American Cinematographer - November 2015 - 62
Thinking
Different
Alwin Küchler, BSC utilizes
16mm, 35mm and digital capture
to create "incremental upgrades"
through time for Steve Jobs,
directed by Danny Boyle.
By Noah Kadner
*|*
W
alter Isaacson's biography of Steve Jobs was released
just three weeks after the mercurial, visionary founder
of Apple passed away at age 56 in 2011. Soon after,
Universal Pictures became determined to produce the
definitive portrait of the man behind the Macintosh computer,
iPod, iPhone and iPad. Development proceeded swiftly with
the hiring of renowned screenwriter Aaron Sorkin. The
project changed players a few times along the way, but in late
2014, Danny Boyle took the helm and went on to choose
Michael Fassbender for the title role in Steve Jobs. Fassbender
62
November 2015
stars alongside Seth Rogen as Steve Wozniak, Kate Winslet
as Joanna Hoffman, Jeff Daniels as John Sculley and
Katherine Waterston as Chrisann Brennan.
Though aspects of Jobs' life have been presented before
in such projects as the 1999 telefilm Pirates of Silicon Valley
(shot by Ousama Rawi, BSC, CSC) and the 2013 feature Jobs
(shot by Russell Carpenter, ASC, who offers his thoughts on
the production in podcast #45 on theasc.com) - as well as in
numerous documentaries - Boyle and his team were aiming
for something different with Steve Jobs. Unlike more traditional biopics, Sorkin's script was essentially divided into just
three scenes, each covering the run-up to a key product
launch. Act one, set in 1984, concerns the debut of the first
Macintosh computer. Act two, in 1988, sees Jobs launching
the Next computer, his first creation after being forcibly
ousted from the company he founded. The final act, set in
1998, depicts a resurgent Jobs returning as Apple's CEO and
igniting the company's renaissance with the iMac.
To add authenticity, Boyle insisted on filming in the
actual historical California locations for each presentation,
during a brisk production that spanned January through April
2015. The Bay Area settings included the Flint Center for the
Performing Arts in Cupertino, and Davies Symphony Hall
American Cinematographer
http://www.theasc.com
American Cinematographer - November 2015
Table of Contents for the Digital Edition of American Cinematographer - November 2015
Contents
American Cinematographer - November 2015 - Cover1
American Cinematographer - November 2015 - Cover2
American Cinematographer - November 2015 - 1
American Cinematographer - November 2015 - 2
American Cinematographer - November 2015 - Contents
American Cinematographer - November 2015 - 4
American Cinematographer - November 2015 - 5
American Cinematographer - November 2015 - 6
American Cinematographer - November 2015 - 7
American Cinematographer - November 2015 - 8
American Cinematographer - November 2015 - 9
American Cinematographer - November 2015 - 10
American Cinematographer - November 2015 - 11
American Cinematographer - November 2015 - 12
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American Cinematographer - November 2015 - 14
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American Cinematographer - November 2015 - 20
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American Cinematographer - November 2015 - 28
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American Cinematographer - November 2015 - 33
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American Cinematographer - November 2015 - 35
American Cinematographer - November 2015 - 36
American Cinematographer - November 2015 - 37
American Cinematographer - November 2015 - 38
American Cinematographer - November 2015 - 39
American Cinematographer - November 2015 - 40
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American Cinematographer - November 2015 - 43
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American Cinematographer - November 2015 - 45
American Cinematographer - November 2015 - 46
American Cinematographer - November 2015 - 47
American Cinematographer - November 2015 - 48
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American Cinematographer - November 2015 - 50
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American Cinematographer - November 2015 - Cover3
American Cinematographer - November 2015 - Cover4
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