- MAX MINGHELLA SOCIAL NETWORK INDIAN MOVIE
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- MAX MINGHELLA SOCIAL NETWORK INDIAN TV
But it's an overrated aspect of screenwriting. Now many people love dialogue, and those people love this film. The acting, editing, music - everything else is overwhelmed by the dialogue. On this film, I'd have to guess that Sorkin outranked Fincher and thus the words couldn't be touched.įincher did the next-best thing, which was to have all the actors deliver the lines as fast as humanly possible so that they could cram those three hours of dialogue into two.
MAX MINGHELLA SOCIAL NETWORK INDIAN TV
But Sorkin comes from the TV world where the writer is king and the directors are interchangeable. If he did, he should have worked with Sorkin to refine the script to make it more cinematic.
MAX MINGHELLA SOCIAL NETWORK INDIAN FULL
So the script really has over 3 hours worth of dialogue.ĭavid Fincher, though, didn't have full directorial control with this film. On top of this, the script pages are dense with dialogue and have very little narrative description, which directors and producers know typically makes each page last much longer than a minute. For example, the screenplay for Avatar is 151 pages long for a 162-minute film.īut the script for The Social Network is a jaw-dropping 163 pages. Usually if anything the running time is greater than the script length. This is only approximate, since it doesn't take into account actors' delivery, editing, deleted scenes, credits, and so forth. Filmmakers go by the rough guide that a page of script equals a page of running-time.
MAX MINGHELLA SOCIAL NETWORK INDIAN MOVIE
To start with the script is far too long for a two-hour movie (you can find the screenplay here). The movie just ends up being scene after scene with people bickering at breakneck speed until the movie just ends. Far too much of it is sound and fury, signifying nothing. Critics love it because most of them (even broadcast critics) are wordsmiths themselves. What everyone considers its greatest asset turns out to be its greatest flaw: its vast dialogue. Others agree such as Patrick Goldstein from the LA Times, though he uses the comparison to television much more flatteringly. Nobody's always wrong, and White was spot-on with his observation that this was a television movie. It isn't Armond White-esque contrarianism to point this out. That's not to say that it's bad - it's a good film, perhaps very good, but just not great. If you really look closely at The Social Network as a film, there's simply not much going on.
Although many are brushing it off as a quirk of the preferential ballot that the PGA and the Oscars use for the 10 Best Film options, they actually made the smart, correct choice. Now along come the industry awards, and the PGA's preference for The King's Speech indicates that filmmakers are less enamoured of The Social Network's cinematic qualities. Critics have the advantage of seeing way more films than most because it's their job however, they tend to watch films more for content rather than for either easy enjoyment or for artistry and technique. But film critics have a different way of watching films than general viewers and filmmakers themselves. Question one of the greatest films of all time.
Critics everywhere deemed it to beĮdgy, relevant and current - so much so that you'd think it was without But so far, all the awards have been overwhelmingly critics' awards, including the Golden Globes. Up until this weekend's stunning upset victory by The King's Speech at the PGA Awards, the frontrunner and presumed lock to win every major awards event including the Oscars had been The Social Network. Minghella, Josh Pence, Rooney Mara, Brenda Song, Rashida Jones Jesse Eisenberg, Andrew Garfield, Justin Timberlake, Armie Hammer, Max Producer: Scott Rudin, Dana Brunetti, Michael De Luca and Cean Chaffin Writer: Aaron Sorkin, based on the book “The Accidental Billionaires” by Ben Mezrich
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