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AARON SORKIN TO ADAPT “STEVE JOBS” FOR SONY PICTURES

Posted Tuesday, May 15th, 2012 - 1 Comment »
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Film to be Based on Walter Isaacson’s Best Selling Biography of Late Apple Co-Founder

CULVER CITY, Calif., May 15, 2012 – Academy Award® winning screenwriter Aaron Sorkin will adapt Steve Jobs, a motion picture based on the best-selling biography of the legendary Apple co-founder by award-winning journalist Walter Isaacson, it was announced today by Amy Pascal, Co-Chairman of Sony Pictures Entertainment, and Doug Belgrad, President of Columbia Pictures. The project is being produced by Mark Gordon, Scott Rudin and Guymon Casady.

Published late last year, Steve Jobs was Amazon’s best-selling book of 2011.  In addition, the biography ranked #1 among bestselling hardcover books by a 2:1 margin, with sales of 2,246,569 in 2011, according to Publisher’s Weekly.

Commenting on the announcement, Pascal said, “Steve Jobs’ story is unique: he was one of the most revolutionary and influential men not just of our time but of all time. There is no writer working in Hollywood today who is more capable of capturing such an extraordinary life for the screen than Aaron Sorkin; in his hands, we’re confident that the film will be everything that Jobs himself was: captivating, entertaining, and polarizing.”

AARON SORKIN won the Academy Award® for Best Adapted Screenplay for his work on The Social Network.  His other screenplays includeMoneyball, Charlie Wilson’s War, The American President, Malice, and A Few Good Men.  He has also acquired the motion picture rights to The Politician, the best-selling book by Andrew Young about the downfall of former Senator John Edwards.  He will adapt the book and make his directorial debut with the film, which he will also produce. For television, Sorkin created “The West Wing,” “Sports Night,” and “Studio 60 on the Sunset Strip.”  He is currently in production on the HBO series “The Newsroom,” which is scheduled to premiere on June 24, 2012 <x-apple-data-detectors://1> .  For the stage, Sorkin wrote “A Few Good Men” and “Making Movies”; he returned to Broadway in 2007 with “The Farnsworth Invention.”  Sorkin will return to the theater and make his Broadway debut as a librettist with the 2013-2014 production of “Houdini.”  Based on the life of legendary magician Harry Houdini, the musical will star Hugh Jackman and will feature music and lyrics by Oscar and Grammy winner Stephen Schwartz.

About Sony Pictures:Sony Pictures Entertainment (SPE) is a subsidiary of Sony Corporation of America, a subsidiary of Tokyo-based Sony Corporation. SPE’s global operations encompass motion picture production and distribution; television production and distribution; home entertainment acquisition and distribution; a global channel network; digital content creation and distribution; operation of studio facilities; development of new entertainment products, services and technologies; and distribution of entertainment in more than 159 countries.  For additional information, go tohttp://www.sonypictures.com/

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Posted in Movie City News, Press Releases | 1 Comment »

One Response to “AARON SORKIN TO ADAPT “STEVE JOBS” FOR SONY PICTURES”

  1. Burt Jone says:
    May 16, 2012 at 2:33 pm

    We Love Sony Studios… please help us stop Fracking in Culver City and Baldwin Hills area.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon