Aaron Sorkin chats to us about penning the new Steve Jobs movie, fiction and non-fiction, and journalism.
The subject of Aaron SorkinsSteve Jobsscreenplay, at least in the most basic terms, is hard to miss.
Its at once the title of the movie, the marketing anchor, and the lead character.
Why tell stories about real people?
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Uh… shouldnt we?
Ive never been asked that question before so Im not quite prepared for it.
Shouldnt we tell stories about real people?
If you tell stories about fictional people it’s possible for you to change what you want.
I definitely understand the value of writing fiction.
I do it all the time.
But you tell stories about real people.
Youre going to tell one about me, arent you?
The medium I am working in restricts me somewhat, while yours doesnt.
Thats true… now, I think I know what youre getting at.
We do paintings of real things.
Not all paintings are abstract, theyre not all Jackson Pollock.
The same thing with this…Steve Jobs, I think, is my fourth non-fiction that Ive done.
I think that I can… listen, I need to create conflict on the screen.
People and characters are different.
I think its a bit more than that.
I think the movie announces itself pretty quickly as being impressionistic in that way.
The content of the confrontations is real, they are not fictional.
Art is able to do things that journalism isnt.
However, the content of those conversations is true.
Thats not my personal concern.
My concern is from the other direction.
Why didnt I do aCitizen Kanetreatment of it?
Okay, thats one way of framing it.
I wonder about the freedom and latitude of having the writer be able to make up anything.
Thats something I cant do when Im doing this.
I dont like the guessing game that would go on in the press.
And beyond that paper… what do you feel about whats on screen?
I think its the movie of any writers dreams.
I think that Danny [Boyle] is a genuine genius, I think he did a brilliant job.
I think Fassbender and the cast did fantastically well.
We had a great time doing it.
Danny was insistent with the studio that money be spent on a proper rehearsal period.
We did it all in San Francisco.
We rehearsed the first act for two weeks then shot that first act, then shut down production.
So I could not be happier with the movie.
Thats why Blu-rays are a friend to the writer, I guess.
Im lobbying for the writers cut to be on the DVD releases.
But, by the way, that cut would be about seven seconds different.
Its beautiful, though.
Its my 149th interview and nobody has asked what you asked.
I do feel that pang of hypocrisy, a little bit.
This is not to do with bending the truth.
Youre a journalist, you know how it works.
You will discover things as youre doing research and you have to make a decision.
Aaron Sorkin, thank you very much.
