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Aaron Sorkin says Christian Bale will play Steve Jobs

Aaron Sorkin told Bloomberg Christian Bale is indeed playing Steve Jobs and that he will “crush it.”  READ FULL STORY

David Fincher and Sony at odds over Steve Jobs biopic

The all-star creative team behind The Social Network that was planning to reunite for a Steve Jobs bio might have to reboot. Producer Scott Rudin, director David Fincher, and screenwriter Aaron Sorkin were planning to adapt Walter Isaacson’s bestselling 2011 biography for Sony, but according to the Hollywood Reporter, Fincher and the studio are at odds over his demands for a $10 million upfront fee and control of the film’s marketing. READ FULL STORY

CONSIDER THIS: Aaron Sorkin gives a frack about 'Promised Land'


Academy Awards voting is in full swing, and EW’s Prize Fighter has spent the week asking folks with Oscar histories of their own to share their personal favorites of the year. Aaron Sorkin, who had an adapted screenplay nomination last year for co-writing Moneyball and won in the category for The Social Network, wrote us on behalf of Promised Land, a drama about a rural town that is considering selling its natural gas rights, though there may be an unseen risk to the reward.

Somewhere along the line, someone in the next few weeks is going to tell you that Promised Land, a perfect film from Matt Damon, John Krasinski and Gus Van Sant, is about fracking. They won’t be entirely wrong, but Promised Land is only about fracking if Jaws is about fishing. READ FULL STORY

Aaron Sorkin's Steve Jobs script will be just three scenes, in real time

From the products he brought to the market to his famously abrasive management style, Steve Jobs was a singular figure in American life — heck, in global life. So it follows that any feature film about him should also stand out from the crowd.

That’s certainly the belief of A-list screenwriter Aaron Sorkin, who was tapped earlier this year by Sony Pictures to adapt Walter Isaacson’s eponymous biography of the Apple Computer cofounder. During a Q&A session at The Daily Beast’s Hero Summit, Sorkin revealed on Thursday his unusual plan for bringing Jobs’ story to the big screen. Rather than take an audience through Jobs’ life with a standard series of well constructed scenes, Sorkin’s script will feature just three scenes, each roughly 30 minutes long, that unfold in real time. READ FULL STORY

Aaron Sorkin adapting 'Steve Jobs' into feature film

Aaron Sorkin has officially signed on to adapt Steve Jobs, Walter Isaacson’s biography of the late Apple co-founder, Sony Pictures announced late Tuesday.

Sorkin, of course, won an Academy Award for his screenplay for The Social Network about Facebook founder Mark Zuckerberg, which led to speculation as far back as last October that he might take on the task of marshaling Jobs’ formidable life story into a workable feature-length film. “Steve Jobs’ story is unique: he was one of the most revolutionary and influential men not just of our time but of all time,” said Sony Pictures co-head Amy Pascal in a statement. “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.”

Sorkin’s plate is quite full these days. His HBO series The Newsroom is set to debut June 24. And he is still committed to adapt and direct The Politician, about the undoing of Sen. John Edwards’ promising political career as seen through the eyes of his former aide Andrew Young.

No director is attached yet to Steve Jobs, which is being produced by Mark Gordon, Scott Rudin, and Guymon Casady. Meanwhile, actor Ashton Kutcher is playing Jobs in an unrelated indie film about the technology guru.

Read more:
EW review of ‘Steve Jobs’
Ashton Kutcher secures Steve Wozniak’s blessing to play Steve Jobs
Steve Jobs: 9 Ways He Changed the Movie Biz

Oscars 2012 Behind the Scenes: Taking a page from Aaron Sorkin and Steven Zaillian's 'Moneyball' script

Each year, the Oscars recognize A-list talent we regularly see on-screen, on the red carpet, and in tabloids. But the Academy Awards also reward those who work behind the scenes: the writers, editors, costume designers, and others who help create trophy-worthy movie magic. This Oscars season, we’ll be toasting those off-screen artists by delving into the hidden secrets that helped create the on-screen magic that we — and the Academy — fell in love with. There’s a reason why Aaron Sorkin, Steve Zaillian, and Stan Chervin earned an Oscar nomination for Best Adapted Screenplay for their work on Moneyball: It was — pun absolutely intended — pitch-perfect. From quiet, human moments to high-stakes drama on the baseball field to statistical jargon, the Moneyball script struck a nerve on every level. For more access backstage during this Oscars season, click here for’s Oscars Behind the Scenes coverage.

When it came to penning the adaptation for Michael Lewis’ 2003 bestseller Moneyball: The Art of Winning an Unfair Game, which chronicled the Oakland Athletics’ game-changing 2002 season at the hand of GM Billy Beane, there may have been no team better suited to bring the technical tale of sports triumph to the big screen than Aaron Sorkin and Steven Zaillian (with story by Stan Chervin). Sorkin was fresh off an Oscar win for Best Adapted Screenplay for making another wordy true life story seem downright enthralling with The Social Network, while Zaillian spent the better part of 2011 turning the wildly popular book The Girl With the Dragon Tattoo into a big-screen thriller.

'Moneyball': How audiences fell back in love with screenwriting. Plus, Brad Pitt's sexiest dimension

Moneyball, the crackerjack true-life baseball movie starring Brad Pitt as the quirky, embattled, visionary Oakland A’s general manager Billy Beane (a name born to be a movie character), took a lot of people, including me, by surprise. A baseball drama with a star as big as Brad Pitt might have seemed like the perfect summer movie, so you had to wonder a bit why it wasn’t one. Then too, given the film’s late-September, quasi-no-man’s-land release date, it didn’t exactly sound like awards material either (though people have already started to talk about it in that way). Baseball movies, for whatever reason, have historically been underachievers at the box office (Moneyball‘s $20.6 million take makes it the all-time opening-weekend champ for a baseball flick), so the expectations were at a relatively low ebb when I first saw the movie a couple of weeks ago at the Toronto International Film Festival. (What was a baseball movie doing at TIFF anyway?) Yet from that moment, right up until this very moment, I have yet to meet anyone who’s seen Moneyball who doesn’t like it a lot. The picture is incredibly shrewd entertainment, lively and original and full of surprise, directed and acted with great passion and skill. READ FULL STORY

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