PRODUCTION THE SOCIAL RECKONING
he has actors deliver them, is just such an adventure.” The passage of time also called for a different portrayal of Zuckerberg himself, and while Cronenweth admits he was initially disappointed to learn that Jesse Eisenberg wouldn’t be reprising the role, he came to realise that recasting was a good move. “When you really think about it, it’s 15 years later. This guy went from being a student in a dorm to one of the biggest companies in the world,” he explains. “He’s been in front of Congress 30 times by now, he’s been sued 10,000 times. It’s a different world and a different guy. And Jeremy Strong gave a matured performance that I think the world needed. That was super exciting.” While Cronenweth and Sorkin have tucked in a few Easter eggs for returning viewers, The Social Reckoning inhabits a very different visual world to its predecessor. Gone are the wood- panelled dorm rooms, polished campus corridors and old Boston buildings illuminated by the glow of sodium- vapour lights. In their place is San Francisco’s tech world: a landscape of glass and steel that demanded its own, more modern presentation. Capturing the action was a RED V-Raptor package, including the THERE IS quite a bit of camera movement AND ENERGY MOTIVATED BY THE performances ”
V-Raptor XL, paired with ARRI’s spherical DNA LF lenses. “I’m so comfortable with this camera, I’ve used it a lot,” comments Cronenweth. “I love the way it mitigates colour and I love the tools built into it. It was an obvious choice for me.” Sorkin wanted the camera to be dynamic, says Cronenweth, "which is great because often with dialogue-heavy stories, you get stuck, because how much can you move when someone is talking about the same thing?” Sometimes dealing with up to eight pages of dialogue in a scene, they
knew they had to get creative to keep the camera alive. “At different times – and for different reasons – when there was tension or awkwardness in the scene and people were starting to establish relationships, we took certain approaches to the camera movement. “Other times, when it was a fluid situation, the camera movements became more fluid as well. If you watch it, you’ll see there is quite a bit of camera movement and energy motivated by the performances,” he adds. “That was a key thing Fincher brought to The Social
THE RIGHT TOOLS Cinematographer Jeff Cronenweth used a RED V-RAPTOR camera combined with ARRI spherical DNA lenses
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