Danny Boyle helmed as well as Aaron Sorkin wrote Steve Jobs, a 2015 biographical drama movie. It is indeed a British-American co-production that was based on Walter Isaacson’s 2011 biography as well as Sorkin’s interviews, and it spans 14 years (1984–1998) inside the life of Apple Inc. co-founder Steve Jobs. Michael Fassbender plays Jobs, while Kate Winslet plays Joanna Hoffman, and Seth Rogen, Katherine Waterston, Michael Stuhlbarg, and Jeff Daniels play supporting parts.
After acquiring the rights to Isaacson’s book, development started in 2011. In January of 2015, the shooting started. Before Fassbender was selected in the part, a number of actors were evaluated. The movie’s editing was substantial, with editor Elliot Graham working on the movie while it was still in production.
Daniel Pemberton composed the score, which was divided into three distinct portions by composer Daniel Pemberton.
On September 5, 2015, Steve Jobs premiered there at Telluride Film Festival, and on October 9, 2015, it started a limited distribution in New York City and Los Angeles. It premiered in theatres across the United States on October 23, 2015, to critical acclaim, with Boyle’s direction, Sorkin’s writing, and Fassbender, Winslet, and Rogen’s acting receiving accolades. Nevertheless, that was a financial flop, generating only $34 million worldwide against such a $30 million budget. Steve Wozniak and John Sculley, both personal friends of Jobs, applauded the performances, but the film was panned for historical inaccuracies.
At the 73rd Golden Globe Awards, Winslet won a Golden Globe as well as a BAFTA Award for Best Supporting Actress, while Sorkin won a Golden Globe Award for Best Screenplay, while Fassbender and Winslet were nominated for Best Actor and Best Supporting Actress there at 88th Academy Awards, correspondingly.
The movie’s soundtrack was composed by Daniel Pemberton. The soundtrack is separated into three distinct portions, according to the movie’s visual style, each corresponding to the desired feel of the act wherein the section is heard. Pemberton adds, “You have the first act, which is analogue, the second act, which is symphonic, and the third act, which is digital.” Pemberton largely employed analogue synthesisers for the first act’s composition, particularly those released no later than 1984 – the year the first act takes place – such as the Roland SH-1000 and Yamaha CS-80.
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