Jobs has refused to pay for her Harvard education and now others, namely Andy Hertzfeld, his punching bag from Act One, have stepped in to foot the bill.
Advertisement
The problem is that Steve Jobs isn’t just a “character”; he was a real person who lived a real life. And we know lawyers are very powerful, but they can stand with you as well and protect you sometimes.
If you are really an avid fan of Steve Jobs, from books to documentaries, then you must prepare yourself for something that is not so Steve, so to speak.
Apple Computer CEO Steve Jobs stands in the new Apple store July 17, 2002 in the SoHo neighborhood of New York City.
The movie, starring Ashton Kutcher as Jobs, picks up on Jobs’ life as a bare-foot, shaggy dropout at Reed College in Oregon and follows the path that led to him teaming up with Wozniak to start Apple in 1976, recruiting Sculley to become CEO, leaving Apple in a power struggle, and returning to engineer the greatest comeback story in corporate history. These are all talented individuals.
Zuckerberg, now 31, ridiculed that movie as mostly fiction and publicly lamented, “I just wished that nobody made a movie of me while I was still alive”. In the film, Jobs retorts that he was using an algorithm that came up with that number.
Vanity Fair points out that this per screen average puts Steve Jobs in good company with The Grand Budapest Hotel, American Sniper, Birdman, and The Imitation Game, which were the only four films to gross over $100,000 per screen during a weekend past year.
To be fair, this doesn’t seem like a film that’s out to be negative. Sorkin wanted to paint a rococo portrait of the Apple leader. That proves a source of constant conflict with Jobs’s baby-mama, Chrisann Brennan (Katherine Waterston), who in the film’s opening segment rips her former flame for slandering her in the press as a whore.
But, there are now a good idea just why people made a decision to forward Steve Jobs and contains less to do when using the top quality of one’s picture. “There’s been a few tough moments”. And like Boyle’s most famous films, everything seems to work out for the main character by the end.
Boyle, whose greatest talent is in his slick manipulation of time (“127 Hours”, “28 Days Later…”), is in firm control of the screenplay’s high-velocity rhythm.
In the movie Steve Jobs, Steve Wozniak serves as the film’s conscience.
Tim Cook, Apple’s current chief executive, has decried the recent spate of Jobs movies as “opportunistic”. But they too often sound like hollow boasts, as when Jobs, standing in the pit of the San Francisco orchestra, likens himself to a conductor: “I play the orchestra”, by which he means the collection of all the little people who do the actual creating. “Chiat contacted me and said Steve’s family had said no, because they weren’t happy about the direction the film had taken”.
Jobs never explains, and never apologizes. He is consistently strong in leading roles and has a track record of playing complicated men (Edward Rochester in the latest adaptation of Jane Eyre and Edwin Epps in 12 Years a Slave, to name a couple). DiCaprio was initially in talks for the role. But then, later, he accepts that he is his daughter’s father and he realizes that he’s got it all backwards.
“I always feel like I’m doing something wrong, like I’m not where I’m supposed to be, except for any time I’m with my daughter, everything feels right”.
“It’s actually very much not that”. But the dialogue in Steve Jobs, while unsurprisingly fast-paced, was smooth with several humorous moments. “I’m not the person for it”. Corporations are not faceless bureaucracies that the stories implied, they are the product of unique, colorful, bold men. Sorkin calls the film a “painting and not a photograph”.
Advertisement
If Kottke were selecting Sorkin’s next subject, it would be Musk, who comes closest to equaling Jobs’ polymathic perfectionism.
