- #STEVE JOBS 2015 PLOT SUMMARY SOFTWARE#
- #STEVE JOBS 2015 PLOT SUMMARY PC#
- #STEVE JOBS 2015 PLOT SUMMARY MAC#
The “empty” Cube is a metaphor for Jobs’s heartlessness.
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#STEVE JOBS 2015 PLOT SUMMARY PC#
This leads to Jobs’s crowning at Apple and the demise of Sculley, who’d erred in investing in the Power PC architecture. He introduces the sleek but prohibitively expensive Cube workstation computer, operated by the forerunner of OS X, which forced Apple to merge with NeXT. After Sculley, unimpressed by the Mac’s blatantly fascistic launch video and answerable to stockholders, ousts a tearful Jobs in 1985, Jobs pulls his most Machiavellian masterstroke. The colleague he most lethally bloodies is John Sculley (Jeff Daniels), whom – as another roseate flashback shows – he’d hired from Pepsi as Apple’s CEO in 1983. Jobs likens himself to Caesar surrounded by enemies, but he’s also a Brutus.
#STEVE JOBS 2015 PLOT SUMMARY MAC#
At the iMac launch, Jobs tells the distraught Woz that he won’t acknowledge the work of the downsized Apple employees who’d developed the Mac II, which Jobs had disdained but which kept the company alive.
#STEVE JOBS 2015 PLOT SUMMARY SOFTWARE#
Jobs threatens to publicly humiliate software designer Andy Herzfeld (Michael Stuhlbarg) unless he makes the Mac say “hello” to Apple shareholders. On that occasion, he agrees to provide for her and her desperately hard-up mother, Chrisann Brennan (Katherine Waterston), but only after Lisa shows him she can use the Mac’s paintbox.Īs the minutes tick down to the high noon of each product launch, key members of Apple’s brilliant family – Jobs is the bullying, withholding “father” and his marketing manager/confidante Joanna Hoffman (Winslet) the strong-minded but enabling “wife” – crave his approval and never get it. That the film is partially subjective is indicated by the momentary flashbacks that disturb Jobs’s thoughts – for example, to inspired early days working with Apple tech wizard Steve Wozniack (Seth Rogen) in his garage, to the hugging of his legs by his five-year-old daughter, Lisa (Makenzie Moss), whom he wants to disown. The first act was shot in 16mm, the second in 35mm, the third in HD, the stylistic evolution underscoring that of Jobs’s design-conscious innovations but also serving to illuminate the conscience of a genius whose tragic Shakespearian flaw is his lack of empathy for others. Sorkin devised Steve Jobs as a theatrical drama, each of its three acts consisting of a backstage crisis that unfolds in real time in the half hour or so before Jobs (Fassbender) presents a new product – the Mac on a campus near Apple’s Cupertino HQ in 1984, then the NeXT’s black cube computer and the iMac G3 at San Francisco auditoriums in 19 respectively.
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Boyle’s picture will annihilate the box-office performance of 2013’s Jobs, a ho-hum indie that grossed $16.1 million, and should prove a substantial earner for Universal, though it will likely prove too cerebral for extended box-office domination.
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It’s no discredit to Steve Jobs, Danny Boyle’s propulsive and iconoclastic biopic of the digital-revolution visionary who democratised personal computing, that it’s a dispiriting study of capitalistic self-aggrandisement – one that leaves a sense of unease despite its ironically upbeat ending.įassbender is a shoo-in for every leading actor nominationĪ triumph in terms of Aaron Sorkin’s screenwriting, Boyle’s direction, the ensemble acting led by Michael Fassbender and Kate Winslet, and certainly set for awards attention, Steve Jobs opens in the US in selected markets on October 9 following a high profile festival run (Telluride, New York, and the London closing slot).