Pirates of Silicon Valley

PETER: Before making this film, had you seen either Pirates of Silicon Valley or Jobs? And if you did, what did you think of those films?

DANNY: No, I did not. I hadn’t seen either of them. I’d heard about them. I watched them obviously once. Once we were up and running. I obviously covered, you kind of do your diligence and do research and stuff like that. And it was great. I mean, it was wired obviously to literature. It was that, it was the originality of the concept of looking at the guy through a deliberately constricted point of view through the three launches. So it’s not Internet, it’s not trying to cover the whole launch. And it’s not trying to emphasize… But when you do that, I mean, it’s amazing the number of times we talked about how restrictive this thing is, and yet how much freedom it gives you because of the restrictions of that weird connection between kind of, it’s almost like suffocation sometimes, because you go so much dialogue to get to. And yet when you get on and get really going with it, it’s completely liberating. You can sort of do anything storytelling-wise with it. And I think that was a, to discover that was extraordinary. And the actors found that ’cause initially they were thinking holy shit, all I’m gonna be doing is just fucking talking. There’s not gonna be any time to do any acting. Good grief. Because when they get in harmony, they are one and the same thing. Especially when Michael got in that third part. He was, every day it was extraordinary to watch him. He was just on it really.

steve jobs

PETER: And you captured so much of his life in those three periods. I was wondering, this isn’t the first time you’re doing a movie based on a true story. But this is the first time that you don’t have the actual person around to help guide it. What kind of creative liberties does your film take do you think?

DANNY: We hope there we are honorable, but of course even a kind of, even a high factual biopic will take liberties. ‘Cause it just will, even if it’s an omission. I mean, you hope that our intentions are honorable. That they’re in pursuit of the truth about him. That’s for other people to judge. That’s not, we had a lot of people around who did know him. And who advised us and guided us. And but not everyone will ever agree about some of the things about him of course. And but I do think that something I always used to say it was kind of Shakespearean really. It was what Shakespeare used to do. He would take some of the facts about a man of power and he would guess at a lot of the rest and just gotten away at actually getting at the human in it. And that’s what’s wonderful about the writing I think, is that it acknowledges the people who disliked him, the people he hurt. But in the end, he brings it back to a very simple father-daughter relationship that he has to admit that he has made some of the most beautiful things in the world. And that’s the kind of self knowledge that we all hopefully we all get and we all have those flaws. We’ve all gotta work on them. And so we bring him back to us I think. That’s the idea. Because you’re right, there’s some stories mixed about him that you can see another side already really. But if they are incredibly important people that shaped our world and you have to make, as artists you have to address them. Dealing with these companies, these companies are so powerful now. ‘Cause always I’m talking about Facebook as well which is so concerned about this world. And you have to kind of hope that artists will all and documentary filmmakers all insist on making stories about them. Because otherwise they kind of go outside these companies, they’re so powerful. And they’re changing the world daily. And it’s within our reach.

steve jobs movie

PETER: Oh what do you think is perhaps the most dramatic moment in the film that people might assume didn’t actually happen, but you learned is something a real moment?

DANNY: Well it isn’t really invented, it’s pretty much truth. It’s obviously because these are long conversations, the conversations are brilliantly imagined by Sorkin. But the events that they describe are pretty much true. So there’s nothing in it that doesn’t really exist out there anyway. That isn’t documented in some way or other. And his screenplay’s based on multiple conversations with all those people you see on the screen. Except Steve of course. He had passed away by that time. And he had to really on Isaacson’s conversations with him and come up with, and obviously other people’s memory, reportage of, which is subjective. We’re all subjective. So actually it’s what Kubrick says you, that the truth isn’t necessarily in the facts, people remember the facts differently. It’s like they say about the facts and the truth you can see with it, do you believe in it? On some level do you actually think, some details aside, does this feel truthful? And I gotta say I believe it did and they feel the performances are not fake. They’re kind of big, huge, kind of brutal with truth whenever they could be. They’re uncompromising actually all, and nothing’s done to make anybody more likable or villainous or whatever. They’re all actually truth in the writing.

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