Everyone seems to love that scene, so I’m glad it worked out because it was pretty hairy.” You’re trying to score something which is quite unusual, and it was a very long and hard process. The action is in generally something physical. “That was fascinating because there’s this natural rhythm - these crescendos, diminuendos, the dynamics of the conversation - you’re kind of supporting them with the orchestra, and I think that’s quite unusual in film because the action is not in the dialogue. Pemberton said they worked for months trying to get the music right: once the composer said the film’s editor, Elliot Graham, described as an action scene with customary action replaced by words. You’re basically writing a 10-minute symphony that has to have complete musicality, rather than just score, but at the same time, it has to respond to everything that’s happening in the picture, which was constantly being tweaked and reedited.” “That piece was probably the biggest challenge of the entire film,” Pemberton said. Pemberton cited modern composers John Adams and Philip Glass as influences on this key piece of score. Now, his music, written on an Apple computer, backs the words of the Oscar-winning Sorkin and the vision of the Oscar-winning Boyle. In past years, Pemberton has provided music for Sir Ridley Scott’s The Counselor, the Nick Frost comedy Cuban Fury and, most recently, Guy Ritchie’s summer adventure The Man from U.N.C.L.E. Its composer, Daniel Pemberton, is a BAFTA-nominated small screen veteran who has in recent years dipped his toes into major film compositions. On the Steve Jobs soundtrack, “Revenge” - the theme of the film’s second portion, a driving motivation in the scene and the title of the nearly 10-minute section of Pemberton’s score - plays as if it were conducted for a prestigious ballet or for grand hall performances by world-renowned conductors. If you close your eyes, you still hear the conflict of the scene in composer Daniel Pemberton’s symphonic score: the tying bind to a high-wire act of a scene. But, the level of craftsmanship to convey the calamity crosses over into the composing as well.
Steve Jobs director Danny Boyle and screenwriter Aaron Sorkin stage the confrontation with quick cuts and rat-a-tat dialogue, the kind of craft customary for the two big screen veterans. Right before Jobs takes the stage to deliver the NeXT keynote, the dirty laundry hits the floor. The two have bad blood after Scully played a part in Jobs’ ousting from Apple in 1985. Smack dab in the middle of Steve Jobs‘ second act lies a pivotal, prolific confrontation between Michael Fassbender’s on-edge Steve Jobs and Jeff Daniels’ on-the-defense John Scully.Īt this point in the three-part dramatization of three major moments in the Apple co-founder’s life, Jobs has reluctantly run across Scully, his old boss, minutes before the public unveiling of the NeXT computer.