“The musicians play their instruments,” he says. Throughout the film, he likens himself to a great visual artist or composer – and when Woz asks him to define his hard-to-quantify role at the company (Jobs doesn’t write code or solder circuit boards), it’s artistry that gives him the perfect metaphor. Whenever Apple’s more affable co-founder Steve Wozniak ( Seth Rogen) tries to point out that a computer isn’t the same as a painting, Jobs immediately shotguns the idea to smithereens. Boyle, Fassbender and Sorkin have set about the process of creating art with the steely scrupulousness of master engineers – while the film itself insists on engineering as an art-form. Every detail tells us something about the mind that conceived it. The riveting method behind Boyle’s film, which stars Michael Fassbender and was scripted by Aaron Sorkin, is to turn Jobs’s chaotically varied but finally triumphant career into exactly that kind of great story. “But wouldn’t it be great if that was the story behind it?” “We just chose it off a list of friendly words,” the great man says, without much of a trace of friendliness at all, when a journalist quizzes him on this in Danny Boyle’s manically entertaining new biopic of the Apple co-founder. Is it significant that Steve Jobs, the re-inventor of the computer, chose that very object as his company logo, complete with a fateful missing bite, when he started Apple Computer, Inc in his parents’ garage 22 years later?
When Alan Turing, the inventor of the computer, was found dead from cyanide poisoning in 1954, a half-eaten apple lay by the side of his bed.
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