

Cinematographer:

Jeff Cronenweth

Production Designer:

Donald Graham Burt

Production Companies:

Columbia Pictures, Michael De Luca Productions
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HISTORY

The Social Network was named one of AFI’s Movies of the ... More Less

The Social Network was named one of AFI’s Movies of the Year

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SOURCE CITATIONS
SOURCE
DATE
PAGE
Los Angeles Times
1 Oct 2010
p. 1.
New York Times
24 Sep 2010
p. 1.
CAST
NAME
CREDITED AS
CREDIT
+
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXT
A Scott Rudin/Michael De Luca/Trigger Street Production; A David Fincher Film
NAME
CREDITED AS
CREDIT
DIRECTORS
Unit Prod Mgr
1st asst dir
2d asst dir
2nd second asst dir
2d unit dir, Boston unit
PRODUCERS
Exec prod
Assoc prod
Line prod, UK/Henley unit
2d asst dir, UK/Henley unit
1st Asst cam, UK/Henley unit
2d asst cam, UK/Henley unit
WRITER
PHOTOGRAPHY
Dir of photog
"A" cam opr
First asst "A" cam
Second asst "A" cam
First asst "B" cam
Best boy electric
Rigging gaffer
Best boy rigging electric
Still photog
Dir of photog, UK/Henley unit
Aerial DOP, UK/Henley unit
ART DIRECTORS
Art dir
Illustrator
Art dept coordinator
Art Dept researcher
Storyboard artist
Art dir, Boston unit
Art dir, UK/Henley unit
FILM EDITORS
Asst ed
Asst ed
Post Prod supv
Post Prod coordinator
SET DECORATORS
Set dec
Prop master
Set des
Set des
Set des
Set des
Asst set dec
Leadman
On-set dresser
Asst prop master
Asst prop master
COSTUMES
Cost des
Key costumer
Key costumer
Costumer
Costumer
Cost supv, Boston unit
Cost supv, UK/Henley unit
MUSIC
Mus ed
Mus consultant
Soundtrack on
SOUND
Sound design
Prod mixer
Post sd services
A Lucasfilm Ltd. Company, Marin County, California
Re-rec mixer
Re-rec mixer
Supv sd ed/re-rec mixer
Dial ed
ADR ed
Foley supv
Asst supv sd ed
Asst sd eff ed
Asst re-rec mixer
Foley artist
Foley artist
Foley mixer
ADR mixer
ADR Recordist
Loop Group
VISUAL EFFECTS
Spec eff coordinator
Spec eff foreman
Spec eff technician
Visual eff
Visual eff supv
CG eff supv
Visual eff prod
Flame artist
Flame artist
Flame artist
Flame artist
Flame artist
Flame artist
Flame artist
Flame artist
Flame artist
CG eff artist
CG eff artist
Visual eff by
Visual eff supv/lead artist
Visual eff prod
CG artist
CG artist
Compositor
Roto artist
Digital matte paintings by
Additional visual eff by
Exec prod
Visual eff supv
Composite supv
Visual eff artist
Visual eff artist
Graphic artist
Graphic artist
Matchmove artist
Additional Visual eff by
Visual eff supv
Digital artist
Digital artist
Visual eff prod
Visual eff prod
Additional Visual eff by
VFX exec prod
CG supv
VFX coordinator
VFX editorial prod
Dynamics & Particles
Dynamics & Particles
matte painting
Compositing
Compositing
Compositing
Data wrangler
Additional visual eff by
VFX prod
VFX supv
2D artist
2D artist
2D artist
CG artist
Image processing by
MAKEUP
Makeup dept head
Key makeup artist
Hair dept head
Key hair stylist
Hair and makeup, UK/Henley unit
PRODUCTION MISC
Casting
Key grip
Best boy grip
Dolly grip
Key rigging grip
Best boy rigging grip
Video assist operator
Loc mgr
Asst loc mgr
Asst loc mgr
Prod coordinator
Asst prod coordinator
Prod secretary
Prod controller
Loc accountant
1st asst accountant
2nd asst accountant
Payroll accountant
Construction coordinator
Gen foreman
Labor foreman
Greens foreman
Standby painter
Asst to Mr Fincher
Exec asst to Mr. Rudin
Asst to Mr. Rudin
Asst to Mr. Rudin
Asst to Ms. Chaffin
Asst to Mr. De Luca
Asst to Mr. Brunetti
Asst to Mr. Sorkin
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Casting assoc
Extras casting
Craft service
Rowing tech adv
Rowing tech adv
Researcher
Transportation capt
Rigging gaffer, Boston unit
Loc mgr, Boston unit
Prod office coordinator, Boston unit
Construction coordinator, Boston unit
Leadman, Boston unit
Boston casting
2d unit marine coordinator, Boston unit
Prod Supv, Baltimore unit
Loc mgr, Baltimore unit
Prod services, UK/Henley unit
Prod mgr, UK/Henley unit
Key grip, UK/Henley unit
Key grip, UK/Henley unit
Film pilot, UK/Henley unit
Loc mgr, UK/Henley unit
Loc mgr, UK/Henley unit
Prod coordinator, UK/Henley unit
Rowing coach, UK/Henley unit
Marine coordinator, UK/Henley unit
Main titles by
End titles by
Tech consultant
Web Tech consltant
Content clearance coordinator
Stock footage research
Collaboration powered by
COLOR PERSONNEL
Digital Intermediate by
Digital intermediate colorist
Digital intermediate prod
SOURCES
LITERARY
Based on the book The Accidental Billionaires: The Founding of Facebook, a Tale of Sex, Money, Genius and Betrayal by Ben Mezrich (New York, 2009)
AUTHOR
SONGS
"Ball and Biscuit," Written by Jack White III, Performed by The White Stripes, Courtesy of Third Man Records
"Man Fi Cool," Written by Rodney Smith, Performed by Roots Manuva, Courtesy of Big Dada Recordings
"Dreadlock Holiday," Written by Eric Stewart and Graham Gouldman, Courtesy of Avid Ltd., "Dreadlock Holiday," Written by Eric Stewart and Graham Gouldman, Courtesy of licensemusic.com ApS, by arrangement with Nola Leone/Ace Music Services, LLC
+
SONGS
"Ball and Biscuit," Written by Jack White III, Performed by The White Stripes, Courtesy of Third Man Records
"Man Fi Cool," Written by Rodney Smith, Performed by Roots Manuva, Courtesy of Big Dada Recordings
"Dreadlock Holiday," Written by Eric Stewart and Graham Gouldman, Courtesy of Avid Ltd., "Dreadlock Holiday," Written by Eric Stewart and Graham Gouldman, Courtesy of licensemusic.com ApS, by arrangement with Nola Leone/Ace Music Services, LLC
"So I Wait," Written by Thomas Brennan and Greg Paxton, Performed by Three Hour Tour, Courtesy of Thomas Brennan & Greg Paxton Productions
"I Swear," Written by Gary Baker and Frank Myers, Performed by UCLA's Bruin Harmony
"Ital Visions," Written by Rodney Smith, Performed by Roots Manuva, Courtesy of Big Dada Recordings, By arrangement with Third Side Music
"Like a Bad Girl Should," Written by Lux Interior and Ivy Rorschach, Performed by The Cramps, Courtesy of Vengeance Records
"West Coast Poplock," Written by Mikel Hooks, Ronnie Hudson, Lary Troutman and Roger Troutman, Performed by Ronnie Hudson, Courtesy of Thump Records
"California Uber Alles," Written by Jello Biafra, East Bay Ray, Klaus Flouride, John Greenway, Darren Henley and Dead Kennedys, Performed by Dead Kennedys, Courtesy of Decay Music
"In the Hall of the Mountain King Op. 23," Written by Edvard Grieg, Arranged, produced and performed by Trent Reznor and Atticus Ross
"The Sound of Violence," Written by Hubert Blanc-Francard, Philippe Cerboneschi and Stephen Edwards, Performed by Dennis De Laat, Courtesy of Spinnin' Records
"Crazy Baldhead," Written by Rita Marley and Vincent Ford, Performed by Bob Marley and the Wailers, Courtesy of Island Def Jam Music Group under license from Universal Music Group
"Arrival of the Queen of Sheba from Solomon," written by George Frideric Handel, Performed by Lumiere Strin Quartet, Courtesy of Lumiere Records, Inc.
"Underground Rapstar" (Post-Mortem remix), Written by Chris Palko and DJ Mighty Mi, Performed by Cage, Courtesy of Chris Palko Music
"Hesitation" (instrumental version), Written by Jon Bernson, Performed by Exray's, Courtesy of Howells Transmitter
"Black Book Lodge," Written by Stig Amundsen, Frithjof Jacobsen, Arne Skagen, Rolf Uggen, and Danny Young, Performed by Gluecifer, Courtesy of Sony Music Entertainment Norway by arrangement with Sony Music Licensing
"Bleed Forever," Written by Huw Bunford, Cian Ciaran, Dafydd Ieuan, Guto Pryce and Gruff Rhys, Performed by Super Furry Animals, Courtesy of XL Recordings Ltd. and courtesy of BMG Rights Limited and Sony Music Entertainment UK Limited
"Baby, You're a Rich Man," Written by John Lennon and Paul McCartney, Performed by The Beatles, Courtesy of Capitol Records LLC under license from EMI Film & Television Music.
+
DETAILS
Release Date:
1 October 2010
Premiere Information:
New York Film Festival screening: 24 September 2010
Los Angeles and New York openings: 1 October 2010
Copyright Claimant:
Columbia Pictures Industries, Inc., Beverly Blvd LLC
Copyright Date:
30 September 2010
Copyright Number:
PA1698016
Physical Properties:
Sound
Dolby Digital, SDDS, DTS
Color
Prints by DeLuxe
gauge
35mm release, Shot on RED digital camera
Widescreen/ratio
2.35:1
Lenses/Prints
Duration(in mins):
120
Length(in feet):
10,800
Length(in reels):
12
MPAA Rating:
PG-13
Country:
United States
Language:
English
PCA No:
45861
Passed by NBR:
No
SYNOPSIS

       In order to get back at his former girl friend, Boston University co-ed Erica Albright, Harvard student Mark Zuckerberg uses his computer blog to denigrate Erica on the Internet. Not content with this, he also creates a program he calls Facemash, with some input from his friend Eduardo Saverin, that will allow Harvard students to compare posted photos of female students and rate how “hot” they are compared to others at the school. The site is immediately popular and in the course of only a few hours receives twenty-two thousand hits and shuts down Harvard’s computer system. Fellow Harvard students, the twins Tyler and Cameron Winklevoss and their associate, Divya Narendra, learn about Zuckerberg’s exploit, and approach him to be their programmer for a social media website they envision called The Harvard Connection. But Zuckerberg is also obsessed with getting into a Harvard Final Club and is convinced that such membership would be the key to his future social and business success. However, because he is Jewish and does not come from “old money,” he sees it as unlikely that he will gain membership in one of these prestigious societies. When the Winklevoss twins take him to the Phoenix Club, in which they are members, but do not allow him to go past the lobby because he is not a member, Zuckerberg at first agrees to work with them, but instead spends his time developing his own social networking site he calls The Facebook. As The Facebook takes shape, Zuckerberg again turns to his friend Eduardo to put up the money they will need to get the ... +


       In order to get back at his former girl friend, Boston University co-ed Erica Albright, Harvard student Mark Zuckerberg uses his computer blog to denigrate Erica on the Internet. Not content with this, he also creates a program he calls Facemash, with some input from his friend Eduardo Saverin, that will allow Harvard students to compare posted photos of female students and rate how “hot” they are compared to others at the school. The site is immediately popular and in the course of only a few hours receives twenty-two thousand hits and shuts down Harvard’s computer system. Fellow Harvard students, the twins Tyler and Cameron Winklevoss and their associate, Divya Narendra, learn about Zuckerberg’s exploit, and approach him to be their programmer for a social media website they envision called The Harvard Connection. But Zuckerberg is also obsessed with getting into a Harvard Final Club and is convinced that such membership would be the key to his future social and business success. However, because he is Jewish and does not come from “old money,” he sees it as unlikely that he will gain membership in one of these prestigious societies. When the Winklevoss twins take him to the Phoenix Club, in which they are members, but do not allow him to go past the lobby because he is not a member, Zuckerberg at first agrees to work with them, but instead spends his time developing his own social networking site he calls The Facebook. As The Facebook takes shape, Zuckerberg again turns to his friend Eduardo to put up the money they will need to get the web site up and running and offering him thirty percent of the new company in return for his financial investment. The partnership results in the formation of a corporation. The new social networking website succeeds in attracting ever more student participants, and begins to expand to other schools across the country. Narendra and the Winklevoss twins are outraged, believing Zuckerberg has stolen their idea, and though reluctant at first, they eventually decide to sue him. The Facebook attracts the attention of Sean Parker, founder of the music-sharing website, Napster, who beguiles Zuckerberg with the idea that he will gain respect for having created something cool, but that he also needs to hold on to his creation and not be forced out before he can convert the idea into big money. Parker also suggests they drop the “The” and simply call the site Facebook. Eduardo opposes Parker’s involvement, and remains in the east trying to raise money through potential advertisers, while Zuckerberg moves Facebook’s operation to California. Without Eduardo’s knowledge, Parker arranges for venture capitalists to invest in Facebook. At first elated at the company’s good fortune, Eduardo signs new incorporation papers that seemingly offer an enhanced interest in the company; however, he later finds out the papers he signed allow for his share to be diluted as new shares are offered to the public. Eduardo also brings suit against Zuckerberg. The dirty business machinations and sometimes distasteful personal lives of the parties involved in the various law suits are revealed in pre-trial depositions. Ultimately, Zuckerberg is persuaded to settle the lawsuits in order to obtain non-disclosure agreements that will keep Facebook’s dirty linen out of the public arena. Sitting alone in his lawyer’s conference room, Zuckerberg pulls up Erica Albright’s Facebook page and sends her a “friend request.” As Zuckerberg impatiently and repeatedly hits the refresh button to see if she has responded, it is revealed that ultimately the Winklevoss twins settled for $65 million and signed non-disclosure agreements; that Eduardo Saverin received an undisclosed settlement and had his name restored to the Facebook masthead as co-founder of the company; and that, even after all of this, Mark Zuckerberg is the youngest billionaire in the world. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award
The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.