The Social Network (soundtrack)

The Social Network
TSN-cover-CD.jpg
Soundtrack album by
ReleasedSeptember 28, 2010
Recorded2010 (Los Angeles, California)
Genre
Length66:07
LabelThe Null Corporation
Producer
Trent Reznor and Atticus Ross chronology
The Social Network
(2010)
The Girl with the Dragon Tattoo
(2011)

The Social Network is a dark ambient soundtrack by Trent Reznor and Atticus Ross for David Fincher's film of the same name. It was released on September 28, 2010.[1] On September 17, a five-track sampler was also made available for free.[2] The film's score bears a similar sound to the previous Reznor/Ross 2008 collaboration, Ghosts I-IV, and even features two slightly reworked tracks from Ghosts : the track "Magnetic" (reworked from "14 Ghosts II") and "A Familiar Taste" (a remixed version of "35 Ghosts IV").

Critical reception of the soundtrack has been generally favorable, with high praise and widespread acclaim across the film industry being bestowed upon it. The score won nine major awards, including the 2010 Golden Globe award for Best Original Score – Motion Picture,[3] and the Academy Award for Best Original Score at the 83rd Academy Awards.[4]

Background

When Trent Reznor was originally asked by director David Fincher to score The Social Network, he initially declined, partly due to just finishing up a long touring and recording schedule.[5][6] After further reflecting, Reznor apologized and told Fincher to keep him in consideration, to which he told Reznor that he had been waiting for him to accept.

On July 1, 2010, Reznor publicly announced that he and Ross were taking part in the soundtrack on nin.com:

I was planning on taking some time off after the continual waves of touring that ended last fall and spend this year experimenting around with what would become How to Destroy Angels and some new NIN. Well, that plan didn't work out so well. David Fincher started inquiring about my interest in scoring his upcoming film, The Social Network. Yeah, the movie about the founding of Facebook. I've always loved David's work but quite honestly I wondered what would draw him to tell that story. When I actually read the script and realized what he was up to, I said goodbye to that free time I had planned. Atticus Ross and I have been on a creative roll so I asked him if he wanted to work on this with me and we signed on.

Months later, I'm happy to tell you we're nearing the completion of this and I couldn't be happier with how it's turned out. The level of excellence that David operates on is inspiring and the entire process has been challenging and truly enjoyable.

As Atticus and I near the end of the scoring process, we're looking forward to the next phase - distilling the large amount of music we've written for this down to a satisfying record (or two). The film opens Oct 1 in the US with the record likely available a couple of weeks ahead of that.

Speaking of the film... it's really fucking good. And dark![7]

The film initially had a "John Hughes vibe" to it, which concerned Reznor at first, but after meeting with Fincher and trying out different ideas with Atticus Ross, it turned out to work a lot more smoothly after all. Reznor recalled, "The whole process was fun for me because I liked answering to someone I respect and not having to make all the decisions for a change." Reznor and Ross would try sketches of songs, figuring they would have to revise it eventually, only for Fincher to get back to them and say, "I don't have anything bad to say – that's never happened before."[8]

The idea of recording "In the Hall of the Mountain King" came from a scene at the Henley Royal Regatta and trying to find a song that would match up with its Edwardian era garden party theme. Fincher told them to try a Wendy Carlos version of it, which Reznor admits "threw [him] for a loop" and says it took four weeks to work on.[8]