He was a really big fan of my work on The Counselor. Well, I had a meeting with Danny last year that lasted half an hour. What was your reaction when Danny Boyle asked you to compose a score for his new film You’ve had quite a year writing the scores from The Man from U.N.C.L.E. During an interview with Tribeca, Pemberton, 37, talked about why writing music for the “Revenge” section excited him the most, what kind of research he did for the project, and how he feels Steve Jobs himself has changed the way he works as a composer over the last 20 years. With those three words, Pemberton (below) was put on a track to write a score reflective of some of the technological advancements Jobs was able to create during the highs and lows of his incredible career. Pemberton said Boyle described it as “Wisdom.” Boyle described this act as “Revenge.” The final act happens in 1998 with the launch of the iMac. Pemberton said Boyle described this act as “Vision.” The second act is set in 1988 during the launch of the NeXT computer, four years after Jobs was fired from Apple. The first act takes place in 1984 with the launch of the Macintosh. In Steve Jobs, which explores some of the career milestones of the late Apple co-founder and his relationships with his colleagues and estranged daughter, the film is broken down into three distinct acts.
It wasn’t until director Danny Boyle explained his thematic ideas for the film that Pemberton knew exactly how he wanted to approach this massive challenge.
Subsequently, Pascal pleaded with Rogen to tone down the violence.The first time British composer Daniel Pemberton read Aaron Sorkin's script for Steve Jobs, he had no idea where any of the music he was asked to write would fit in to a movie that was so dialogue-heavy. After seeing a cut of the film three months before its planned December release, he expressed concern over the movie’s graphic murder scene. The movie, about two Americans tasked with assassinating North Korean leader Kim Jong Un, made Hirai deeply uncomfortable. Though the Jobs film created a big mess at Sony, it was ultimately the comedy “The Interview” that would provide Pascal with the most headaches.Īs the film’s biggest champion, she fielded worries about the film’s subversive content from Sony Corp.'s Tokyo-based chief executive Kazuo Hirai. “It is no ones job but mine to see the forest through the trees and block out temporary noise from the inside as well as the outside.” “What happened is entirely my fault,” she wrote to top executives at the studio a few days later. “I feel like I just gave away a seminal movie like Citizen Kane for our time,” she lamented to Sony colleague Tom Rothman on Nov. Unable to come to terms on who would play the Apple co-founder, Rudin took the sought-after project to Universal Pictures in November, leaving Pascal feeling as if she had made a major blunder. The Jobs movie would be the pair’s undoing, as they disagreed about the movie’s budget and leading men. The two exchanged fiery messages regarding potential Sony projects, including a “Cleopatra” movie starring Angelina Jolie and a fraught Steve Jobs biopic. Known in Hollywood for his acid tongue, Rudin was one of Pascal’s most frequent correspondents.