A Quote by Armie Hammer
There were two auditions for 'The Social Network,' one with Aaron Sorkin and one with David Fincher. I was a nervous wreck. I was like, 'Okay, how do I hold the paper without my hands making it shake?'
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There were two auditions for The Social Network, one with Aaron Sorkin and one with David Fincher. I was a nervous wreck. I was like, Okay, how do I hold the paper without my hands making it shake?
We were really into what Cliff Martinez did with 'Drive;' we were into what Trent Reznor and Atticus Ross were doing with David Fincher. When I read about how they worked with David Fincher, they're composing hours and hours of music and then he's working and figuring it out.
The two things that got everyone's attention about the 'House of Cards' deal was the two-season commitment and David Fincher. After David Fincher directs a series for Netflix, no one else can say, 'Well, I'm not going to direct a series for the Internet.'
I had been used to improvising and even in the audition I was feeling free to rearrange Aaron Sorkin words a little bit, as lovely as they were. I didn't find out until after I got the part how furious Aaron was at me for doing that. They said, "He was livid. He did everything in his power not to jump down your throat!" But I came to realise that Aaron was writing in metre and the rhythm of the language is very important.
When David Fincher called me up a few years ago and said, 'Hey, I'd like you to score this film 'The Social Network,' I said, 'I'm flattered, but I really don't have any real experience scoring films, and I'd rather not screw it up on a high-profile project. And I like you and I don't want to compromise our friendship.'
When the social network doesn't find it convenient to have privacy, we say, "Okay, social network, you don't want privacy, maybe we won't have it either." But we did this without having the conversation.
'West Wing' was huge. Like 'Hamilton,' it pulls back the curtain on how decision-making happens at the highest level, or at least how you hope it would be. The amount of information Aaron Sorkin packs into a scene gave me this courage to trust the audience to keep up.
When I did 'The Social Network,' David Fincher told me that I managed to make a thankless character pretty awesome. I thought that was really cool because I think he's really cool.
When I did 'The Social Network', David Fincher told me that I managed to make a thankless character pretty awesome. I thought that was really cool because I think he's really cool.
I read an interview with Aaron Sorkin and he said he plays every part when he's writing. I thought, "Oh, I do that too! I'm doing okay."
I hold my face in my two hands. No, I am not crying. I hold my face in my two hands to keep the loneliness warm - two hands protecting, two hands nourishing, two hands preventing my soul from leaving me in anger.
I think Aaron Sorkin is like Shakespeare. When you go through it, there is a rhythm and clues all over the place of how it should be played.
My run is so weird. That's what I'm most nervous about in this whole ordeal. I'm most nervous about everybody making fun of the way I run. I do, like, karate hands. Instead of running with my hands closed together like a normal person. It's like I'm trying to be aerodynamic or something, so my hands are straight like razors. Karate hands.
Right before I got The West Wing, I was pretty much out of money. When I first came in to Warner Brothers, Aaron Sorkin was there. Of course I was nervous; I'm sitting here in front of the guy who wrote "You can't handle the truth!".
In the 50s and 60s, kids were taught how to shake hands. They were taught how to have manners. There needs to be a lot more of that kind of stuff because the autistic mind doesn't pick up social things and subtle cues.
She was terrific to hold hands with. Most girls if you hold hands with them, their goddam hand dies on you, or else they think they have to keep moving their hand all the time, as if they were afraid they'd bore you or something. Jane was different. We'd get into a goddam movie or something, and right away we'd start holding hands, and we wouldn't quit till the movie was over. And without changing the position or making a big deal out of it. You never even worried, with Jane, whether your hand was sweaty or not. All you knew was, you were happy. You really were.
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