“For example, there’s a lot of energy, almost frenetic, to the camera movements in Act One. “Since Danny was shooting each piece a bit differently, I was cutting each one differently,” Graham says. They learned to live the characters for extended periods of time, well beyond the few seconds a reverse shot or cutaway would take.”Įditor Elliot Graham took advantage of the unorthodox production schedule to enhance the look and feel of the film, in a way that mirrored the structure and unfolding drama. “We felt this gave performers the chance to not just learn the dialogue, but absorb and casualize the language. “Production provided three weeks of rehearsal prior to filming Act One-with subsequent blocks of two weeks of rehearsal each before Acts Two and Three,” Sorkin says.
He can take something as seemingly benign as debugging a voice demo program and shoot it the way other directors would film an action sequence.”Įach 40-minute act is treated like a film within a film, and was shot chronologically. He took these words and embedded them in something incredibly cinematic and visually fascinating. This might have seemed like an impenetrable jungle of a challenge to most directors, but Danny Boyle eagerly embraced it. The resulting 182-page screenplay is built out of dialogue. Sorkin explains: “In going through Isaacson’s book-and also in speaking with Steve Wozniak, Joanna Hoffman, John Sculley, Andy Hertzfeld, Lisa Jobs, and Chrisann Brennan-I identified five key interpersonal conflicts in Steve’s life and found ways to play them out at these product launches. These pivotal product launches are used as a backdrop to explore his personal relationships, as well as his working ones. So, I proposed this approach to the studio, and I was given the go-ahead.” “Also, I thought it would be a more interesting ride if this somewhat monolithic character was observed during three watershed moments in his career. I’m most comfortable in claustrophobic places, with a ticking clock in a clearly defined space,” Sorkin says. He assembled his screenplay into three 40-minute acts based around the launches of the Mackintosh in 1984, the NeXTcube in 1988, and the iMac in 1998. Sorkin also made a bold choice with the unusual structure of the film. “Sorkin describes the film as an 'impressionistic portrait.' There are ideas that clearly come out of real life, but the film is an abstraction.”
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One way the film avoids the dangers of becoming a plodding account of history is that it’s only loosely based on real events: “We’re deeply indebted to Walter Isaacson’s and the depth of his research, but we wanted the movie to be a different kind of journey,” Boyle says in the production notes. Danny Boyle’s latest film Steve Jobsis an interesting example of a way to approach that predicament. Real life doesn’t always follow a neat narrative arc.
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One of the difficulties of making a film about historical figures or events can be deciding how to remain faithful to the subject but still tell a good story.
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