Sculley says Steve Jobs movie is “extraordinary entertainment” but depicts

Fassbender’s Jobs notes that it has been dubbed the “greatest ad of all time”. He’s also charming and seductively amusing, which makes him risky if you get too close. Is he really that good?

“This movie is not a biopic, it’s not a cradle-to-grave story … the entire movie is three scenes”, Sorkin explained, stating that his intention was to have Jobs deal with the interpersonal conflicts in his life during these three key moments.

Responding to claims that Laurene Powell Jobs had not wanted the film made, Sorkin said: “Mrs Jobs hasn’t seen the movie”. The second part, presented on widescreen 35mm, unfurls at the sleek San Francisco Opera House in 1988 when Jobs, axed by Apple, presents his NeXT cube to mass indifference. Partly because of a trip I’d taken. Sorkin offers no sympathy.

Mercifully, Steve Jobs’ flirtation with facile psychoanalyzing is offset by its blistering barrage of combative dialogue, all spoken in dressing rooms, offices, auditorium corridors and other locales fit for incessant movement. Director Danny Boyle says never say never. “It was going to be a big challenge, the volume of words alone”. Sorkin moves characters around his cinematic chessboard (shades of Birdman) with little regard to whether they were actually present during Jobs’ backstage rampages.

He wasn’t the practical visionary that Jobs was, but people who suggest he had no long-term vision for Apple are way off-base.

Their nuanced portrait of Jobs, played by Michael Fassbender, explores how this plays out in reality. And they’re even more apparent in his refusal to acknowledge his paternity to daughter Lisa.

Aaron Sorkin has come clean about his opposition to the casting of Michael Fassbender in new movie Steve Jobs after his emails about the film were exposed during last year’s (14) Sony database hack.