Ben_j, on 24 October 2010 - 09:14 AM, said:
Brilliant soundtrack. I wonder if this OST will become a classic like Fight Club
The ways in which Trent Reznor & Atticus Ross were successful with this soundtrack reminds me of the ways in which the Dust Brothers were successful in orchestrating the Fight Club soundtrack. There are a lot of "grating" and industrial noises creatively mixed in to build necessary tension at varying levels throughout the film. Arguably, however, The Social Network has a much more pleasing score to listen to in terms of wider audience appeal.
Overall, there are a wide range of elements layered together from orchestral to retro 80's synth-pop that make this an outstanding movie score. I had listened to the 5 free tracks Trent gave out on the internetz and had been enjoying it immensely. It was interesting to recognize the score come up in different parts of the film and realize that I had spent time wondering what the corresponding scene would be like in the movie. Everything lived up to my expectations in the film, though I have to say most of all I enjoyed the film for the clever writing and the score.
None of the cast failed in their roles, but there didn't seem to be any outstanding performances, save for perhaps the lead role, but I noticed a lot of similarities between the character of Mark Zuckerberg and the character in Zombieland.
Oh, I suppose I should credit David Fincher for creating yet another awesome film. He has yet to fail, even in his bombs.
And, okay--the sound editing and editing in the film was amazing as well. I don't know if any of you who saw the film caught the scene near the end where Mark is sitting apart from the commotion going on with the "millionth FB user" and you hear muted party music, then the scene cuts to the house outside where that party music is being played, then the camera tracks into the house moving "through" the wall of the house (actually a quick wipe-edit) and then the full range of sound cuts in. Brilliant bit of editing where the muted sound ties in perfectly with Mark's alienation of the moment (where you feel like you're outside of a club and not able to join in the party) seamlessly cutting to the after-party.
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And on one last note, Trent Reznor continually displays an undeniable ability to create great pop music. He clearly knows what makes a catchy melody, and knows how to work with those melodies to bring enough familiarity to his music to create a comfortable space to enter into, but then offer something else alongside it.
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