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THE WORLD PREMIERE OF DAVID FINCHER’S THE SOCIAL NETWORK SELECTED AS OPENING NIGHT FILM

Posted Thursday, July 8th, 2010 - Comments Off on THE WORLD PREMIERE OF DAVID FINCHER’S THE SOCIAL NETWORK SELECTED AS OPENING NIGHT FILM
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NEW YORK, July 8, 2010 – The Film Society of Lincoln Center announced today that David Fincher’s The Social Network has been selected as the Opening Night film for their upcoming 48th Annual New York Film Festival, kicking off at Alice Tully Hall on Friday September 24th. Directed by Fincher from a screenplay by Aaron Sorkin, The Social Network stars Jesse Eisenberg, Andrew Garfield, and Justin Timberlake. The film is set to be released by Sony Pictures Entertainment on October 1, 2010. The New York Film Festival runs September 24th – October 10th, 2010.
“It’s exceptionally rare to discover a film that so powerfully captures the spirit of its time; The Social Network is such a film. David Fincher and Aaron Sorkin are a director/writer team, like Lumet and Chayefsky before them, that make this movie not only of the moment, but reflective of larger cultural issues as well, and confirm their position at forefront of contemporary cinema,” says Richard Peña, Selection Committee Chair & Program Director, The Film Society of Lincoln Center.
On a fall night in 2003, Harvard undergrad and computer programming genius Mark Zuckerberg sits down at his computer and heatedly begins working on a new idea. In a fury of blogging and programming, what begins in his dorm room soon becomes a global social network and a revolution in communication. A mere six years and 500 million friends later, Mark Zuckerberg is the youngest billionaire in history… but for this entrepreneur, success leads to both personal and legal complications. From director David Fincher and screenwriter Aaron Sorkin comes The Social Network, a film that proves you don’t get to 500 million friends without making a few enemies. The film is produced by Scott Rudin, Dana Brunetti, Michael De Luca, and Ceán Chaffin and based on the book “The Accidental Billionaires” by Ben Mezrich.


For an exclusive teaser trailer, please visit filmlinc.com.
Commenting on the Opening Night Selection, Mara Manus, Executive Director, The Film Society of Lincoln Center, said, “Our mission is to bring our audience films that entertain, spark a dialogue, and speak to the moment. That is the best of what film can do, and it is why The Social Network is the perfect choice to kick off this year’s New York Film Festival. David Fincher and Aaron Sorkin have focused their lenses on a story of friendship, loyalty, and betrayal, with a multifaceted character at the center who is as complex as he is clever. This is just the kind of film that our audience wants to see and we’re thrilled to be hosting the world premiere.”
The 17-day New York Film Festival highlights the best in world cinema, featuring top films from celebrated filmmakers as well as fresh new talent. The selection committee, chaired by Peña also includes: Melissa Anderson, Freelance Critic; Scott Foundas, Associate Program Director, The Film Society of Lincoln Center; Dennis Lim, Editor, Moving Image Source & Freelance Critic; and Todd McCarthy, Critic indieWire.
Media Contact:
The Film Society of Lincoln Center
Irika Slavin,
Director of Communications,
islavin@filmlinc.com,
212-875-5281
Columbia Pictures
Steve Elzer
Senior Vice President, Media Relations
steve_elzer@spe.sony.com
310-244-7142
Future press releases will have more information on the full program for the 48th NYFF as well as press & industry screening information Online press office: Press releases and hi-res images may be downloaded from www.FilmLinc.com/press
(Password: press2)
Ticket Information: There will be an advance ticketing opportunity for Film Society of Lincoln Center Patrons and Members beginning August 30th through September 11th. General Public tickets will be available September 12th. For more information visit www.Filmlinc.com/NYFF or call 212 875 5601.
ABOUT THE FILM SOCIETY OF LINCOLN CENTER
Under the leadership of Mara Manus, Executive Director, and Richard Peña, Program Director, The Film Society of Lincoln Center offers the best in international, classic and cutting-edge independent cinema. The Film Society presents two film festivals that attract global attention: the New York Film Festival, currently planning its 48th edition and New Directors/New Films which, since its founding in 1972, has been produced in collaboration with MoMA. The Film Society also publishes the award-winning Film Comment Magazine, and for over three decades has given an annual award – now named “The Chaplin Award” – to a major figure in world cinema. Past recipients of this award include Charlie Chaplin, Alfred Hitchcock, Martin Scorsese, Meryl Streep, Tom Hanks and most recently, Michael Douglas. For more information, visit www.FilmLinc.com.
The Film Society receives generous, year-round support from 42BELOW, Audi, American Airlines, GRAFF, The New York Times, Stella Artois, The New York State Council on the Arts, and The National Endowment for the Arts.
Additionally, The 2010 New York Film Festival is supported by HBO, Illy Caffe, Kodak, and WABC

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon