00:01I play John Sculli, who Steve brought in to kind of run the business side of what he was doing,
00:11and he made John a very attractive offer.
00:17John had been hooked up with Pepsi and was part of that campaign that sold Pepsi so well,
00:24the Pepsi generation and that whole thing.
00:27And so Steve really liked John's marketing genius and brought John in to kind of,
00:36you run that side of it, I'll be the visionary.
00:40And when it was that, it was terrific.
00:43It was like a bromance.
00:44They really enjoyed each other, and I think for John, the excitement of, as Steve had put it,
00:50you can put a dent in the universe, you can change the world with me,
00:55and you want to come along for the ride, and it was a great ride until it wasn't.
01:04There's a musicality to Aaron's writing, to all the great writers over the decades, centuries.
01:12You go back to Shakespeare, there's a musicality.
01:15The good ones, there's a music to it, and once you find the music, the rhythm,
01:20that Aaron has written in there, it just sings.
01:24His scripts just sing.
01:25I remember when we did the reading of the script way back and during rehearsals before we started shooting,
01:31and you heard Michael and Kate and everyone, just Seth, everyone just jumping in,
01:40and suddenly it was like this orchestra that they were all playing in the same key,
01:45but they were all talking at once, doing, and this would come, and that would happen,
01:49and that was, there were no ad-libs, and, you know, it reminded me of the things that Aaron's written.
01:56It certainly reminded me of Newsroom, and it was great to hear.
02:00There's a music to what he writes.
02:06It was a very smart decision to set it the way Aaron did.
02:12It's pretty much in three different launches, and at three different times, three different products,
02:20and there are things that happen that people say that did not happen at this particular location,
02:27but he's taken the dramatic license to take what Walter wrote and what Walter researched for the book,
02:34and going, I'm not going to, we'd be doing a Ken Burns 20-part series in order to do it
02:42that way.
02:43So he's confined it into these certain areas, settings, but brought everything to it.
02:51There was an emotional attachment for Scully.
02:55He's not just a cold-hearted CEO.
02:58He's a guy that really liked changing the universe with Steve Jobs
03:03and did what he thought was right for business decisions,
03:07and that became a betrayal of Shakespearean proportions to Steve
03:13that was just a sound business decision,
03:20From what I read, Steve was a great salesman, and he sold Scully on this.
03:26And it was attractive. It was sexy.
03:31There was nothing, as he said to John, he said,
03:35you know, aren't you tired of selling sugar water?
03:40You get a chance to change the world.
03:42And, you know, Scully, yeah, I could, you're young again.
03:48You're with this younger visionary, this younger, he's obviously a genius.
03:52He needs to be corralled, but he's a genius. He's a visionary.
03:56He's seeing things 20 years down the road.
03:59That's one thing Scully said later.
04:01He goes, a genius is someone who's seen 20 years down the road right now,
04:05and goes about, knows how to get there.
04:10Michael's really making sure that he tells the truth with Steve Jobs,
04:14that he really tries to get to the core of why Steve did this and why he did that.
04:20It's certainly not an impression, nor is it intended to be,
04:23but the truth is there.
04:26Steve Jobs
04:27Steve Jobs
04:31Grazie a tutti.
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