Did you know there are more people with genius IQs living in China...
What a great way to just start a film, you know?
- With how many pages of straight dialogue? - Yeah.
I think everyone says, who watches it, that they feel like if they have to catch up.
- Yeah. - Yeah.
And it immediately makes people's ears more active.
Sorkin actually told a story about that. He said he always wants to feel
like the audience is having to catch up to what he's doing.
So if you start the first scene in the middle of something,
the audience is also like, "Wait, wait! Something's happening,"
then they already automatically feel behind and they feel like it's their responsibility
to pay attention and catch up the rest of the time,
- as long as you continue leading them. - Right. Right, right. Yeah.
So this scene was shot on day three of the schedule.
I guess because this scene was shot so early in the schedule,
it gave me an opportunity to work in a very real way
with the director and the other actors and the crew
in figuring out who this character is.
You could figure it out in rehearsal, but it's just not the real setting.
So, to do this significant scene so early in the schedule
allowed me to figure out in a real way what this character is going to be like
and, I think, more significantly, having this scene out of the way right away
gave me the confidence to pursue the rest of the movie.
I felt good about this scene when we were shooting it
and after we were finished, I felt like there was a big weight off my shoulders.
When I'm working on a movie,
I know when the big scenes are scheduled and I have panic attacks as they near.
The fact that this one was shot so soon into the schedule
allowed me to have one fewer panic attack when we finally moved to Los Angeles
and started shooting the rest of it.
Eduardo made $300,000 betting oil futures one summer
and Eduardo won't come close to getting in.
The ability to make money doesn't impress anybody around here.
I also had a lot of fun with this scene.
This was the scene I had to audition with, among a few others,
and so I knew it really well.
I was so surprised that we actually shot this full version of it.
When I first read this wonderful script by Aaron Sorkin,
I thought, "When we finally shoot it, I'll get the real script",
"which will be 60 pages shorter and of course, by extension, less interesting."
And I was so surprised that when we showed up to set,
the scene we were doing was the scene that I read.
That never happens in movies and it certainly never happens in movies
of this length and complexity.
Erica.
You're obsessed with finals clubs.
You have finals clubs OCD...
Shot this scene over two nights and David did 99 takes.
We did it 99 times, but of course, from several angles,
so it was not 99 times from one angle.
We begged him to do one more so it would be an even 100,
but he said after 99, he had what he wanted.
But the reason he did 99 takes, it wasn't that the first 98 were bad.
I don't think he called print until after the 30th.
He just wanted to first tire out the actors a little bit
and kind of knock the acting out of them
and get them to be able to casualize the language.
There's a lot of language in this movie and a lot of language in this scene,
and it can become kind of operatic.
So, the more you do it, the more you own it
and they can just toss it off like they're tossing off their phone number.
It was wonderful to have that many times to do it
because each time felt not only really special, but also kind of safe
because it was part of a larger context of doing it many times.
The first two takes were done with all of the extras in the scene talking at full volume.
So, it gave us the opportunity to feel what it was like
to talk over 50 people in a bar.
I was hoping some of that might even be usable, but of course it isn't
because the sound mix is so complicated
that you couldn't use 50 people's conversations
and have it intercut with many different takes.
What part of Long Island are you from, Wimbledon?
Wait.
The hardest thing for me is starting.
After all the research, after months and months of research,
then there's months and months of just pacing around and climbing the walls
figuring out what the whole thing is gonna look like,
and I never know what the whole thing is gonna look like.
I start before I know what the middle is gonna be or what the end is gonna be.
Starting is the hardest thing for me, but I had Mark's blog.
Erica, by the way, the part that Rooney Mara is playing,
Erica is one of three names that I changed.
The girl is real, the name is not.
But he'd just gotten his heart broken by a girl,
and I wanted to see that scene before going into the section
that we are going to go into after the opening title sequence
where Mark is drinking, blogging, hacking, creating Facemash,
Facemash goes viral.
The final two shots we did were very tight close-ups
and David Fincher, he used them so sparingly.
And he told me that when we were shooting, that you can't use those that much.
That was kind of one of the first lessons. This close-up punctuates the scene so much
and it's so significant that you have to use them sparingly.
And when you use them sparingly, they're that much more effective.
I remember David telling me the first day we were working together
about that last line in the scene.
That he was reading the scene, the scene was nine pages long,
and he was on page eight and he thought to himself,
"If this girl doesn't just punch him in the face in the next page,"
"I'm gonna stop reading. I'm not gonna be interested."
And sure enough, he got to that line, "It'll be because you're an asshole."
And he said, "All right, I'm on board."
Now, right here in the script, I had actually indicated
that there was a song from the '80s called Love of the Common People,
which I think Paul Young covered. I don't think he was the original artist on it,
but it's a really high-energy song.
A driving beat meant to make us feel his anger,
make us feel like a fuse has been lit inside of Mark.
And David went exactly in the opposite direction
when he talked to Trent Reznor and Atticus Ross,
who wrote the score.
As you can see, everything gets hauntingly quiet.
This choice of a music cue, for me,
is what signals to the audience that this isn't your father's college movie.
This was the first day of the second week of shooting.
The first week had been the most wonderful experience of my professional life.
I was talking to David about what he was setting up for this shot,
and the way he was describing it to me
made me realise what a special project I was working on.
He cared about everything so much.
He seemed to be more interested in this movie
than anybody I've ever met was interested in anything.
So much so that in one these running shots I'm wearing a backwards Gap shirt
because he wanted the camera to move a certain way
and we couldn't move it that way,
so they just reversed everything you see on screen,
including the Gap sweatshirt I'm wearing,
and including the word "ambulance" on a passing vehicle.
How great is that? Just playing the violin right there
in the middle of this campus.
And apparently, this violin, it's off-key to the soundtrack
and that's an intentional choice to create that, sort of, discord feeling.
It's in a different key, yeah.
Jackie, the costume designer, she...
Everything that Jesse wears in this film was taken from a photo of Mark Zuckerberg,
the actual Mark Zuckerberg.
The attention to detail in that is insane.
- Same with the Winklevoss twins as well. - Right, yeah, yeah.
When we showed this movie at Harvard for the press tour,
when the camera pans up and it says "Kirkland House,"
I would say that the audience at Harvard guffawed,
and I believe I heard one person go, "That's not Kirkland!"
In this scene, Mark starts blogging, starts coding.
This is something I had no idea how to do.
I asked my cousin, who is now an employee of Facebook,
who was hired a month before we finished shooting,
to help me learn how to code.
Also there was a computer consultant on the movie named Paul,
who helped me on the weekends learn how to code.
And the more they taught me, the less I learned.
For the record, she may look like...
Thank God Mark wrote this whole blog
because I don't know anything about hacking at all.
But Mark helped out with a, literally, minute-by-minute blogging account
of what he was doing that night.
Andrew Garfield bought Economics For Dummies for his character.
Inspired by that move, I bought C++ For Dummies.
Andrew and I both read the introductions of our books and then put them down.
And it made me realise that what Mark is doing in the following scenes is his art.
One of the interesting things about Mark, I think,
and that's overlooked, is that he's a creative person.
He's worth $7 billion now and he creates Internet sites,
so it's hard to view him as a creative person.
We'd like to view him as a businessman and as a computer guy,
but it's more interesting if you view him as a creative person.
And when I was younger, my dad taught me that everybody could be creative.
I was doing plays when I was younger and I had a bit of an arrogant air,
and my dad told me everybody could be creative.
If somebody's plumbing in a creative way and they feel it's creative, that's creative.
Conversely, if somebody's acting in a way that's not creative, then they're not creative.
So obviously, creativity can transcend all professions,
and I think Mark is no exception in that.
He's an incredibly creative person and this is his creativity.
This is him painting...
When he's accused of stealing the website later from the Winklevoss twins,
he sees it as them suggesting he paint a picture of a woman
and he painted the Mona Lisa.
And there's no one who could do it in the way that he's done it
and that's because he is creative.
And when you're creative, the thing you execute
is distinctly yours and reflects you in some way.
And what Mark is doing in this scene is not kind, but it's creative.
If you can separate the moral implications of comparing two women on a website
and just look at it as somebody's creation, it's fascinating.
We're just at a section now, honestly,
where I don't understand some of the scenes that I wrote.
I don't understand a word coming out of Mark's mouth.
The first brush I had with this story, I read for Zuckerberg.
So, I read the first scene and another scene
and Fincher called me into his office and said,
"I want you to re-read the script and look at Eduardo."
And I said, "Why?"
He was like, "Because I just think that's an interesting idea."
And I was like, "Okay, I trust you."
I was like, "Yes, I'll go and re-read the script and consider this."
But inside, I was like, "I would play one of these girls, instead."
Do you know what I mean? If he wanted me to play
one of the girls in this final club party, I would've done that
with all of my excitement and enthusiasm, equally.
So, he didn't have to ask, I would've done anything.
I am actually several of those girls, my face is CGIed over it.
- Walking on your knees. - That blonde right there.
Yeah, it was a very odd thing, having to shift in my head space
'cause for two-and-a-half weeks I was trying to prepare these scenes
from Mark's perspective and then to go to the other perspective, being Eduardo,
was incredibly interesting.
But I think it actually helped, because I admit a big part of Eduardo
was his understanding of Mark.
So, the fact that I had spent two and a half weeks
trying to understand the character of Mark was incredibly useful.
I'm so glad Jesse's playing Mark.
I think what's wonderful about this is
we're not sure whether this is an actual party that's happening or whether it's something
that Mark dreams about, and I think we can all relate to that.
I think it's such a relatable thing
and it's like that kind of fantasy in the way it's shot and the slow motion
and every woman being as attractive as the next
and as willing to have as much fun as the next.
I don't know.
It preys on our masculinity in such a visceral way.
That shot where I threw the dart into the orange juice
was part of a long sequence of just sitting there coding at different angles
and we were doing different funny things and I once threw that and it made it in,
and I went over to David and said, "Sorry! Sorry! I didn't know."
"I shouldn't have thrown that."
He was like, "That was great. I'm putting it in the movie."
- Dustin, he's great. - Joe Mazzello.
That poster to the right of me was pretty cool.
I forget, but it was definitely cool. It was something about coding.
- It was some nerd... - Mantra.
Mantra about coding and it was...
I wish I remember specifically what it was. This is a bad anecdote now.
Is it like those posters that say "inspiration," but it's like the nerd, computer version?
- It's an inspiration poster in ones and zeroes. - Yeah, yeah, yeah.
Yeah, it had something about binary code.
Went over my head, obviously, but it was good.
I was asked to put a few scenes on tape for an audition
and I'd never seen Mark Zuckerberg, I'd never heard Mark Zuckerberg.
And I still had a great idea of who this character was,
and I wanted to not look at Mark before making the audition tape
because I figured if I got into this movie, it would be the kind of thing
that I'd wanna spend a lot of time thinking about
and a lot of time looking at.
And I wanted to have a more thorough preparation process
and I didn't wanna just stick my toe in a day before an audition.
And the tape was being asked for immediately.
So, I asked my sister to come over and I got a little video camera
and just put a few scenes on tape and I didn't think they went well.
I mailed them out the next morning and called my agent
to tell her that I wanted to resend a new tape,
that I thought my tape was not good.
And while I was on the phone with her she told me that David Fincher saw it
and wants me to come to California.
And I was even more disappointed, almost counter-intuitively,
because I thought he saw the bad tape.
But I figured I have an opportunity to go and audition for him in person.
And when I went out to California, he didn't want me to audition.
I'd brought the entire script with me, I'd memorized half of it.
We had a four-hour meeting.
In what I discovered to be true David Fincher form,
he talked about everything in the world
and we had such an interesting conversation.
He talked to me about his ideas for this character,
a kind of blank quality to him, explicitly,
but the myriad of things happening inside of him.
I said I know people like that.
David described people who he knows like that,
and I was so interested to hear that this guy had more thoughts
than you could ever wish a director to have about your character.
Normally on set, everybody is thinking about their own jobs.
Well, David is thinking about all of our jobs as much as we are,
maybe, in many cases, more than we are.
That's what a really great leader does, in addition to being able to lead everybody.
This tuna fish thing was...
I asked my cousin, who is a computer programmer, what they eat.
And he said, "Tuna fish is for quick protein, simple."
And I asked David Fincher, "Can I eat tuna fish and Red Vines"
"in a lot of the scenes?"
I don't know if he was thrilled about the Red Vines,
but he liked the idea of tuna fish
'cause that's what the real Zuckerberg would do.
And Joe Mazzello is always bored in the back of a shot.
- He's always doing something. - Always moving.
Incredibly charming and distracting.
They tacked on a bunch of extra days for him, too.
- Yeah, 'cause he's adorable. - Yeah.
Unusual amount of traffic to the switch at Kirkland.
Wardo!
No, this'd be unusual for halftime at...
There's this one great take that he did
when we move into the new Facebook offices and I'm signing the papers
- that will eventually lead to my... - Demise.
My demise. And he looks in through the window at me
and he makes this excited face, and they didn't use it in the film,
but I feel like there should be a whole section of the DVD
- dedicated to that. - To the many faces of Joe.
To the many faces of Mazzello.
Once again.
I can't connect.
The network's down.
Joe brings such a nice levity to the movie
in contrast to what Mark and Eduardo are going through, which is so dramatic.
In a role that, had I played it, I wouldn't have found the things that Joe found.
I felt the same way, frankly, about Andrew here.
When Andrew and I first did the read-through of the movie,
I was so shocked because I had read that part.
I didn't know what part they had sent me the script for,
so I had read for both of those roles
and I just wouldn't have done the million things
that Andrew found in that character.
I was surprised on a daily basis,
but probably most surprised at the table reading
when I saw what he was doing with that character.
The dignity that he brought, the intensity that he brought.
One of the helpful things that they did with these deposition scenes is
they shot them all after we had finished shooting the rest of the dialogue scenes
from the movie that dealt with all the creation and the genesis of Facebook.
So, it really felt like it had been years,
and I think you can see it on a lot of people in the deposition scenes,
it's pretty obvious that it was sometime after.
Rashida Jones is so great in this movie as a Greek chorus,
as a stand-in for the audience
and as a person who can really bring out the humanity in Mark.
This scene, this was shot on the Charles River.
We had about 20 minutes to get it, 'cause David wanted the perfect dawn light.
These scenes were shot in about a six-minute window that we had
at about 5:42 a.m. every morning.
There was just enough time to do it once, get back and do it again.
- So we only had two bites at the apple. - With zero warm-up time.
We'd be literally sitting there and we'd just have to wait until the light was right
and then everybody would start yelling...
- "Go! Go! Go! Go!" - "Go! Go! Go! Go!"
- Everybody would strip off their clothes. - "Act! Act!"
Yeah, you're spraying down sweat on yourself and it's...
- "Enjoy acting." - Yeah.
- And in between takes it was snowing. - Oh, man!
And they were throwing water bottles at us saying,
"You gotta look like you're sweating! Pour this on yourselves."
Pretty cold out there at 5:00 am on the Charles River in October.
Armie Hammer is playing both Tyler and Cameron Winklevoss
and he's doing it a number of different ways,
usually with Josh Pence playing the other part.
Armie's face then computer grafted onto Josh Pence's body.
Sometimes they had to do it a slightly different way,
but a lot of the science of filmmaking eludes me.
None of the science of filmmaking eludes David.
I think this is the most similar that the twins here ever look in the movie.
I also love that he speaks with his mouth full.
- Yeah. - That's such a Tyler thing to do.
- Tyler. - Cameron's such a gentleman, Tyler.
- You know what I think? - Way ahead of you.
This is our guy.
Cameron Winklevoss.
W-I-N-K-L-E-V-O-S-S.
"Cameron" spelled the usual way.
David Fincher is known for doing a lot of takes
and part of that is that he doesn't move on until he feels like has nailed it,
or the actor has nailed it.
This administrative board hearing is the one scene
I felt disappointed by after we shot
and never mentioned it again to David Fincher
because I was so mortified by what I did.
This is the one scene where I felt like we moved on
from this one shot at the end more quickly than I would've liked.
- That guy has a great face, too. - Utter bewilderment.
- And that guy on the right, too. - They're all cardboard cutouts.
The dorm room window line, I don't like the way it's delivered.
I had no sleep the night before, but that's no excuse
'cause who sleeps before shooting a movie?
It comes out like a line in a commercial. It's too cute.
I was trying to something else and the bad version of that came out.
I could go through a list of hundreds of things
that Jesse is so great at in this movie,
but I tend to write little hiccups into the language,
like at the beginning of that speech.
It begins, "I... You know," and then he speaks.
And Jesse is able to take those verbal hiccups
and casualize them and make them seem organic.
One of the things I did to get into this character
was to try to learn a lot about Mark.
We found his college application.
Trish, the prop master, gave me his college application.
In it he writes his personal essay about fencing,
that nothing excites him more than a good bout with friends
on the lawn at high school.
So, in my attempt to be the most prepared I possibly could on set,
I took two fencing lessons in Los Angeles
and I noticed that the posture that I saw Mark use
in 60 Minutes and other interviews was a little unique.
The top half of his body seemed isolated and very straight,
and when I took the fencing lessons, I realised that's how they make you stand.
And I thought that was such a perfect connection
and I should stand like that.
I naturally have bad posture, so trying to stand oddly straight
just made me look like a real person
but that's just because I'm comparing myself to me,
who stands like the missing link.
But if you watch the real Mark Zuckerberg, he walks in an oddly straight way,
or at least, as compared to me.
This note originally said...
But we needed a PG-13 rating
and I made a strong appeal to keep it in there on the grounds that
A, it needed to be such a heartfelt note
that he would get up and walk out of the class,
and, B, we don't use the word casually at all.
We're saying it's a horrible thing to say to somebody.
I love this moment because I think
you really start to see that he is not a machine,
even though it comes off in so many ways, but that hurt him.
Obviously lost the argument.
"U dick" was somehow more acceptable to them.
I think it works all right.
Not quite as good as what was there before.
I have this funny bit of trivia about me and Armie.
We were born in the same hospital in Santa Monica.
- Four years apart. - Yeah, that's true.
We're both older brothers.
We have younger brothers that are approximately 20 months younger than us.
- Yeah, that's true. - It's kind of creepy.
Interesting.
And both born and raised in the Santa Monica area.
And I actually rowed against a Winklevoss freshman year of college.
- They were crazy, yeah. - Yeah.
We were the same year. I was at Dartmouth, they were at Harvard
and we rowed at the Foot of the Charles, which is a big race in the fall.
- That's very interesting. - And they're really good.
This is on set in LA.
And again, another just amazing set. The level of detail in here.
- All those old pictures. - All the dorms.
Those were all old Porcellian member pictures.
Look at the sandwich.
That sandwich was great. It's enormous.
I think there's a moment when Jesse is trying to put it in his pocket.
- I think it's coming up here. - It's really subtle, though.
I love the way he drops his backpack.
He's trying to figure out a way of taking it out with him.
"What do I do with this thing?"
It's so foreign to him, too.
It's a giant sandwich. He's like, "I don't even know what this is."
These outfits, too, for the twins and Divya,
I guess because everything you put on Facebook
is then permanently on Facebook,
they just had thousands of pictures to pull on.
However, the biggest complaint that I heard from the twins was...
Tyler Winklevoss comes walking up to me, after he got himself into the premiere,
and he hits me and he goes, "Dude! I do not have a pair of earmuffs!"
- That's good. That's terrible. - Yeah.
- Was he crying when he said that? - He just looked slightly perturbed.
When we started shooting this scene,
we started it typically where I would play Cameron
and Josh would start as Tyler.
And we walk in and we assume our positions
and Josh just grabs this bike off the background
and just props himself up on the bike,
keeps his arms crossed, but he's sitting on the seat of this bike.
And we shoot the scene and then, as we normally had to,
we would then, later for the close-ups of the singles,
I would switch and I would do the Tyler thing.
And I remember getting on that bike
and just having the most difficult time getting it to stay still.
And Fincher is like, "Do it like Josh!"
And I'm like, "I'm trying, dude! This is not easy."
- I could have tortured you so many times. - Yeah.
- You did. - I tried to keep the movements to a minimum.
You did. No. The burger scene where we walk in, and I'm like,
"Dude," just, with Tyler, "Please, don't go crazy on the burger."
And he was like, "Man, I'm so hungry. I'm just going to murder these things."
Well, for the first 30 minutes, that was all good,
but then we ended up shooting that scene for two hours and Josh had to eat...
- How many burgers did you have to eat? - I don't know, like, 15?
- And then I had to go back and do it. - Double bacon cheeseburgers.
And I had to eat as many burgers as Josh did and it was just like...
I was so pissed at him by the end of the night eating these cold burgers.
It was disgusting.
We're really asking the audience to keep up with us here.
These are two depositions that we keep cutting back and forth to.
If the audience has to sit forward, or if they have to run to keep up with you,
it's a really exhilarating feeling for the audience
when they get to participate in a movie like that,
and I just think it makes everything better.
Does anybody know who wrote this script? It's pretty good, isn't it?
- Yeah. - It's decent.
Think it was Escalus, maybe? Paddy Chayefsky? Shakespeare?
"They're not Jewish and they can't dance."
And I always worry cause I can never, quite hear the "t" in "can't."
So, I think some people think he's saying,
"They're smart, they're hot, they're not Jewish, and they can dance."
They're hot, they're smart,
they're not Jewish, and they can't dance.
The line is, "They're smart, they're hot, they're not Jewish, and they can't dance."
Yet, we survive.
I have to ask Andrew where this dance move came from
'cause it's kind of awesome.
- I don't know. - It worked out perfectly.
I didn't even realise I did it. It was just out of pure instinct.
Pure in-the-moment-ness.
When we were shooting the scene, Andrew danced over to me,
and the first thing he said when he got over, he goes, "Was that okay? Was that okay?"
I was like, "Yeah, that's great. That's great. It's so funny."
To me, I liked it through Mark
because Mark would have no idea what Eduardo was doing
because it's the last thing that Mark would do.
So, I love that Andrew's doing that because it gave me a reaction of,
"What is this man doing? Who is he? Eduardo. And what is he doing?"
"He's walking. But why is he moving that way?"
"Maybe his leg is broken."
If Mark would see somebody dance, he would think that they must be in pain
'cause, "Why are they moving in that strange way?"
which has absolutely nothing to do with the Caribbean.
- This was my first night shooting... - No way.
And they put this hat on me, and I thought, "Yeah, let's do the hat."
And then I regretted it 'cause the hat looks so stupid.
Did they add this mist to the breath?
- Yeah, they did. - Is that? Yeah?
And the snow was fake, so we were cold, but we weren't that cold.
We had to do a bit of cold acting.
Browse around. Maybe it's someone you just met at a party.
But I'm not talking about a dating site.
I'm talking about taking the entire social experience of college...
So, I've been doing a lot of interviews for the last several weeks,
and we'll be doing interviews for the next several weeks about this movie,
and when I'm asked about the character, I always say something along the lines of,
"This is a guy who wanted to fit in in college"
"and didn't have the social wherewithal to do so."
"So, he created this world that he did feel comfortable fitting into"
"and that became Facebook."
"And because he's such an insightful and creative guy,"
"500 million other people feel comfortable using it."
But I should say that that never entered into my mind while we were shooting.
I suppose that must have entered into Aaron Sorkin's mind when he was writing,
but acting is a visceral, an emotional experience above all else.
It's not my job to tell the larger narrative.
I'm part of it, of course, but it's not something I can control.
The character of Mark always has a quality of superiority.
He's always watching from afar. Not because he always feels uncomfortable,
but because he always feels, in some ways, a little above it.
You know, my sister is an intensely creative person similar to Mark.
Very focused, socially not as adept as she is creatively adept,
and I think she always feels a bit removed, partly because she,
as she says, feels like she already lived it.
All the stuff that she sees people doing, she says she feels like she already lived.
Whether in a previous life or in this life, she's already experienced in some way.
That it's in her in some way. And that's how Mark feels, I think.
He's uninterested in what other people are doing
because I think he feels a little beyond it.
It makes sense that he's the youngest billionaire in the world.
Or actually, I think the second-youngest billionaire in the world
because Dustin Moskovitz is a few months younger than him.
And it's funny that Mark Zuckerberg...
Because he's not the youngest billionaire in the world,
the person who is was created by him. That's exactly Mark.
Take the Phoenix Club and turn it into my ping-pong room.
I'll let you know how the party is.
It was so easy to fall in love with Jesse.
I had to fall in love with him I think that was, I felt like...
My responsibility was to just totally fall in love with him
throughout his deviousness and questionable intentions.
Even though he's playing this character that's so guarded and protective as a person,
I think it's important to say that he might be the most raw, open, vulnerable,
I don't know, communicative about how he's feeling, person I've ever come across.
Yeah, I second that for sure.
I think that's why it's so interesting that he was able to access this
- slightly detached, defensive... - Sort of cold and austere character.
You know, the thing about Armie's performance, which I think is great,
it's not like he's playing the good twin and the evil twin.
There's about 11 degrees of personality difference between these two guys,
so it had to be a very nuanced performance.
We hated it when there were adults on set.
When we came in to these scenes
and there were actual adults that we were acting with,
I felt guilty that we were kind of...
- Having too much fun? - Yeah. Or something, I don't know.
It just felt odd that we were with these incredible, older actors
and they were our representation. It was this really weird, skewed thing.
- But I guess that's kind of the point. - Yeah.
I think that you're right, Andrew.
The juxtaposition between the youth and the stakes here.
I mean, it adds to the stakes
because you've got these kids who are so young and loaded.
One of the things that this film is able to capture so well is
it's no longer the producers of actual material goods,
but the guys who can sit in front of computers.
That's the new 21 st-century businessman. Especially because it takes place at Harvard.
You know, seeing that old guard battle it out.
Larry Summers literally just doesn't even understand what they're talking about.
Like, "I don't get it. Go do something else. You're confusing me now."
From Mark Zuckerberg to Tyler and Cameron Winklevoss.
December 10, 2003.
All of these e-mails are verbatim.
Mark's e-mails to Tyler, Cameron and Divya.
Okay, anybody else feel like there's something up with this guy?
Tell him okay,
but we do have to make sure that we meet up before we all go off for break.
I know, I know. Yeah, watch out.
This is my last night shooting. It was very fun to have this.
I don't know why. It was just lovely...
- This was your last night on the movie? - Yeah, yeah, yeah.
I like Eduardo's moves. It's got a lot of spins.
Hey, Mark.
I need a dedicated Linux box running Apache with a MySQL back end.
It's gonna cost a little more money.
- How much more? - About 200 more.
You know, when he says, "I need this system with the this,"
"and the handle, the capacity of this and that, this and that."
He's like, "It's gonna cost a lot more money."
He's like, "How much?" He's like, "$200."
It's like, "You could do all that for $200? That sounds crazy."
Maybe just because I don't know what it is.
- Right. - It just sounds nuts.
I made the second cut.
That's good.
You should be proud of that right there. Don't worry if you don't make it any further.
This is an archetypal relationship there, isn't it?
It's that fear of someone else superseding in a friendship or in a relationship.
- Right. - Or like a brotherhood or like
two brothers, one superseding the other.
God, it's dangerous. It's so dangerous.
It takes big people to retain a friendship and a bond when...
I don't know. It was really interesting to delve into that and think about
- when that's happened in my life. - This is the burger scene.
- How much did you eat? - Good God. Look at the size of that burger.
- Oh, Jesus. - It's two pound-and-a-half patties together.
- Was it tasty? - At first.
This is at Phillips Exeter.
We put the snow everywhere. We put the statue there.
But on the Harvard campus is that statue of what's supposed to be John Harvard,
but they do call it the Statue of Three Lies.
For this scene, the energy was low in the first few takes
and I was like, "What would really help if we had a row of girls just watching us."
And then, out of nowhere, as if God was watching,
just a bunch a female students were standing on the opposite of the quad
just watching us for the rest of the time.
So, all the guys started showing off a little bit more.
- Really? - Getting a bit more energetic,
and I was like, "Yeah." Cause at first, it was like
we were all just a bit fed up to be there, you know?
You introduce women to the scene and there's some peacocking that happens.
I think that's what it needed.
Mr. Zuckerberg registered the domain name The Facebook...
What was interesting in being in that deposition with you guys
was a very strange feeling that I wanted to defend Mark
even though I was also suing him for millions and millions and millions of dollars.
I think that's the only scene we had with you.
Yeah, yeah. I think it was. I love that.
Sorry, I know we didn't want to say how much we love things,
but when he lifts up that sheet, I don't know.
It's such a pure summation of his feelings in that moment,
and that was all Jesse. It was such a good moment.
My sister, who I just mentioned, who is similar to Mark,
intensely creative, socially a little uncomfortable,
she would always draw. In fact, she finds it impossible
to have a conversation with another person unless she's drawing.
She can only pay attention to them when she's drawing
and she does pay attention. And when she's not drawing or doodling,
she can't pay attention.
So, I thought that's exactly what Mark would do in these scenes.
I had a legal pad in front of me and I drew the entire deposition.
Partly because Mark doesn't care
and he's not showing them the respect that they feel they deserve,
but also because I don't think that Mark can pay attention
to this very hurtful stuff unless he's distracting himself.
Mark is a creative person.
Again, that's what I keep insisting upon. Mark is a creative person.
I'm talking about the character of Mark.
I'm sure the real person is even more creative
than whatever creativity I was able to bring to the character.
But he's a creative person. This is a guy who would draw.
I'm sure he probably expresses his creativity in many ways,
but Mark is creative and it's important for, I think, people to think of him that way.
For the narrative of the movie and I think, it's not my place to say,
but in real life as well.
There's Joe. There's our favourite boy.
The way he talks is so interesting.
- The way his mouth just... - Just the way his mouth moves. I know.
It's like a Muppet. He is just like a Muppet!
How good was he as a little kid in Jurassic Park?
Oh, my God. Are you kidding me?
Every time I see his face, I cannot forget that.
You kidding? No, I...
I just see the dinosaur coming up and him just being terrified.
I was so jealous of the young Joe Mazzello when I watched that movie.
I was like, "That kid. That kid is going to be the bane of my existence."
Right before we shot this scene running out on the snow,
I did one of the dumbest things I've ever done.
I take these Wellman's formula tablets, which are these capsules.
I opened up the capsule. They are filled with garlic and echinacea
and all sorts of disgustingly tasting things.
And I threw my anti-depressant in the capsule.
I closed the capsule and then swallowed the whole thing without water.
And I had an anti-depressant and a capsule of garlic powder,
which is like the size of a horse pill, stuck in my throat.
And then I had to run across and it was the first day of shooting
and it was on David Fincher's set, so we had to do it a few times.
I started throwing up, and David Fincher was apologizing,
"I'm sorry, I'm making you run." So, I was like,
"No, you don't understand. I swallowed an anti-depressant"
"instead of a garlic capsule without water."
I was too embarrassed 'cause I didn't know anybody on set to ask for water
and I couldn't leave my position on set.
I didn't sleep the night before, of course, so I was exhausted
and the anti-depressant, which I'm no longer on,
acts, I think, as a bit of an energizer as well.
Jesse said that he's not a very good typer and he figured out a song lyric
that involved typing predominately with his right hand
and he would just over and over and over type out the same song lyric.
I don't remember what it was.
- Don't sing it. - Yeah, I know.
The legal department will explode.
That is really good.
And that was it.
- What do you mean? - It's ready.
- It's ready? Right now? - Yeah. That was it.
This is Mark being creative. This is Mark looking at his painting.
To use the Mona Lisa analogy again,
this is da Vinci looking at the Mona Lisa. That's what it is for Mark.
It was important for me, as the actor, to look at...
You know, it's the birth of a child. You know, it's the completed painting.
That's how Mark thinks.
The fact that there's this dispute over who created it is so disgusting to him
because no one would dispute da Vinci for painting the Mona Lisa.
No one would dispute a mother for having their child.
It's just inappropriate.
And so, when Mark has to go to court to defend what he created,
in this scene right here, it's offensive to him.
Not only is it offensive, it's incorrect.
Aaron wrote this beautiful moment that Mark starts davening.
And I just loved it and it's stuff like this, I would never have thought to do this.
It's something I would have loved to do, but it wouldn't have happened.
It would seem so extreme. It's such a beautiful moment in the movie,
and more importantly, it's so true to what this character would do
after he's finished this thing.
- This music is perfect for this. - Look at his eyes. His eyes, it's like...
Yeah, glazed over.
You know, let's go get a drink and celebrate.
I'm talking to no one.
Agonized over a word here.
When Mark starts nodding his head, Eduardo's line is, "Mark, are you praying?"
Wonder if the line should have been, "Mark, are you davening?"
Whatever happened to Cole Porter and Irving Berlin?
It's a Valentine's Day theme. They're playing love songs.
Good point.
When they shot this, the a Capella group,
it was a real a Capella group and they sang this thing,
but the microphones that we were using to record for playback
were not tuned properly for the acoustics,
and they didn't know the room and all that stuff.
So, when they sang live it sounded amazing,
but whenever they'd play it back on playback,
it was just like everybody was off-key. It just sounded so bad,
which was so funny 'cause they sounded so good live.
What?
His world crumbled.
I love that arm movement.
Max and his flailing.
This was a very physical role, Max. You're running across the bridge later on.
- Yeah. This right here. - This scene.
Apparently, they shot this so many times
that Max threw up while he was running in this scene.
And wasn't this his first... No, this was his first day.
- This is Max's... - Yeah, this is the one, in the tanks.
I love this. You've got the Harvard boathouse.
And you think of Harvard as such a cutting edge,
everything could be clean and expensive and new, and you have these spartan tanks.
- You know? - Yeah.
This is the rowing tank at Boston University.
He stole our website.
It's been live for more than 36 hours.
"Mark Zuckerberg stole our website."
Mr. Hotchkiss? Ty, lawyer's on the phone with Dad.
Yes, sir, I'm here with my brother...
This was actually the scene that we auditioned with.
Yeah, it is. Oh, my God. Do you remember that? I'll never forget that.
We came in to read for Aaron,
and Armie and I had to know both parts inside out and backwards
because they didn't know who was going to play what.
So, we came in and as soon as we got in there, they said,
"Actually, you're going to read Cameron right now,"
"and you're going to read Tyler."
And that's all we did. We never switched at any point during the audition.
I think I spent three or four days just straight...
I think we had 25 pages of dialogue.
- Yeah, it was a long, long audition. - And then one of them...
This scene, while we were shooting this,
because Josh is very in touch with his movements,
and I think that comes from your modeling background.
Knowing how your body moves and stuff like that,
so it was really difficult 'cause Josh would do this scene
and effortlessly, he would do six different things at once.
Scratch his back, grab the newspaper. Do this stuff in very fluid movements,
so then when we would have to go back and we'd have to re-shoot this,
I would have to match all of Josh's movements,
- and it was... - That was tough.
- It was a long day. - I remember watching you thinking, "Holy..."
- "I could have done a little less there." - Yeah. It was like,
scratch the back, move the hair, do the thing, grab the paper, adjust the computer.
A million different things that we had to keep track of.
And poor Sharon, the script supervisor, she was just...
- She had such a rough time... - Yeah, yeah.
Actually, that was our last day, too.
- When we re-shot this. - Part of this, yeah.
Shout-out to Sharon, though.
- Yeah. Oh, my God. - Absolutely.
She probably had the toughest job on the set, what with the dialogue
and Aaron Sorkin looking over her shoulder, constantly making sure
that she was doing her job to his liking, and David...
I mean, she had some taskmasters and then us,
who would be constantly trying to mess things up.
Yeah. Gosh. She really retained a coolness.
I think she had her hands full with the Winklevoss alone because...
Right.
When Armie and I shot this, everything that I did as Tyler,
he had to match exactly, and so she was there for every single bit of that.
She's got to catch every single gesture that I make.
Yeah.
"Zuckerberg said he hoped the privacy options"
"would help restore his reputation"
"following student outrage over facemash.com."
- Another brilliant set built on stage, here. - Yeah.
That New England sweater right there was actually a Teamsters sweater.
Fincher walks by this Teamster and was like,
"That sweater's perfect. I want to buy that from you."
I think he gave the guy $100. And the thing was just sweaty and stinky,
and basically he just threw it on us and was like,
"Here you go. Here's your new sweater for this scene."
He's a total Boston dude.
Because we're gentlemen of Harvard.
This is Harvard, where you don't plant stories and you don't sue people.
It's probably important to remember that Mark is 19 when he does this.
When Mark says, "I'm in," at the Porcellian, he means it.
And he also means it when he says, "Do you see any of your code?"
"No? Then you didn't have anything to do with it."
He also means that.
It's what happens when you have never done business before.
It's happened to me, too. When I was 17,
I agreed to write a screenplay with a good friend of mine
and then he went off to camp and I wrote the whole thing.
And I agreed to write it with him,
but I also was right when I told him he didn't write a word of it.
And I'm still good friends with him, so I don't want to say too much,
but that's what Mark does.
Mark makes a mistake. He makes a business mistake.
It's a youthful mistake. It just so happens the thing turned into a $30 billion company.
My script is probably lighting the fire in some agent's assistant's house somewhere.
So it's safe to say you were aware that my clients had money.
Yes.
Let me tell you why I'm asking.
I'm wondering why, if you needed $1,000 for an Internet venture,
you didn't ask my clients for it.
They had demonstrated an interest to you in that kind of thing.
I went to my friend for the money because that's who I wanted to be partners with.
Eduardo was the president...
Sacha Baron Cohen walked by as I was saying that line,
"I went to my friend for the money." And it's an emotional line, and I said,
"Is that Sacha Baron Cohen?"
I don't know what the point of that is except that it was this very...
Except that's the nature of making a movie. You're staying in a emotional place
and strange things are happening around you, I guess.
These two deposition scenes, they wanted to show the differences between
the old-world East Coast and the new Palo Alto world.
Where Connecticut law firms or wherever they are,
it's like all the old mahogany and leather and big, wood tables,
and in the other one it's all glass and light and metal and all that.
Future Olympians, and a movie star.
Who was the movie star?
Does it matter?
No.
That moment where Mark shakes his head because his lawyer says something shallow,
asking which celebrity was on campus, was one of my favourite moments to play.
I'm glad it made it into the movie because it shows that Mark is even above his lawyers.
- This guy... - This guy, holy Moses.
- This guy is more Bill Gates than Bill Gates. - Yeah.
It is insane. I think he's a professional Bill Gates impersonator.
Yeah, he goes to events and stuff like that I think.
What weird events that would have a Bill Gates impersonator.
Like a kid's birthday party.
- It's Mark Zuckerberg's dream birthday. - Yeah, yeah, yeah.
I met a guy one time who looked exactly like Brad Pitt
to the point where while I was talking to this guy
two people came up to him and asked for autographs, and I was like,
"Do you get that a lot?" He's like, "No, that's my job." Yeah.
I need to talk about Brenda Song in this scene.
She's incredible and she's beautiful and she's talented and she is so generous.
David was giving her lines to feed me off-camera
to make me blush and to make be nervous and I think the last one was,
"Facebook me later and then maybe I'll let you..."
I can't remember what it was.
- Come on, dude. What was it? - It was something incredibly dirty.
It was like, "Facebook me later and then maybe I'll show you my tits." Or something.
- And it was... - That is not incredibly dirty.
- It was so much worse, I'm sure. - Okay. No, it was probably worse,
but coming out of Brenda Song's mouth, it was...
But if it came from Fincher, it was worse than that.
Incredibly innocent and it was just so useful and helpful
and I think that was the last take we did and Fincher was like, "Okay, yeah, got it."
She was so generous.
- These guys are great, by the way. - These guys are great. Yeah.
Could be right in this room.
I doubt it.
And I showed up late. I don't even know who the speaker was.
It was Bill Gates.
I love even the sound of the screeching tires in the background.
- Yeah. - Just like that little Foley stuff that...
- Yeah. - You know, informs the mood a little bit.
Just like, that guy said something dumb and it goes... It's great.
Can I get a Glock and kill you?
"I'm gonna get a Glock and kill you."
There was a line in there that one of them had before.
I think it was where the guy was saying, "I didn't know it was Bill Gates."
"Dikembe Mutombo was sat in front of me for the whole thing."
"I had no idea what we were looking at."
I was looking at the back of Dikembe Mutombo's head.
- Mutombo! - It was an Aaron Sorkin line.
Lost in the gutter.
We got 4,000 members.
'Cause The Facebook is cool,
and if we start installing pop-ups for Mountain Dew, it's not gonna be cool.
Well, I wasn't thinking Mountain Dew, but at some point,
and I'm talking as the business end of the company.
It was weird riding to work every morning with Jesse,
and as soon as I got in the car I'd start speaking
'cause I didn't want him to hear my English accent,
'cause I didn't want him to be distracted by my shift in accent.
That was mostly for him. I wanted him to consider me as...
- For Jesse. - As Eduardo, yeah.
You're talking about fashion? Really, you?
I'm talking about the idea of it and I'm saying that it's...
Three thousand pounds.
At what point were you cast?
- I don't know. - I know Armie and I were the last to be cast.
I don't know. I have no idea of the chronology of it.
We were cast three weeks outside of production.
Right. Crazy. That must have been tough to figure out
'cause I think he looked at twins, didn't he?
- He looked at actual twins. - Yeah.
I remember the first time I went in to read, there were twins right in front of me.
How tall were they?
Not tall enough. They were 6' maybe,
but they had to be 18, 19, and they looked too young.
Suckers.
But that was tough 'cause then we had three weeks to get in shape.
I put on 15 pounds in three weeks and we were just out of our minds.
This is from a lawyer, Mark. They must feel they have some grounds.
Eating those giant burritos every morning after we practiced.
And Harvard Connection is lame.
Wardo, I didn't use any of their code, I promise.
I didn't use anything.
Look, a guy who builds a nice chair doesn't owe money...
I was at the Hollywood Festival Awards last night, which is an award show.
Kirk and Angus, who edit the movie, won for this movie
and showed what's about to come for their editing for this movie.
It's not a scene I'd have thought to show to display the editing for a movie
because it seemed fairly straightforward.
And then when I was watching it last night,
thinking of it in terms of why it was being showed
and why it was being singled out for editing,
it became immediately clear to me how challenging it must have been
to be able to jump back and forth in time
and to show it as two distinct times, as well as it's all integrated in story.
"Where it stood with graphics, how much programming was left"
"that I had not anticipated."
"The lack of hardware we had to deal with site use,"
"the lack of promotion that would go on to successfully launch the website."
This was the first time you raised any of those concerns, right?
I'd raised concerns before.
- Bullshit. - Not to us.
That "Bull... Not to us." moment,
Fincher had such a specific timing thing he wanted down,
that he literally was like, "Bull... Not to us." And he'd make sure we had the thing down.
I love that.
Is that a question?
The one disagreement I had with David Fincher in this movie
was the line, "Is that a question?"
I was reading it in a strange way, I was saying it in a strange way,
and David Fincher came up after 20 takes and said, "Why are you saying it that way?"
I said, "That's how Mark said it."
He says this very funny line in the 60 Minutes interview he does with Lesley Stahl.
He says, "Is that a question?"
And I guess I was just listening to that interview too much.
So, it must have sounded so odd 'cause it was just mimicry.
And it sounded odd in context of everything else that I'd done.
But David is such a wonderful, open-minded director,
he just said, "I didn't realise. Do it." And so I did it that way.
They have a right to give it a try,
but there's no requirement that I enjoy sitting here listening to people lie.
You have part of my attention. You have the minimum amount.
I didn't expect this moment to have such a profoundly creepy impact.
It's to do with...
- His eyes change in this scene, his intensity. - He looks like a reptile.
Jesse's intensity becomes, I don't know, just incredibly strong in this scene
and that combined with the music and his body language, his shift,
he turns into his worst self in that moment,
in the most beautiful way.
Back at 2:30.
So what were their names?
Their names were Christy and Alice,
and they wanna have drinks tonight.
In this scene, Mark is supposed to laugh when the girl unbuttons his pants.
And I did a laugh and then I did a different laugh in the next take,
and David Fincher said, "What happened? Where did the laugh go?"
I said, "What laugh?"
He's like, "That laugh you did in the first one."
I was like, "I don't remember."
So, they brought me by the monitor and I heard the laugh.
I didn't think it was that interesting, but that's what I had to replicate 50 times,
while Andrew got to make out with Brenda Song.
I wonder what he's telling on his commentary track.
This was a tough scene to do, let me tell you.
- Yeah. - I'm sure.
How many takes of that did you have to suffer through?
There was a lot of rehearsal for this.
Fincher let this moment go on to the point of complete uncomfortability
when she exits frame and leaves me,
and I'm like, "When is he gonna say something?"
- Excited. - Wait, here it comes.
- Here it comes. - Here comes Pence.
- This is the moment... - Bill.
Should we talk about our off-lines to you, during this scene?
- Oh, my God. Every single take. - It was the filthiest things.
It was a mixture of Fincher and Jesse and Bob, the AD.
Fincher gave you a good one at one point, that's the one where I broke.
- Which one was it? - I can't remember.
I think, Jesse says one about...
That he gave me that I just laughed my way through
and I said, "Sorry, man."
"I think there's some girls just sewing up their hymens in there."
- Oh, my God. - Just terrible.
- That's just awful. - That came from Fincher.
No, that was Jesse Eisenberg. Yeah. Somehow, the mind of Eisenberg.
There was some really difficult things. That was fun to see you contend with all that.
I think a funny thing about where they shot this scene is that...
Citizen Smith in LA.
Which, actually, I think Timberlake owns that.
- No! - Citizen Smith is his.
- Wow, interesting. - Yeah.
Justin Timberlake is enabling nerds to get... in bathroom stalls across America.
God bless him.
It didn't stop you from writing it.
As if every thought that tumbles through your head was so clever
it would be a crime for it not to be shared.
This is actually the only scene David and I had discussions about
and felt differently about.
I thought this is the only scene in the movie
that you could see Mark become very emotional.
The scene with Erica at the bar.
It's funny, David, which is the opposite of every other director that's working,
kept telling me, "Less emotional. Less emotional."
You know, you're trying to elicit emotions of people as a director.
He kept saying, "Not emotional. Not emotional."
"Maybe it is emotional, but we don't see it."
Mark's emotions, when he has them, and if he has them, are his.
And you don't see them always reflected on his face.
It makes it a bit difficult as an actor because that's your job.
You're trained to show your emotions, that's pretty much the only job,
and to remember all your lines, but I was supposed to suppress that.
I think it does something interesting. I think it creates an interesting character.
That's not to say it wasn't disappointing sometimes,
to feel like I'm not being able to show off or something.
But ultimately the final product is interesting.
And the final feeling I have about it is interesting.
I love how confused Joe looks by the fact that there are girls in the room.
Constantly.
Somebody at the newspaper will be a computer science major.
Tell them that Mark Zuckerberg will do 10 hours of free programming.
Why do you want a story in the BU newspaper?
Because I do. Now here's the arrangement.
Eduardo is CFO and owns 30% of the company.
Dustin is vice president...
- His hands, his fingers. - And his mouth.
Chris is director of publicity,
and his compensation will depend on how much work he ends up doing.
Any questions?
- Who are the girls? - Sorry. They're Christy and Alice.
- Hi. - Hi.
- Hello. - Hi.
- I like that he always had that dart. - Yeah. Yeah.
Symbolizing his single-minded focus on his target.
Trying to hit the bull's-eye?
I thought it was a metaphor for his virility.
- Or the lack thereof. - Yeah.
You're welcome to some salad.
No, thank you.
This must be hard.
Who are you?
I'm Marylin Delpy. I introduced myself...
Rashida Jones.
This is a great introduction.
It's such an important character, I think, Marylin,
because she's the only one that really seems to connect to him.
She's the only one he opens up to.
- It's interesting. - She's a stranger.
She provides a sort of through-line for the audience.
It's a consistent character, who's objective, a little bit.
She really has that, you know, "You're not the asshole"
"you just are trying so hard to be."
She really is able to peg him on the head like most characters miss him.
And she's the only young lawyer, which is also interesting.
Young people rule the earth.
Jesse looks older in these scenes.
And especially in that scene, his face looks older somehow,
like, he looks more relaxed.
His face shifts constantly in this role, I think.
He goes from being open to vulnerable to emotionally guarded to evil.
He has this amazing... He's able to shift. Enigmatic.
Every minute the site is up, Harvard Connection becomes less valuable.
They had to put so much tanning stuff on Max to make him look Indian.
He ended up just smelling like a tanning parlor
the entire time on set.
How's it gonna look?
Like my brother and I are in skeleton costumes
chasing the Karate Kid around a high school gym.
Cam, he's violated Massachusetts state law.
When he goes to Connecticut, New York and California,
he'll have violated federal law.
And, by the way, he's in violation of Harvard law.
There's no such thing as Harvard law.
Sad, I was never on set with you guys really.
I remember always leaving just as you guys were arriving.
It felt like we were ships.
Ships passing in the night.
I had no idea what was going on in these scenes.
It's really interesting to have this awareness there was a whole other movie being made.
I feel that way, too, in the opposite way.
And I think it's definitely a testament to Laray Mayfield, who cast this movie so well.
I mean, everybody that was supposed to get along, got along.
They all sort of naturally gravitated towards each other.
That's right.
Sean Parker.
I feel like his character is so sad. There's such a sadness to him.
I think he puts it really well, it's like a performer doing a performance...
I don't know, he puts it better. He'll put it better on his DVD commentary.
Right, Justin? What was that you were saying, Justin, about...
Yeah, why don't you go ahead and explain that?
When you audition for something, you're in a room with nothing.
And always when you get to set
and you see what the production designer and the set designer have built,
the world that you imagined comes to fruition, comes to life,
and so many things fall into place.
When I got to this on set,
you walk through it and you imagine and plot out
what Sean Parker and this girl, Amy, must have done the night before.
What were they drinking? What other things were they doing
that ended us up in bed together?
I find that when people have talked to me about the movie,
they talk about my first scene
and they refer to the dinner scene at the restaurant.
And I have to remind them that
the first scene where you meet Sean Parker is in the dorm room.
And I think it's a testament to Angus and Kirk and David
and how they must have plotted out...
And also Aaron,
how he plotted out how you meet everyone in the story.
Because what it does is
it doesn't make you very assuming of Sean Parker as a person,
which is great because of how his role in the film plays out.
Justin's presence was so interesting.
Unfortunately, everyone has this preconceived idea of Justin Timberlake
just because it's impossible not to
because he's such a profoundly present...
Whether we know his music, or we love his music,
whatever relationship we have, I think everyone has a preconception.
I think he surprised everyone.
I think it's incredibly wonderful and rare
when you find someone who's been at the mercy of public opinion for so long,
who's managed to retain the sense of who they are.
And a groundedness.
I see that as a very admirable thing.
And he definitely was that. He was one of the ensemble.
Any of those preconceived notions were completely embarrassing and silly.
I speak for myself.
I think Dakota, who plays Amy,
the underwear that she was actually wearing on the day was smaller
and they had to digitally go in and put more underwear on her.
Seriously?
Otherwise, MTV wasn't going to be able to show the trailers, or something like that.
Oh, man.
Opportunist.
The archetypal opportunist. It creeps me out, man.
Those people creep me out,
those people who can sell out their own mother to get what they want.
Those people exist and it scares me they exist.
And it's embodied perfectly by Justin here.
Yeah, is everything okay?
Everything's great.
I just need to find you, Mark Zuckerberg.
I love this scene so much.
I think this was the longest two days that we had.
I think it was one full day, but we spent 14 hours doing it.
- Doug Urbanski. - Doug Urbanski playing Larry Summers.
Tell us about Doug Urbanski.
- He's so great. - A non-actor Doug Urbanski.
Did not want the part.
He tried to talk Fincher out of him doing the part.
- He did, really? - Yeah.
He was like, "I do not want to play this part. I'm not an actor, David."
Doug Urbanski is not most known as an actor.
He is a conservative talk radio host. He often fills in for Rush Limbaugh.
While he and I disagree from time to time on politics,
you can't question his brain, he's a brilliant guy.
He walked into Fincher's office the day he was screen testing for this
and we read with him for the screen test.
He busts through the door, he's like,
"David, this woman is a bitch. What's going on?"
And just yelling and screaming and making a racket.
And I literally had no idea who this guy was,
and I was just like, "Who the hell is this guy?"
And he did the scene... Same character, same way, like,
"This is Doug Urbanski."
Like, this is Doug Urbanski doing an amazing performance as Doug Urbanski.
- He's a manager and a producer, right? - Yeah.
He manages Gary Oldman, is that right?
Yeah, and he's actually been producing theater since he was 20.
- Wow. - He's a big theater producer.
That's right, that's right. Yeah, that's right.
- London, I mean, West End, Broadway. - Yeah, that's right.
Extremely intelligent guy.
And some of the stories this guy told me...
- He has stories and dirt on everybody. - All of Hollywood.
Everybody. It's amazing.
David knows him well.
It was David's idea to use him in this part.
And David says things couldn't have been better.
He is absolutely fantastic as Larry Summers.
To any of our e-mails or phone calls
for the last two weeks.
He doesn't answer when we knock on his door...
It was a couple of days before the movie opened,
it was screened for President Obama at the White House,
and, apparently, the President particularly enjoyed this scene.
There's a code of ethics and an honor code and he violated them both.
You enter into a code of ethics with the university, not with each other.
I'm sorry, President Summers, but what you just said makes no sense to me at all.
I'm devastated by that.
That feels like David Fincher talking, right there.
That seems like a Fincher line.
- The contrarian. - "I'm devastated by that."
- Good hair in this scene, guys. - Oh, yeah.
Look at that updo.
I have to say for everybody, Linda Flowers and...
And Kelly.
They had such a battle with the Winklevoss because the hair has to be the same.
And then Armie and I have different hair, obviously, naturally,
so how do you match that?
Is all that your hair in that scene?
This one, I think, because the twins are interacting,
I think we just shot this one split screen...
- That's your hair on Doug Urbanski's head? - Yes.
And you know what? By the end of this day,
Doug said this was one of the best days of his life.
Seriously? Oh, man. That's so cool.
He's like, "I never wanted to be on that side of the camera."
- "I just had a blast working with you guys." - That's so cool, man.
Anne, how did they get this appointment?
Colleagues of their father.
- He's incredibly natural for... - Somehow. It's amazing.
It's unbelievable. He's so un-self-conscious.
- He's so present. - Oh, yeah. Not nervous.
He's not watching himself. He's just behaving. It's kind of insane.
Yeah. This is literally the first time he's acted.
Actually, I had my first conversation with Douglas Urbanski last night.
He's so wonderful in the movie.
When I heard they were casting him, I didn't know him,
I assumed this part would be played by a celebrity veteran actor,
'cause it was the only really meaty adult role that would only require a day of work
and be a great scene.
Again, it's just David selecting actors that are really appropriate for the role.
I asked Doug last night if he's interested in pursuing acting,
and he's like, "Well, no, but I keep getting sent these wonderful scripts."
So, this movie has lit a fire under this new career for him.
Denise, who plays my lawyer, she's a lawyer in real life.
She was a lawyer first and foremost, and then she started studying acting.
When she arrived on the set, she told me that.
I literally just hugged and kissed her.
I was like, "Oh, my God. This is gonna be so good."
'Cause, like, just knowing that she's gonna look after Eduardo.
Do you know what I mean? And she's such a passionate actress as well.
Now, we're about to come to the one scene in the movie
I asked David to cut in the editing room.
- Here comes an amazing cameo. - Here it comes.
- There he is. - There he is.
And he did a great job of this, too, it's hilarious.
Yeah, it's amazing. I think he was getting very upset
that he wasn't allowed to smoke throughout the scene.
He wanted to smoke in the scene?
No. He just wanted to keep leaving to smoke, and David, of course...
I guarantee you, David did that to him on purpose.
Yeah, yeah, yeah.
David said, "You're gonna play the ad executive."
I said, "Come on, let's get a real actor to do it."
He said, "No, you're playing the ad executive."
And that was the end of that.
Aaron was wonderful. Aaron is an actor.
He really started as an actor and has that skill,
which is immediately clear from working with him.
He has the natural ability of confrontation,
or whatever it is that actors are doing in that scene.
And it was fun to work with him. A little intimidating.
Not so much for me, but for Andrew, had a mouthful that day.
And was so worried he was gonna screw it up in front of Aaron.
You know, of course, Aaron is always on set, but not so close by.
Did you guys hear that Mark Zuckerberg, who said
through the entire course of the movie and pre-production and filming
that he had no interest in seeing this,
that it was a work of fiction and all that?
Well, the night the movie opened, he rented a theater in Northern California,
and took all of the Facebook employees to the theater to go see it.
And then after they went to go see the movie, they all went out and had apple martinis.
It is now the signature drink of Facebook.
He's a good sport.
I had done a search and I'd asked around.
And he struck me as kind of a...
A wild card.
Why?
This is supposed to be the restaurant 66 in New York City,
but we're shooting it at an art gallery in downtown Los Angeles
over two nights.
There's about to be a lot of difficult choreography coming up in the scene.
Tough to stage, tough to light. The scene isn't short.
None of these scenes are short.
I write much-longer-than-average movie scenes.
Kudos to Timberlake for this. This is a big scene.
And this is a lot to handle. He's just going the entire time.
He withered me in this scene, he was so powerful.
I was so pissed off. He's so strong in this scene.
And Jesse's face. Look at Jesse.
Jesse, he's, like, going through hero worship.
Yeah. It was infuriating.
This montage was one of the funnest...
What's he talking about there?
We were just chatting and trying to make each other laugh.
And it was the only time that we had free reign to make fun of each other.
And it was the only time the film wasn't scripted.
So, we just went slightly insane. We went kind of giddy and there was a...
- In character? - Yeah.
Trying to stay in character.
And after that I had to do that line about,
"We all know marlins don't weigh 3,000 pounds, right?"
And I couldn't.
I couldn't get through it without giggling, without cracking up.
That was the one night where...
And Jesse just constantly made me corpse.
The way that I read this film was like a two-part film.
The five minutes before this scene in the deposition room
is such a great tee up for this character
to come in and knock it out of the park,
at lack of a better term.
The beauty of a character like mine in the film
is they could be true or they could not.
So, it didn't matter. As long as I made them entertaining.
I would like to also say
that appletinis are not as tasty as they look in the movie.
We've been doing press for this movie, and when we went to Europe
that was the first time I realised Justin Timberlake is an international icon.
When we're shooting, of course, he's as humble and as wonderful
as you probably expect from hearing stories about him.
And from the stuff that he's done,
which implies a work ethic and a seriousness
that doesn't come from somebody who's silly about it.
But I almost wished Justin had his screaming European fans on set
because that's how Mark views him and that's what Mark sees himself as almost.
It probably would've helped me a little more to be part of a mob.
Nobody auditioned more or worked harder
to get cast in this movie than Justin Timberlake.
And the reason why is that, this is counterintuitive,
but his fame was working against him.
We were putting together a really balanced ensemble cast,
and there was a feeling that by putting this international superstar in the middle of it
it was gonna upset the apple cart a little bit.
But his auditions were just too compelling to ignore.
And the reason we kept calling him back so many times
was we were just hoping that he would give us a reason not to cast him,
that he would finally show up and not be good.
The sushi that is on the tables of the extras in the scenes
were refreshed every few takes.
The ice cream was refreshed every few takes.
It's stuff you wouldn't be able to see, but it creates an overall picture.
I don't think of it as indulgent at all. I think of it as totally necessary almost
because it adds to this overall palette of thoroughness and creativity.
This script was constructed so well. These clever cuts, most of them are scripted.
That billion dollars being Eduardo's line, and so many others.
Every character in this movie has a line that is the memorable line,
and that's Sean Parker's,
"A million dollars isn't cool. You know what's cool? A billion dollars."
And it's kind of interesting 'cause you never get to hear him say it.
I'd always ask people, like my parents and my sister, when they saw the movie,
"Was it confusing at all when it was jumping back and forth?"
I'd always ask them and the answer, exclusively, is,
"Of course not. It's exciting." And that's so wonderful.
The craftsmanship that went into this movie obviously is unparallelled,
or at least paralleled by very few things.
And the construction of the script is no exception.
Aaron is known for dialogue, for witty banter, for cleverness.
And I think it's easy to overlook construction of a script.
The construction of the script is totally unique,
and it totally works.
I compare this scene to,
you know, whatever Dick Van Dyke was on
when he was doing Step in Time on Mary Poppins.
It's playing the kick drum and the high hat, and singing the song,
and it's a juggling act.
And it's a three-ring circus,
and it's meant to dazzle and leave their heads spinning.
In the script, we go to New York.
I live in New York and was thrilled for the opportunity to go there
because I'm so rarely there and that's where everybody I know lives.
And then we shot this in front of a green screen,
with a very complicated lighting set up.
And none of us stepped foot into New York, and I didn't see my family for five months.
Originally, this scene in the cab was still back in the restaurant.
And sometimes good things just come out of necessity,
and we were running out of time, we were running out of darkness,
the sun was gonna come up, and David said to me,
"How do you feel about rewriting this"
"so that this section here at the end of the scene"
"is in a cab, on their way home after dinner?"
And I think it works great.
You have anything here?
Yes. Thank you.
Mr. Saverin, have you ever done anything
that might be considered legitimate grounds for termination?
No.
You never did anything to embarrass the company or even seriously jeopardize it?
Another thing that's great about these constant flashbacks
back and forth,
kind of like we were talking about before, is you can see how far they've come.
And so much of it is the physicality, which is so important as an actor.
You see them at those boardrooms, and Mark and Eduardo, they look like
they've been through a lot, and they look like they're young men now,
not old boys 'cause they're here.
It was funny, especially because having only been intimately involved
with the Winklevoss' story, I had a really specific point of view about it,
but then after seeing the movie and seeing all of you guys
bring those other characters to life and make them so sympathetic and human,
it was difficult for me to then
remain so steadfast on my idea that,
"Yes, the Winklevoss are right."
And how helpful as an actor to have that, I think, right?
You're almost kept in isolation.
Kirkland dining hall with Mark,
and I had the chicken with me,
because I had to have the chicken with me at all times.
This was college.
- Somebody's gonna have to answer for this. - 969.
And the dining hall was serving chicken for dinner,
and I had to feed my chicken, so I...
Well, I took little pieces of chicken and I gave it to the chicken.
Someone must have seen me, because the next thing I knew
I was being accused of forced cannibalism.
I didn't know you couldn't do that.
Yeah, there's Andrew doing a great job
with those verbal hiccups again.
You know, when they're written into the script with dash dashes and dot dots...
"It's... You know, there are..."
Most actors have a lot of trouble with that, and these guys,
they're great musicians.
This whole movie wanted to kind of push Andrew,
like, push him in the cheek because that's kind of what Mark does,
and you kind of want... I had the desire always to
kind of punch Andrew in the stomach a little bit
because that's how I think my character feels about his character.
He's like, Eduardo's always annoying him.
He's like the mother who's in his dorm room.
It's like Mark still lives at home when Eduardo's in his room.
It's like his mother coming over to his apartment and it's so annoying,
'cause Mark is doing this awesome thing and Eduardo's his conscience.
He's always kind of giving Mark advice, and it annoys Mark.
And it makes sense that Mark would kind of
squeeze him out of the company,
or at least that Eduardo would get himself squeezed out of the company.
The way Aaron Sorkin describes it is that Sean wants to throw a party
and he's waiting for Eduardo, the parents, to leave the house.
Yeah, no, I agree. More servers, more help.
I'm interviewing two interns to come to Palo Alto
and we're gonna have to pay them something.
This scene, which I didn't remember, but I was reminded by Andrew
'cause Andrew told me he said this in an interview about me.
This chicken wouldn't turn around.
We had to get the chicken to face one way, and it wouldn't turn around,
and I guess I was studying Russian history at the time,
so I would go talk about Bolshevik revolutionaries
to the chicken and only then would he turn around.
And as an experiment, I tried to talk about something else
and the chicken wouldn't turn around. So, Andrew kept telling me
to talk about these obscure Russian revolutionaries
and then the chicken would turn around.
And we would joke that the chicken was so annoyed and bored with me
that I was talking about this very dry history that it would face away from me.
He literally would sit down and be like,
"Well, what was interesting at the turn of the century..."
And every single time the chicken would look at him
and turn his back on Jesse. And then we'd roll.
I don't know how he discovered that 'cause Jesse's weird.
- We don't know that any of that's true. - You can read about it.
I can read about you torturing birds. Since when...
Okay, don't fish eat other fish? The marlins and the trout?
What's he talking about?
Joe Mazzello here is bringing levity to a very intense situation.
I don't know if that was David's direction or Joe's inspiration,
but in the whole movie Joe brings such wonderful levity
to these other characters who are so intense.
It adds so much to a part that, had I played it,
I wouldn't see it that way, and wouldn't think to bring that stuff to it.
I love this scene so much.
- I love the atmosphere in this room. - Yeah.
It was totally electric walking into this room.
Every single take, these extras were so, I don't know, energized by it.
And the whole concept of this scene just created so much energy
in every single person in this room.
It was like Fight Club. Geek Fight Club. It was so cool.
Yeah, it looked like a fun scene to film.
Yeah, there was no acting required in this scene.
It was like watching a cockfight.
The shirt I'm wearing in this scene, it should be noted, it says, "Ars Nova" on it,
which is a theater company in New York City, I'm associated with some of the people there.
It's a shirt that I wore to a costume fitting one day.
To Jacqueline West, who designed the costumes in this movie.
It should be noted that all the costumes in this movie were taken
from pictures that the real people wore with the one exception
of this Ars Nova T-shirt that I'm wearing in this scene.
I got an e-mail from the programming director
at Ars Nova saying, "May I ask why you wore an Ars Nova shirt?"
I told him the strange story.
Jackie, who is so incredibly thorough, allowed me to wear this shirt in the movie.
I guess she said it was a shirt that would make sense for Mark to wear,
but I was just so surprised because every other shirt was a shirt
that Mark Zuckerberg actually wore in a picture.
That moment was just, like, the coolest.
Mazzello.
- $18,000? - Yes.
In addition to the $1,000 you'd already put up.
- Yes. - A total of $19,000 now.
- Yes. - Hang on.
Infuriatingly small thing to do.
I got the same thing.
'Cause I hate him so much.
After expressing misgivings about Mr. Zuckerberg taking the company
and moving it to California for the summer,
why did you put $18,000 in an account...
Do you think Eduardo maybe was throwing more money at it
because he felt it slipping further and further away?
Yeah, I feel like that was probably why he felt...
His only way just to stay a part of it.
This scene I always had a problem with because this was the one scene
where Mark had to have fun,
and I couldn't figure out how he would have fun in this scene,
what his version of fun would be.
This is again talking about the character. I know the real person has fun.
And the scene opened with Mark on the roof, jumping in.
So, I had to be that much more fun.
And then, I think for logistical reasons that was not happening.
I guess I couldn't be wet, or something like that.
I didn't know how I would do that. And I'm kind of glad I didn't have to.
When I originally read for Mark, and I was envisaging playing him potentially...
- I love Dustin's stomach... - Joe just standing like that.
The fact that when David said, "What about Eduardo?"
I just thought about this scene and how depressed I was
that I would never be able to be in this scene, the zip line from the chimney into the pool,
'cause that was kind of a classic,
you know, young person's movie moment, and this whole scene is just
such a cool, fun, youthful, exciting scene to be a part of.
But I like that they also...
This is the first time where they show Sean Parker with an under-aged-looking girl.
- Sort of setting that for later. - Yeah, subtle.
And we get the sense that he's not who he really says he is.
He says, "Somebody get hurt?"
And Mark says, "No. You live across the street?"
And it's because Mark has no interest in what happened outside.
He's now with Sean.
It's sounds like a subtle and maybe unimportant thing,
but for an actor, that's everything. It's because Aaron's so wonderful.
He's giving me the thought process there without explicitly stating it.
He's letting the actor find that thought process.
And if the actor doesn't find that thought process,
I think it would still play, but it's just so much more fun
when you figure it out.
And this is one of those scenes that I love
because it doesn't require much explanation, it just happens, and before you know it,
Sean Parker's a part of Mark Zuckerberg's life.
Eduardo didn't come out?
It's great. You get that last line, "Eduardo didn't come."
And then it's like, "Okay, let me work my show.
"Let me do what it is that I do best," and that's what this scene is.
I remember rehearsing this scene.
We rehearsed at a conference table in David's office, in his production office.
And I remember David just kind of looking at it and feeling like...
He kept wanting to cut it down and cut it down and cut it down.
And then finally he said, "Okay, now let's rehearse this scene."
Jesse sat all the way on the other end of the conference table,
and I sat all the way on the other end of the conference table.
So, we were sitting really far from each other and he said,
"Okay, scream it as loud as you can at each other."
And then when we did that, all of a sudden the scene came to life.
Nothing felt expositional.
Everything felt like it had to be part of this conversation.
And I found this scene to be physically and mentally
the most challenging scene to do.
Probably because Aaron and David kept changing up dialogue.
So much of the order of it, what I was actually saying,
the verbiage, even just small words.
It was one of those things where I said, "You know what?"
"When I get there, they'll have it that day, on the day."
And I just sat up there, I never left until...
We left for lunch and then we came back. That was the only time.
And I stayed with Jesse all day.
We stayed with each other because I felt like
this was where our two characters were building a love affair,
a real admiration for each other.
Essentially, what I thought was a great value to play was
that Sean and Mark actually suffered
from probably the same fears and insecurities,
and they both invented something to hide from it.
Mark invented Facebook, and Sean invented Sean Parker.
And that scene is great
because it really shows a darker side of what he's capable of.
It's a really incredible character because you want to not like him,
but everything he says is dead on.
And everything he says is going to happen, happens.
Jesse's so open. I think this is his most open scene.
He's just so receptive in this scene.
And you see it a little bit in his eyes right there, too.
- The turn. - Yeah.
He's starting to get power hungry.
But not this time. This is our time.
This scene is like a five- or six-page scene that takes place in a nightclub.
And it could just be that scene, even though what's being said is so interesting.
But David, in true form, brought some other interesting element to it,
and it was that we're shouting.
If you go to a club, you have to shout.
I've shot a lot of movies that take place in clubs...
I've shot a lot of movies not that take place in clubs,
but I've happened to shoot a lot of scenes that take place in nightclubs.
In the movie Adventureland, and then I did a movie last year, Holy Rollers.
There's several scenes in both of those movies
that take place in nightclubs.
And the rehearsal, the actors would do loudly.
The first take the actors would do loudly, and by the second take you do it
at kind of a regular conversational volume
because there's no music playing there, and you just forget to do it
and you feel uncomfortable doing it.
But because we had these kind of ear wicks playing music loudly in our ears,
we were forced to talk loudly,
and this scene is so much more interesting for it.
Thank God Justin's spent the last several years singing for huge arenas
'cause the amount of talking he had to do would tear anybody's throat up.
And he delivers it so wonderfully here throughout so many takes.
Gesture of good faith.
While you're getting into 100 schools, I'll put you on two continents.
- Got him. - I think what's amazing to remember, too,
is how many people they had on Facebook before they even got that angel investment.
- Yeah. I don't even... - It was over 10,000.
You can take this away and bring back the 1942.
Jesse is so jazzed. He's like he's been just on a bunch of drugs.
I don't have anything to say about this scene
except that I can't believe I'm in the same movie as it.
Aaron has a cameo as one of the potential investors,
and I always say that's Aaron's cameo in the movie,
and then there's the Henley Royal Regatta scene,
and I say, "Now, that's David Fincher's cameo in the movie."
- This looks like a model. - It does. I was just thinking that. Yeah.
Where they use that, what's it called, tilt zoom, tilt shift lens,
and it makes the depth of focus so shallow
that certain parts of the screen will just be blurry
while other parts are crystal clear. It makes it really interesting.
- The rest of these rowers are awesome. - Were you in this, Josh?
- Yeah, yeah. - Were you in this yourself, as well?
Yeah. Oh, well, I was technically supposed to be Tyler.
My dad is a swimming coach, and one of his swimmers is in this scene.
- No way. Wait! - Yeah, yeah, yeah.
- I forget... - Phil, one of our rowers,
you'll see him in a second, I think.
He's the guy behind Josh that looks like he's absolutely enormous.
- He's 6'9", and I think he weighs... - 270 pounds.
- Yeah, 270 pounds. - 18 stones.
Yeah. He's just the largest human being. They call him "The Shaved Bear."
What was amazing about this scene
is every single close-up was shot there on the lake.
The best thing also about this scene was we started out,
and they needed the boats to finish at exactly the right position,
really close like half a boat length.
So, we start out and they're like, "Okay guys, keep it at 50%."
"We want to make sure we finish at the right time."
And we get out there and these are all
- like Great Britain national rowers... - Right.
And competitive athletes and all that, Olympic rowers, the whole thing.
So, we get out there and one boat starts to pull ahead
and all of a sudden one of the guys in our boat just yells, "Pull, lads!"
And then all of a sudden it was just like...
And then basically we all wanted to beat them so badly
that the actual thing turned into a race, and we ended up being at 100%.
And just collapsing when it was over.
That was also the worst weather
- that we had rowed in ever. - To date.
It was 40-mile-an-hour gust of winds.
Normally we wouldn't go out if the wind was over 12 miles an hour.
I rowed five years, and I'll tell you that's gnarly.
Like, you don't go out in those kinds of condition ever.
And then, of course, we have two takes to do this scene.
- Yeah. - That we've been prepping for 10 months.
And there's 40-mile-an-hour gusts.
The work, though, jeez.
And the twitching of your muscles afterwards, the exhaustion.
That move down you have is so, I don't know,
expressive.
Actually, I take it back. I think this was one of our longest days.
Yeah, because all the people who are smoking cigarettes in this scene
are smoking these really weird, herbal cigarettes.
They're not tobacco, I guess is the point, but it smells like you're burning a rope
that's been lost at sea for years.
I mean, it's just the worst smell. It gives the worst headache.
And these poor people just had to smoke packs of these terrible cigarettes.
We actually shot this at the Greystone Mansion in Beverly Hills.
- Yeah, the Doheny Mansion. - The Doheny Mansion, which is haunted.
- Yeah. - And, yeah, the sound guy...
It was somebody who had a recording basically.
- Yeah. - Where they set up a microphone
- in the Doheny Mansion. - It's from National Treasure.
- Exactly. - That's what it was.
The sound guy from National Treasure had set it up.
Left it in the Doheny Mansion overnight.
And at, like, 5:00 in the morning, you just hear this weird scratching sound.
Sounds like bodies being dragged across the floor.
It starts with foot...
Yeah, you hear footsteps. And then all of a sudden you hear...
And it sounds like someone just tears the flooring off the floor,
and then it's like, "Bang! Bang..."
Like things were being slammed and thrown.
And they played it really loud for us during lunch.
We did it in the kitchen,
and everybody in the room just immediately scattered
- after it was over. - Weird.
If this is online, I wanna see it.
Stop it.
Stop it, Cam.
Knock it off.
- They also shot There Will Be Blood. - I love the light for this background.
The bowling alley scene from There Will Be Blood was shot here as well.
It was actually the old AFI screening room and they restored it.
We tried writing a letter,
we tried the Ad Board, and we tried talking to the president of the university.
Max's eyes.
I am asking you for the last time...
Pretty big debate here about what the Winklevoss were doing.
Were they on the Internet looking for Facebook?
Were they watching race footage?
- I don't think we ever really decided, did we? - Well, I guess he was on the Internet there.
Screw it.
Let's gut the friggin' nerd.
"Let's gut the friggin' nerd."
That's what I'm talking about!
No, no, no, no, no.
But check it out, I saw him today.
Now you look at Sean and he's basically running the house.
He's given the whole house his vision,
and it really looks like a work place now.
No one's swimming in the pool.
And the only thing frivolous going on is going on for Sean,
which is two girls with a bong.
I think this is the scene where probably Jesse's character says,
"Well, if Sean can run this part, I can just do what I do best."
And then Eduardo shows back up,
and this right here is literally a standoff.
I'm gonna call you back.
What's up?
Mark was supposed to pick me up at the airport an hour ago.
Real rain, just to let you know. Real rain.
- Really? - No, no, no, not real rain.
But water nonetheless.
- Did they warm it up for you? - It was precipitation.
These girls were fantastic. They were so infuriating.
- Why? - They were just messing around properly
as per their job description.
And they were just, like, Shane, and I forget the other girl's name,
but they were both incredibly playful and free and perfect and really infuriating.
This is my house. They're in my house.
I had to imagine this was my, like, parents' house or something,
and they were, like, walking over my granddad's old couch,
and this guy that is my sworn enemy is staying in my parents' bed.
Had to kind of think of it like that.
I love that he can't even apologise to you for blowing you off at the airport.
You gotta see some of the new stuff we got.
What's he doing on my phone?
How many hours have you racked up on my phone bill?
Tell him about the meeting I've got set up.
You know Peter Thiel?
Twizzlers.
I think Jesse had a big fight, well, not fight,
not a physical fight with Fincher,
but Jesse tried to convince him of the Twizzler
and obviously won that debate.
- He made a good enough case. - Yeah.
There is a part in here which is a value that I played,
which David came up with really.
Sean says, "Maybe I took it too far." And he sees that Mark sees that.
He says what he says.
And about the Snookies Cookies thing,
and you see Jesse's character look back at me like, "Why did he say that?"
And there's an ignorance played and then the next shot,
you see Jesse looking, and the next shot I'm looking away.
That was one value where I said,
"I don't care if I've offended Eduardo, but now I've offended Mark."
Bong hit.
- I'm so high. - No, you're not.
So how's it going?
How's the internship? How's Christy?
In this scene, I was playing Mark in the rehearsal,
in the first few takes, like a child.
I saw him as an absolute child. He's waking up.
The first time we did it I came out with a hat on sideways
like a kid, like, "Hey, Ma!"
Like the little kid with a sideways hat from an old Cheerios commercial
from the '90s or something.
But I just thought of Mark as a child here. Mark's become a baby
because Sean is the parent here.
When they move out to Palo Alto, Mark is a baby.
He's allowed to play with his blocks all day, which is coding.
He's a kid. He has no sense that Eduardo is upset.
He has no sense what Eduardo's just been through.
Mark doesn't apologise to Eduardo here because Mark didn't think of himself
as somebody who has responsibility now to anything outside of Facebook.
Because what Sean has created for him is a bubble,
where Mark can code all day, and Sean can take care of everything else,
and Mark has no responsibility to his friend.
And it's not because Mark's a bad friend.
It's just because Mark's focus is so exclusively elsewhere.
Where was this house? Where'd you guys find this?
Wasn't there a funny way that you guys found this house?
- I have no idea, actually. - I think I heard that they
found this house on Google Maps.
- Really? - 'Cause they needed a house that needed
a very specific look, but also had a pool.
So, the scouting people got on Google Maps and just searched the city of I. I think
- for days until they found this house. - That's interesting.
It's your house, man. It's your parents' house.
What did you mean, "get left behind"?
Can I help you?
I'd like to freeze this bank account.
That's Armie Hammer hair going on in this scene.
She was great.
The first scene I saw of this movie was this scene.
I tried to avoid seeing the movie for several months,
and then I walked in accidentally to a screening
once when we were doing this college tour, and this is the scene I saw.
This push in and listened to this music and thought,
"Oh, my God, this movie is incredible. I had no idea it would appear this way."
It's like horror movie music almost in its eeriness, but more melodic,
and that's not how I pictured that scene.
And it's just so interesting, and this is
David and Trent and Atticus kind of adding this very foreboding tone to this scene
where Mark is getting half-a-million dollars.
And what that does intellectually is
it does something viscerally for the audience,
but what it does intellectually is say that you should be worried
about this great success that they're about to have.
It's gonna kill Eduardo.
Of course, the visceral reaction is the same.
The visceral reaction is this foreboding quality.
Even though they're getting this half-a-million-dollar investment,
you worry that it's gonna create bigger problems.
Who was it that said, "More money, more problems?"
Jesus Christ.
- She is awesome. - Terrifying.
Yeah, she's terrifying.
It's so funny, though, at the same time.
Busted.
I got back this afternoon.
And when were you gonna call me?
I'm trying to break up with her already, but I just can't
because I'm just scared of what she might do.
Like I really want to break up with her right now,
but I give her a silk scarf instead.
So, I'm not in this scene,
but I'm on a phone call at the end of this scene,
and as Andrew did for me in my side of the phone call,
I spent the entire day on set on the other end of this phone.
And as David Fincher does so many takes, it was a long day for this scene.
It was the whole day and I got to hear all of it.
Andrew and Brenda in this scene are so wonderful.
I saw 100 takes of them, and I was so intimidated by them
because I was thinking, like,
"My God, this is what real acting is in this movie."
And I didn't feel like I was doing it because when I'm in a scene,
I'm obviously never watching it from the outside.
- Where'd you guys... This is on stage? - This is a stage, yeah.
How was that dealing with the fire?
It was okay, yeah.
There was, obviously, like, some technical dancing I had to do.
- You used to work as a fireman, too, right? - Yeah, yeah. So, it worked out okay.
I think that was part of the reason why I was cast.
- Yeah. - Probably the only reason I was cast.
- I was a Brazilian fireman when I was five. - Fifteen?
- Five. Wow. - Yeah, yeah, five to 15.
It's good you can crawl in those little spaces.
We don't crash ever!
If the servers are down for even a day, our entire reputation is irreversibly destroyed.
- Look... - Users are fickle. Friendster has proved that.
Jesse was so nervous of this scene. It's so stupid because he's so good in it.
He had all of this diatribe-y dialogue to learn and he felt so under-prepared.
And he was so angry with himself.
And I think it was lovely because there was a real kind of support
that we had for each other in this scene.
In between takes, he'd be really nervous about messing up
and he wanted to get it absolutely right.
But I think his anger towards himself was nicely translated
to his anger at me.
And then, on my side of it, he kept on giving me these wonderful little ad libs
for me to react to for the last part of the scene where he...
I think at one point I made him say, "I love you. You're my best friend."
"Come and we'll get married and we'll live in a house together,"
just to give me that right reaction for the end of this scene.
He really generously, embarrassingly told me how much he adored me,
and it was just really nice. For this last bit.
How much did you and Jesse
talk in, like, prep before we started shooting?
A bunch, yeah, about the relationship,
and what we think needed to happen, yeah.
The rehearsals were fantastic. At this point, I think he was saying,
"I love you. You're my best friend."
It was so sweet, and it really made a great difference
to me in this scene. It was really generous of him.
We did it.
You forget about her.
- She looks like actual anime there. - Yeah.
I love it. This isolation is so pure and simple and tells you everything.
Watching from the outside. Yeah, the glasses are great for it.
This is the Joe Mazzello moment that I wish was in.
I look out at him and he does this thing where he does this dance.
The first modest Facebook office, pretty rad.
How many shares of stock will I own?
1,328,334.
Jesus Christ.
That represents a 34.4% ownership share.
Why the increase from the original 30%?
'Cause you may need to dilute it to award shares to new investors.
- I love working with business majors. - I'm telling you.
- Economics. - Right.
- I like how he makes the distinction. - Yeah.
His percentage from 60 down to 51.
Well, Mark doesn't care about money and he needs to be protected.
- It's sort of nice what he said. - Yeah.
Dustin Moskovitz owns 6.81 %.
Sean Parker, 6.47%.
I can live with that.
And Peter Thiel, 7%.
Would you like to use my pen?
Eduardo?
- What was your choice to turn away? - David. That was a David thing.
He had to convince me of it.
I was scared of it not feeling natural, but I think he's very smart,
so I just trusted him. I didn't want it to feel over-dramatic or too pronounced.
But it breaks up the monotony of a bunch of chairs facing inwards,
and it was a nice moment to do it.
It was insanely stupid of me not to have my own lawyers look over all the...
In all honesty, I thought they were my lawyers.
I was your only friend.
You had one friend.
When Eduardo says, "You are my only friend,"
and is talking about the things that Mark did wrong,
I think it's important to view that through its context.
They're at a deposition where Eduardo is trying to get money
from Mark and is saying these things on the record.
This makes his case look a lot better.
This is how I looked at it as an actor in order to play Mark
and justify Mark's actions, is that Eduardo is saying that
because it helps his case, not because it's the truth.
So, I was supposed to react coldly to Andrew here.
When somebody tells you, "I was your only friend," it's hard to react coldly,
but if you think of it like, "This is somebody who's trying to take my money"
"by manipulating these lawyers into saying that I had one friend,"
then it's insulting.
Mark had several other friends who are seen in the movie.
Dustin still works at the company, and that's a good friend of Mark.
Chris Hughes was still at the company when these depositions were happening.
They were roommates, and Chris is seen in the movie.
Beg you to take their money.
You're gonna nod, you're gonna nod, you're gonna nod,
and then you're gonna say, "Which one of you is Roth?"
No, not Roth. Manningham.
"Which one of you is Mitchell Manningham?" And he'll say, "I am."
And then you say, "Sean Parker says, 'Fuck you."'
Walk out.
Okay.
In late November, I got the e-mail from Mark.
Andrew, did you have any audio samples of Eduardo?
- No, I had nothing. - So, that accent was just
what you came up with.
Yeah, I was just trying to be a little bit Brazilian
and a little bit of... Mostly American, like East Coast, Miami.
Yeah, I worked with a dialect coach, Liz Himelstein, who was brilliant.
I spent some time with some Brazilians in LA
and learned a little bit of Portuguese, a little bit of Brazilian Portuguese.
- Did a lot of Capoeira. - Really? You did?
I did some Capoeira. I didn't do a great deal.
Was he born... He was born in the States?
- No, he was born in Brazil. - He was born in Brazil.
Yeah.
It was a tough, tough day for sure. It was a tough couple of days for us all.
We heard about that over at our camp even.
"You should see what Andrew did in this scene."
It was just... Everyone was very patient.
The extras were incredibly patient, the crew were incredibly patient.
The way David shot Mark in this scene as so isolated
and separate from the group is so telling.
Everything I could do as an actor is enhanced by how the character is framed.
The way Mark is framed as isolated and alone in his cubicle
is perfectly indicative of what he's going through and who he is
and was very helpful to me because it enhances what I'm doing.
This is so good.
Such a good tracking shot. It's such a wonderful piece of photography.
I get chills every time I see this.
- Mark? - He's wired in.
- Sorry? - He's wired in.
- Is he? - Yes.
Very guilty about all the computers we broke.
How many laptops did you break?
I don't know. It was about 30 or something like that.
That's awesome.
David Fincher and I discussed what would've happened
for that meeting to have taken place.
We thought that this is a meeting where they're diluting Eduardo's shares,
which is, of course, not in the movie.
This is a meeting that Mark knew was going on
and pretended not to know.
And that Sean orchestrated in Mark's absence.
What was Peter Thiel's ownership share diluted down to?
It wasn't.
And what was your ownership share diluted down to?
.03%
Shame! Feel shame.
Thank you, Trent Reznor.
- You signed the papers. - You set me up.
As a character, I don't think Mark is a bad friend.
I just think he's less interested in friendship than he's interested in Facebook
and in inventing.
If you look at Mark as an artist and as a creative person
and as a leader, you wouldn't fault him for being a bad friend
because you wouldn't expect him to be a friend.
'Cause we watch movies a lot
and because friendship in movies is lauded as a very honorable thing,
we're going into this movie thinking that Mark is a bad friend,
but if you watch movies about leadership,
and these are not college kids, but business leaders,
then you would just view it differently.
Yes, he hurts a friend,
but it's a much bigger business relationship than it is a friendship.
And I don't think Mark values Eduardo in the way Eduardo values Mark.
And if you view it that way, then Mark didn't do something terribly wrong.
He did something that is better for the company rather than his friendship.
And also, it's important to remember that Eduardo is getting a lot more money
than he would've had Eduardo taken the company in his direction
and they put up ads for Mountain Dew, or whatever Eduardo wanted to do.
Mark didn't wipe Eduardo out.
He just changed his involvement in the company.
I guess, maybe that's how he thinks about it.
Almost forgot.
Here's your $19,000. I wouldn't cash it, though.
I drew it on the account you froze.
We did that a million times.
David kept saying to me,
"I need your face to be uglier and more afraid."
I have a tendency to try to internalize everything.
And he kept saying, "No, bigger and bigger and uglier".
And finally,
finally I just did one where I completely contorted my face
and there's no question which take he used
because that was it. I mean, you watch it back, you're like,
"That dude really thought he was going to get punched."
But it works and it speaks to the value of the character that
he pushes it and pushes it and pushes it and pushes it
until someone pushes back and then, essentially, he backs down.
- You all right? - Yeah.
On the walk-away, I really wanted to embarrass Justin
but we didn't know each other well enough for me to make *NSYNC cracks
or any kind of joke about his music.
I really wanted to, though, and I regret not, even though his reaction is so perfect.
I just thought it would've been interesting if I could've really cut to something deep.
I didn't feel like it was fair, and it was in a room full of people
and obviously now I realise he would've taken it incredibly well
because he doesn't take himself seriously.
He would've really appreciated it, I think. So, I regret that.
Are you guys...
Ashleigh? Me? No.
Well, a little bit.
Why?
- No. Nothing, I just... - Excuse me. Mark?
- We were just talking about you. - Just that you're doing a really good job.
Thanks. I appreciate that.
That could've been played for... I don't know.
I wanted to be funny with that line.
The line is funny. They're talking about Ashleigh being attractive
and then Mark says, "Just that you're doing a really good job."
I guess it was funny. No one laughs.
I saw the movie once and no one laughed, and it bothered me.
They had a huge amount of those "I'm CEO, bitch" cards actually made,
and I live in the same building as Bob, the first AD of the movie.
I went out to my car one morning and there were
"I'm CEO, bitch" cards stuck all over my car.
Bittersweet Eisenberg.
What a beautiful shot of Mark alone after something great.
And then, back to work.
After you see Sean completely back down from Eduardo,
this scene is inevitable.
This is it. Everything that Eduardo was afraid of at that dinner,
turns out, that's who this guy is.
This scene wasn't a controversy at all.
Apparently, there were too many seconds
of bosom-cocaine snorting.
Again, for our PG-13 rating...
Look, they're using cocaine in the scene, they're doing the cocaine off a girl's chest.
We had to shave a few frames
here and there so that it wasn't explicit.
All right, shut the music down!
The party's over!
I'm pretty sure we don't see anyone snort the coke.
You could show that, but we couldn't go further and show them tapping out the coke.
I'm just mentioning this if anybody's interested in...
You see, we couldn't be in a clean focus
on that when a line was being put out.
This is for anybody who's interested.
We saw him put the straw down, but we didn't see him do the coke.
Those were just frames that were shaved off
so that the MPAA would give us our PG-13 rating.
He should never have gone back in that room, just left him in there.
Well, it shows that he cares.
I was very curious to see... I wanted to go to the set all the time.
When you're working on a movie, as an actor, you have a few days off
and yet everybody else is shooting, and when you come back it feels like
years have passed and you haven't been there.
Everybody's telling stories of the funny things that happened on set
and you just feel so excluded.
That's not mine.
I got a good laugh out of that the first time I read the script,
where he, literally, looks directly at the officer and says, "That's not mine".
I think this actor's really good, playing this police officer.
And I also loved that Justin has an inhaler here.
You know, just exactly who he is. Such a fall from grace.
This cool guy, showing everybody how cool he is,
and then he's revealed to be an asthmatic.
The way every night ends, with an EpiPen and a police officer.
- Twenty-one. - I'm 21.
Lying only makes it worse.
I'm sorry, I shouldn't have lied.
- And this music is so good. - Yeah, haunting.
It's just like such discord.
- Feels unsettling music... - Yeah.
This is something that might be overlooked technically.
Every time Justin is on the right side of frame, Mark's on the left side of frame,
and halfway through the scene
Justin moves to the left side of frame and Mark moves to the right side of frame.
This was heavily orchestrated when we were on set.
This is not something that's by accident
or something that just happened because the actors wanted to move individually.
This is an orchestrated scene. Watch. So, Justin moves to the left side of frame,
cuts back, Mark is over there.
This is just so wonderful.
You almost feel like how could anybody else be making movies
if they're not thinking about stuff like this.
He moves back, I move back.
It's just incredible.
When I was on set, I had no idea
of the millions of things that were happening around me,
that were making this movie. I just happened to overhear
that this was what they were doing.
I happened to overhear it and if I didn't overhear it,
I never would've known and I'd watch the movie 100 times
and wouldn't pick up on it 'cause I just don't pick up on things like that.
I love how Reznor just goes between this minor third.
That music just keeps switching back and forth between...
It holds you in this balance of uncertainty
where you know something's happening, but you just don't know what.
That's actually not Jesse's hand.
In a way, when Mark looks at that card, he's an adult now.
If there is a growth experience for Mark, it's that.
"I'm CEO, bitch" was the young Mark,
which was 15 minutes ago when he got the cards delivered to his desk,
and an adult Mark is...
Eduardo's left, Sean is irresponsible.
And if Sean is the parent to Mark,
Sean is irresponsible and Mark is now taking the throne.
We did a little over 40 takes on having the hand-double just lift the card out
so that the light hit it just right.
And as a matter of fact, we had to use two hand-doubles
'cause the first one's hand was cramping up.
Now, here's where Rashida completely pays off.
Rashida took this part where she only speaks in three scenes
and had to spend so many days at work,
sitting there at that table for 12-, 14-hour days,
and we were just so incredibly lucky
that she wanted to play this part, that we were able to get her to do this.
Because this is our way into Mark. She's a stand-in for the audience.
Rashida has such a natural intelligence to her,
it made me, as Mark,
want to show her that I'm okay.
And that's, of course, what Mark is doing in this scene.
Rashida is very helpful in that way.
Her character's a contemporary of Mark's.
But for the last several days, she's heard that Mark is a monster from all these people.
And so, Mark here is showing her he's not that.
And what she tells him is that
A, I've seen worse, and, B, it never is what they say,
and creation myths need a devil,
and that's the role Mark had to serve in that story.
I asked the question, now everybody's thinking about it.
You've lost your jury in the first 10 minutes.
The finger.
Farm animals.
Yeah.
Aaron wrote this wonderful line where Mark says, "Likeability",
and it's such a wonderful moment.
There was nothing I could do to play it up, which I was tempted to do.
The irony of Mark hearing that word and for the first time thinking,
"What does that mean and why would anybody consider that ever?"
Do you think anybody would mind if I stayed and used the computer for a minute?
I can't imagine it would be a problem.
Thanks.
The last line of the movie, I purposefully didn't think about.
I asked Aaron about it recently,
but when we were shooting it, I purposefully didn't ask about it
because I wanted Mark to think about that line
and if I felt I, Jesse, understood what that meant,
then I wouldn't realistically be able to think about it.
And so, I wanted to not understand it.
And then, I asked Aaron and he said he was referring to, you know,
Sean might be that,
and you're trying to be Sean, but you're not that.
I never thought of it that way, but I wanted Mark to just mull it over
in this final moment
and just take it as she's saying something nice to him.
Now, see if you can tell on Jesse's face.
He's going to call up Facebook, he's going to type in Erica's name
and see that, just slight moment of happiness. She's on Facebook.
After all that, she's on Facebook.
It's just moving that she has a Facebook page.
Just even that.
Even her ability to know that she's okay enough with him
to have a page of his, you know what I mean?
It's like the real Winklevoss are on Facebook.
After all that.
But it just shows you how universal this site is.
You can't escape the Winklevoss.
2008, they joined it 'cause they said it was the only way they could keep in touch
with people they'd met in Beijing. Indispensable.
This final moment I thought of in a few ways.
One is it was the last shot we did of the movie,
so it was poignant in that way for me as an actor.
But as a character,
it's also the end of Mark's story as well.
He's going to settle. That's all going to be behind him.
But there's this lingering feeling of having done somebody wrong
and wanting to right it.
And also, the great curiosity of, "Is this girl on my site?"
And how wonderful it is that she is.
And how wonderful it would be to reconnect with her
or not, but just to know that she's there
and that she's okay and that he's finding out that she's okay through his creation.
The thing that you forget when people are that smart is that they're kids.
These are kids,
and they treated each other the way kids treat each other,
which is, it's cruel sometimes.
We've put so much pressure in our society on young people
if they're able to do something really well.
Athletes, the Mark Zuckerbergs of the world.
He's a brilliant mind.
And he still has an amazing, amazing invention
that he bestowed upon the world, that he invented.
But it doesn't mean he's not a human being.
We pull a magnifying glass out, and we analyze these people,
and I think when you walk away from this movie,
I think you have more empathy for all of them than anything.
Or hopefully, you do. Hopefully, you do.
I remember, David, when I screened the film, he'd brought the actors in to screen the film
and he texted me right after the movie and he said, "What do you think?"
And I said, "This might be your best film".
I've never met Eduardo. I would've loved to, and I would still love to if he is around.
I'd love to hang out
and have a drink,
and see how he's doing and I think he saw the film and I think
Aaron was there afterwards to greet him afterwards,
and he said he was pale and numb.
And Aaron said
someone could've performed open-heart surgery on him
without anaesthetic at that point, he was so shell-shocked and numb,
which I don't know how to read that particularly,
but if he was moved by it, that's a good thing, I guess.
And he wrote an op-ed piece, I think, recently.
I can't remember what it was for, but it was a very lovely and positive
op-ed piece about creativity.
There was no bitterness in the article.
It was all about... He was inspired by the film.
Whether he thought he felt like it was well-depicted or not,
he was inspired by watching these kids in dorm rooms,
creating a shift in the zeitgeist and the cosmos,
and in the way that we operate as human beings.
He was basically talking about entrepreneurship,
and the future of business,
and it was a call to arms
for young entrepreneurs to create what they want to create.
It was a very positive piece that he wrote after seeing the film.
So, it was really inspiring, actually.
Is there any way you could get his e-mail, or is there any way you can
- get in touch with him at all? - I could.
- I feel like it's... - Facebook?
Yeah, exactly. I feel like it's his call, really.
I don't particularly want to pressure him.
I think if I send out good vibes into the cosmos about it
and just send out to people who might know him and be like,
"I'd love to meet him at some point."
Maybe that word will get back to him and then something slow and natural can occur.
Yeah, I'd really, really love to. I want to know how he feels about the film.
It's an odd sensation, though. I'll tell you that.
- Very weird, yeah. - When we met the Winklevoss,
- we felt like stalkers. - Yeah.
We literally walked up to them and were like,
"Wait, so did this really happen when you were in the sixth grade?
- "And is your dad really going to..." - "Remember when you were 15?"
And they were just like, "Pump the brakes, guys. You're freaking us out."
- It's funny. - Yeah, but also because it's really surreal
'cause you spend so many months trying to create these guys in your head
that to finally see them incarnate is just very strange.
- "Did I do them justice?" - Surreal.
So, we were shooting the Henley stuff
and we came back to base camp and Armie and I had run into
the Winklevoss and Divya and a few other people.
And we said, "Oh, my God, David. You've got to come back to base camp."
"You've got to meet Max." So, we're driving back in the van
and we're like, "I think, Max is nervous to meet you."
"He's not sure how his portrayal's going to come across."
So, we said, "When you get there",
"just go up and talk to him in an Indian accent. Make sure you freak him out."
So, we get to the set and we yell Max's name
and he comes to the trailer door. Divya goes,
"Max, how are you?
- "It is so good to meet you, Max." - Yeah.
And Max just turns white, and he just starts going,
"I'm so sorry, I'm so sorry, I'm so sorry,"
profusely apologized for 30 minutes.
- Man! - It was great.
That was good.