Trent Reznor & Atticus Ross On The Social Network Soundtrack

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This video, via TheNewYorkTimes, is a visit to Trent Reznor at his home studio, where Reznor and Atticus Ross discuss their work on the Oscar-winning score to The Social Network.

In addition to offering Ross & Reznor’s thoughts on creating the soundtrack, the video also offers lots of views of his studio and synth gear.


14 thoughts on “Trent Reznor & Atticus Ross On The Social Network Soundtrack

  1. The soundtrack wasn't great, it wasn't standout…. I can't even remember a single tune from it! To me, it was just background music to a picture as like most soundtracks of movies, nothing spectacular.

    This whole thing to me seems like insider industry sucking insider industry dick. Obviously, some Oscar insiders are fans of Nine Inch Nails and decided this was the best way they could show appreciation towards Trent.

    In my opinion, Trent should have received an Oscar for his soundtrack to Natural Born Killers, back in 1994. That soundtrack was surely memorable and painted an incredible picture that not only complimented the film, but completed it!

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  2. do you know the difference between a score, sourced score, and a soundtrack? do you know what a hit point is?

    if you notice the score in a movie, it is not doing it's job.

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  3. I couldn't disagree more. I think that this score added so much depth and emotion to the movie. In fact, I think this score was a large part of why this movie turned out so great. It is an integral component to the overall awesomeness of the film. Wouldn't have been *nearly* as good without it. It so obviously deserved the awards it won. It really stood out to me as exceptional.

    Who should have won? Zimmer with his usual schlock? I mean, Inception was a good film and the overall sound design was neat, but the score was a little cliche.

    And yeah OMGWTF I would freaking lose my mind, Charlie Sheen-style in that studio.

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  4. I had the soundtrack album long before I saw the film. I wasn't impressed with the album but it suddenly made a good deal of sense along with the film. And I disagree with this notion that if you notice a score in a movie, it's not doing it's job. For sure, that is true much of the time but it's no universal truth. There are films that are essential combinations of imagery and sound that tell stories in the abstract. I'm thinking, for example, of that Czech film 'Valerie and Her Week of Wonders' or the Belgian lesbian vampire film 'Daughters of Darkness'. Then again, maybe there is something to be said of a possible difference in meaning between 'film' and 'movie'.

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  5. You're right about the score not having a memorable tune – but that is part of what makes it unique.

    The Social Network soundtrack is essentially an ambient soundtrack and it works well within the film. I was glad to see it recognized, because the trend in soundtracks seems to be for everybody to try to be Hans Zimmer clones.

    I hope that this leads to more electronic and experimental soundtracks. I'd like to see scores by Steve Roach, Brian Eno or Robert Rich.

    This makes me appreciate Vangelis' soundtracks all the more, though. Has there been any score in the last 30 years that's both as experimental and as memorable as his soundtrack for Blade Runner?

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  6. Trent's soundtrack is nowhere near the level of Vangelis' Blade Runner. It's just another reminder of his experimental side, which seems to have really taken over right after his "downward spiral" days. I agree with the above post about the industry showing Trent appreciation – he does seem to have some new friends since working more with David Fincher – maybe it started with the "Only" video.

    I think the opening scene from "Se7en" is a far better piece of work from Trent and David (and that was a Coil remix). All these great synths in his studio – still cannot help Trent's current exploration into the sonic subpar. Congratulations on the award, Trent, too bad your sound hasn't improved. Get back your "tds" groove, and make something great again.

    And as for electronic/experimental, have Aphex Twin score something.

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  7. Interesting how everybody is talking about Trent when obviously two people are signing this soundtrack.
    This for me means that Atticus Ross must have done more than 50% of the work (i know one cannot measure these things) in order to have the same credits with the star.

    And this way of thinking is actually the reason why they got the Oscar. It is imposible to go against a name like trents. There was nothing really special about the music , and the only part actually worth it is the intro . If the exact music was in a b-movie with a no-name composer there is no way he would have even be mentioned.

    The not memorable soundtrack is a ridiculous idea and a huge mistake that a number of directors tried to push during the last decade. A memorable soundtrack Vangelis, sergio moriccone etc can keep the film 'alive' for decades, way past its expiration date.
    With the exception perhaps of the 80's :), good music never gets old , films do..

    Just watch: the taking of pelham 1 2 3 or the converstation or whatever old movie and see how dated the film looks compared to the music.

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  8. "Just watch: the taking of pelham 1 2 3 or the converstation or whatever old movie and see how dated the film looks compared to the music."

    That's due to the poor preservation of the film print – a common problem for films made before the advent of VHS. If you take a look at films like Back the Future and ET on bluRay you'll be shocked how good they look. Music keeps well because of its ability to be sold to individuals early on.

    As for Hollywood clout swaying the voters, that's a bad argument as Zimmer is huge and hugely admired. There's also the contentious two-person issue that almost disqualified Zimmer and James Newton Howard from the TDK score getting a nom, so there's no notion of Reznor and Ross receiving favoritism.

    I think the score is very good and breaks ground in the staid world of film scoring. Only time will tell though.

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  9. whatever. Always interesting to watch Trent in interviews, even though I stopped listning to his music after the downward spiral.

    I didn't really notice his score either. No vangelis true…But at least its not F*ckin Danny Elfmann!

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  10. yeah, let's not demand of any art form conformity to too many conventions. a good soundtrack is one that's good, not necessarily orchestral, electronic, memorably show-stealing, imperceptible, etc.

    as for the social network, i felt that the soundtrack contributed positively to an excellent film. it may not of blown people's minds, but is that required in every case? i liked blade runner too, but please…it's cult-like following is beyond ridiculous. give me 2001 any day of the week (and that goes for the soundtrack too).

    i'm the last person to defend the oscars or the academy, so i'm not going to start now. truth is, i couldn't care less who wins, loses, or gets nominated.

    i'm not a big nine inch nails fan (or even a small one), but i've always admired reznor. he's innovative, prolific, highly professional, and surprising humble and grounded despite his massive success. i'm not getting down to his records, but i'm glad he's doing his thing.

    and kudos to atticus ross too. these guys aren't pretending that it was reznor, so why should we?

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  11. The cover of In The Hall of The Mountain King? They held of filming the regatta scene specifically so that they could match it visually to the score and mix in the audio properly. The score to the film was one of the most integral parts as they were making it. The score was meant to support the film which it did. What you're thinking of is those Howard Shore, Hans Zimmer moments where the score obnoxiously takes over the film, which is the exact opposite of what it should do.

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