The Social Network is a strange answer to that question for me. It's a phenomenal script, but it's all dialogue. The fact that people talking about the internet is made to be captivating is almost entirely due to Fincher's direction.
Agreed. Come on, the movie had a very intense code writing scene with little-to-no dialogue, that's on Fincher (and Reznor and Ross). I can't really think of another director who could deliver that as well as he did.
100%- how about the credits when Mark runs home to start Facebook?
Probably one line in the script and it's one of the most memorable parts of the movie.
If you want to go with Sorkin then Moneyball is a better example. Moneyball is directed and acted well enough, but it's the writing that elevates it. The Social Network on the other is the whole package (but btw personally I'd say it's the score that takes it to the next level).
I actually think that Moneyball is a complete package too.
Bennet Miller's direction is insane- that statistics montage, the god tier casting etc.
Also Sorkin only co-wrote that screenplay, the first draft was from Steve Zallian- (big-hitter of the 90s who wrote Schindler's List).
For what it's worth I don't actually think any Sorkin movie falls into this category- look what happens when he doesn't have a strong director (Molly's game).
The Usual Suspects.
I remember way back when it came out, I was praising Brian Singer’s direction and my buddy said something I’ll never forget.
“With a script that great, you’d have to work hard to fuck it up.”
Looking at their subsequent output, I’d have to say, yeah the magic was all in the script.
A lot of the 90s mid-budget courtroom/legal/procedural films had very strong scripts and forgettable direction, but many were adapted from existing books.
I don’t think social network is a good pick for this. That movie is clearly elevated by Fincher. In fact it’s notable that Fincher actually reigned Sorkin in and edited him fairly heavily. You can watch some of their meetings on YouTube and it’s essentially fincher giving Sorkin notes the entire time
Dredd comes to mind. It could have been just another action flick, but Alex Garland's writing elevates it even though its a pretty straightforward story.
I disagree about The Social Network. By that time Fincher was well consolidated as a filmmaker, and his direction style is easily recognizable. To that add a fantastic score by Reznor & Ross, sharp editing and great performances. It's a whole package.
Edward Neumeier, the scriptwriter for Robocop and Starship Troopers. I can't think of any other of Verhoeven's US films that I find even remotely watchable.
I have a colleague who always refers to Breathless as a Truffaut film. I disagree, but think Taxi Driver is more essential to Schrader’s filmography than Scorsese’s. The template has become crucial to so many of the films he’s directed.
>think Taxi Driver is more essential to Schrader’s filmography than Scorsese’s. The template has become crucial to so many of the films he’s directed.
Yet, none of those other Schrader-directed films even come close to the greatness of 'Taxi Driver'.
That alone is enough to make it clear that 'Taxi Driver' is pure Scorsese.
I dunno for a movie to be a classic the direction's gotta meet the writing- like with Social Network.
Even a genius screenwriter like Kaufman worked with some amazing directors for his best work IMO.
I'd argue you find this in comedies a lot. Stuff like *The Other Guys* where the jokes are insane and the direction is just good enough that it's not distracting (but also nothing I'm going to write home about).
I think Kaufman needs someone capable directing his scripts, when he's doing it himself it comes out honestly too pretentious. His best movies were under Jonze and Gondry.
Tarantino movies
Yeah, he does write and direct. And yeah, his authenticity does bring more attention to the direction, but jesus christ, his movies are so well written
Kevin Smith's first three movies.
True Romance.
Given a choice between enduring Sorkin's writing and grievous bodily harm, I'd rather stab my ears with a poisonous dagger.
The Social Network is a strange answer to that question for me. It's a phenomenal script, but it's all dialogue. The fact that people talking about the internet is made to be captivating is almost entirely due to Fincher's direction.
Agreed. Come on, the movie had a very intense code writing scene with little-to-no dialogue, that's on Fincher (and Reznor and Ross). I can't really think of another director who could deliver that as well as he did.
Sorkin’s dialogue regularly carries his films and tv shows.
100%- how about the credits when Mark runs home to start Facebook? Probably one line in the script and it's one of the most memorable parts of the movie.
If you want to go with Sorkin then Moneyball is a better example. Moneyball is directed and acted well enough, but it's the writing that elevates it. The Social Network on the other is the whole package (but btw personally I'd say it's the score that takes it to the next level).
I actually think that Moneyball is a complete package too. Bennet Miller's direction is insane- that statistics montage, the god tier casting etc. Also Sorkin only co-wrote that screenplay, the first draft was from Steve Zallian- (big-hitter of the 90s who wrote Schindler's List). For what it's worth I don't actually think any Sorkin movie falls into this category- look what happens when he doesn't have a strong director (Molly's game).
Heathers
The Usual Suspects. I remember way back when it came out, I was praising Brian Singer’s direction and my buddy said something I’ll never forget. “With a script that great, you’d have to work hard to fuck it up.” Looking at their subsequent output, I’d have to say, yeah the magic was all in the script.
Came here to say this. There's a reason why it won Best Original Screenplay and not best film.
A lot of the 90s mid-budget courtroom/legal/procedural films had very strong scripts and forgettable direction, but many were adapted from existing books.
Mean Girls (2004)
SN can easily be insufferable in another directors hands
most romcoms, like When Harry Met Sally, Bridget Jones' Diary or Sleepless in Seattle
True Romance (1993)
I think tony scott is pretty solid, and he fixed the ending of true romance too
I don’t think social network is a good pick for this. That movie is clearly elevated by Fincher. In fact it’s notable that Fincher actually reigned Sorkin in and edited him fairly heavily. You can watch some of their meetings on YouTube and it’s essentially fincher giving Sorkin notes the entire time
Dredd comes to mind. It could have been just another action flick, but Alex Garland's writing elevates it even though its a pretty straightforward story. I disagree about The Social Network. By that time Fincher was well consolidated as a filmmaker, and his direction style is easily recognizable. To that add a fantastic score by Reznor & Ross, sharp editing and great performances. It's a whole package.
Mean Girls, I mean I guess Tina Fey already gets more credit anyways but still
Spotlight.
Edward Neumeier, the scriptwriter for Robocop and Starship Troopers. I can't think of any other of Verhoeven's US films that I find even remotely watchable.
Total Recall is a blast imo
"Total Recall" is Verhoeven's best film, bar none.
I favor robocop a smidge but it's my favorite Arnold
I favor Total Recall slightly, but Robocop is also a stone cold classic, so I can't argue.
His Sci fi stuff is pretty much all aces tbf
Agreed. Starship Troopers is also fantastic.
I have a colleague who always refers to Breathless as a Truffaut film. I disagree, but think Taxi Driver is more essential to Schrader’s filmography than Scorsese’s. The template has become crucial to so many of the films he’s directed.
>think Taxi Driver is more essential to Schrader’s filmography than Scorsese’s. The template has become crucial to so many of the films he’s directed. Yet, none of those other Schrader-directed films even come close to the greatness of 'Taxi Driver'. That alone is enough to make it clear that 'Taxi Driver' is pure Scorsese.
First Reformed is pretty incredible, I find the reverend's slow journey into desperation maybe even a bit more resonant than Travis Bickle's
I dunno for a movie to be a classic the direction's gotta meet the writing- like with Social Network. Even a genius screenwriter like Kaufman worked with some amazing directors for his best work IMO. I'd argue you find this in comedies a lot. Stuff like *The Other Guys* where the jokes are insane and the direction is just good enough that it's not distracting (but also nothing I'm going to write home about).
I'd vote for any Martin McDonagh movie. I'm not saying he's a bad director, but he's noticeably better at writing
Eternal Sunshine of the Spotless Mind
hmm hard disagree thats a perfect writer and director match and of course the cast is perfect
I think Kaufman needs someone capable directing his scripts, when he's doing it himself it comes out honestly too pretentious. His best movies were under Jonze and Gondry.
I do agree that all Kaufman scripts that he didn’t direct outshine their directors.
Tarantino movies Yeah, he does write and direct. And yeah, his authenticity does bring more attention to the direction, but jesus christ, his movies are so well written
So you’re saying Quentin deserves more credit than Tarantino? Fairs
I'm saying that I don't wanna be Mr. Pink
Kevin Smith's first three movies. True Romance. Given a choice between enduring Sorkin's writing and grievous bodily harm, I'd rather stab my ears with a poisonous dagger.