is one of the all time greats, and I think that score frames the film in a very identifiable and brave and unusual setting, that really elevates that film up to what it is, certainly for me it's a pretty integral part of what it is.
So that was referenced as things to be thinking about when we were creating
The Social Network
I went into my studio with my partner Atticus Ross and we just started thinking about the moods and the themes. We generated most of what ended up in the film in about three weeks.
David responded positively and we started setting them down in scenes, and this is a new world for me. And I watch a lot of films, bit I have to admit, I rarely... I watch them as a movie-goer, not so much as a composer studying how a score works under a scene, I kind of just want to enjoy the film.
I find myself not really paying much attention to the score separately unless it either jumps out of the screen as being excellent or terrible.
So when I started thinking about how to score this film, I said, 'Well, I don't really know what I'm doing here, but let me just try to emotionally evoke what I feel might really frame this film, propel some scenes or maybe bring out a bit of darkness, or tap into the underlying emotion underneath what's happening.
I was very, very, kind of, blown away when we put the music over certain scenes, because they weren't composed specifically for these scenes.
It became a different film. And that first cut that I saw, which just had some music put in, different music, and its funny how different the film seems.
The opening, the title segment, right after the bar break-up, when Zuckerberg's walking across the campus, that in a very early cut just had some kind of college rock music.
And once you get out of the bar scene, the break-up, and now you can catch your breath, and the titles rolling, and you hear a kind of, everything's okay, college rock song, the movie seems much more light-hearted..."