Z

By MCN Editor editor@moviecitynews.com

STEVE JOBS: THE LOST INTERVIEW

Theatrical presentations at select US theaters November 16 & 17

Truly Indie, John Gau Productions, FurnaceTV and NerdTV present STEVE JOBS: THE LOST INTERVIEW in limited showings in select cities, on Wednesday, November 16 & Thursday, November 17.  This unique in-theatre presentation came about from recent contact between Robert Cringely, technology writer and expert, and Mark Cuban, co-owner of Landmark Theatres and its parent Wagner/Cuban Companies.  Cringely had the compelling content, and Cuban the means to present it.  It is being rushed into theatres to allow audiences to witness a key moment with one of the most important figures of our time.

STEVE JOBS: THE LOST INTERVIEW

In 1995 Robert Cringely made Triumph of the Nerds, an epic PBS miniseries about the founding of the personal computer industry that has been seen in more than 60 countries. A highlight of the show was Cringely’s interview with Apple co-founder Steve Jobs in which he sorely criticized Microsoft for making bad products. That candid, controversial, and funny interview with an old associate (Cringely had worked for Jobs at one time) was by far the best TV interview Jobs ever gave. Yet less than 10 minutes were used in the series and the other 59 minutes were lost forever when the master tapes disappeared in shipping.

Until now….

An unedited copy of the entire Jobs interview was discovered recently in London. Restored and improved, yet completely original and unedited, STEVE JOBS: THE LOST INTERVIEW will be playing select screenings at Landmark Theaters in 19 cities beginning November 16.

Jobs is the design icon and cranky genius who grew Apple 100-fold into the most valuable company in America by revolutionizing computers, music, movies, telephones, and more. STEVE JOBS: THE LOST INTERVIEW is a fascinating piece of history, as well as a unique look into the mind of an American business genius.  Most importantly, it offers fresh insight and a deep understanding of a man who changed our world.

The running time for STEVE JOBS: THE LOST INTERVIEW is 70 minutes; it is not rated.  It is directed by Paul Sen.

The following are the list of play date theatres, with showings on November 16 & November 17.  Most showtimes are 7:15pm & 9:00pm.  Each theater’s details can be found at http://www.landmarktheatres.com

NEW YORK – Sunshine

LOS ANGELES – Regent

SAN FRANCISCO – Opera Plaza

BERKELEY – Shattuck

PALO ALTO – Aquarius ** this venue only will be a 7 day engagement, 11/16-22

SEATTLE – Metro

SAN DIEGO – Hillcrest

DENVER – Esquire

DALLAS – Magnolia

HOUSTON – River Oaks

MINNEAPOLIS- Lagoon

CHICAGO – Century

INDIANAPOLIS – Keystone

BOSTON – Kendall

PHILADEPHIA – Ritz Bourse

WASHINGON D.C. – E Street

BALTIMORE – Harbor East

ALTANTA – Midtown

MILWAUKEE – Oriental

About Robert Cringely

Bob Cringely’s technology blog, I, Cringely is read by a half million people. Cringely has chronicled Silicon Valley since 1987 with more than one million words in print. He is also the author of the best-selling book Accidental Empires: How the Boys of Silicon Valley Make Their Millions, Battle Foreign Competition, and Still Can’t Get a Date. His work has appeared, well, everywhere, and his PBS documentaries have aired in more than 60 countries.   As the acknowledged expert on Steve Jobs, Cringely has appeared in Jobs documentaries from ABC, BBC, Bloomberg, CNBC, and PBS.

About Landmark Theatres

Landmark Theatres is a recognized leader in the industry for providing to its customers consistently diverse and entertaining film products in a sophisticated adult-oriented atmosphere. Our theaters showcase a wide variety of films — ranging from Independent and Foreign film to 3-D movies and smart films from Hollywood. Landmark Theatres is the nation’s largest theater chain dedicated to exhibiting and marketing independent film.

Landmark is at the forefront of independent exhibition. We provide our filmgoers with numerous amenities, including digital projection, a selection of gourmet concession items, in-theater sales of DVDs, books and CDs as well as Landmark’s signature brand of customer service. Innovative Screening Lounges can be found in our Berkeley, Dallas and Los Angeles theaters which include a comfortable, unique seating experience featuring couches and love seats.

Landmark Theatres is part of the Wagner/Cuban Companies, a vertically integrated group of media properties co-owned by Todd Wagner and Mark Cuban that also includes theatrical and home entertainment distribution company Magnolia Pictures, production company 2929 Productions, and high definition cable networks HDNet and HDNet Movies.

For more information, visit www.landmarktheatres.com.

# # #

3 Responses to “STEVE JOBS: THE LOST INTERVIEW”

  1. Adolph says:

    F— everyone that ever bought an Apple product after ~1999. F— all of you, as hard as possible, with a small asteroid or two. I f—ing hate you all, and am glad your God is dead.

  2. Please bring this Steve Jobs lost interview to Austin, Texas! We really want to see it here too! :) Thank you!! :)

  3. justin says:

    So glad i get to see this:):):) R.I.P steve:)

Leave a Reply

Z

Quote Unquotesee all »

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

INTERVIEWER
Do you outline plays before you start to write them?

PINTER
Not at all. I don’t know what kind of characters my plays will have until they…well, until they are. Until they indicate to me what they are. I don’t conceptualize in any way. Once I’ve got the clues I follow them—that’s my job, really, to follow the clues.

INTERVIEWER
What do you mean by clues? Can you remember how one of your plays developed in your mind—or was it a line-by-line progression?

PINTER
Of course I can’t remember exactly how a given play developed in my mind. I think what happens is that I write in a very high state of excitement and frustration. I follow what I see on the paper in front of me—one sentence after another. That doesn’t mean I don’t have a dim, possible overall idea—the image that starts off doesn’t just engender what happens immediately, it engenders the possibility of an overall happening, which carries me through. I’ve got an idea of what might happen—sometimes I’m absolutely right, but on many occasions I’ve been proved wrong by what does actually happen. Sometimes I’m going along and I find myself writing “C. comes in” when I didn’t know that he was going to come in; he had to come in at that point, that’s all.
~ Harold Pinter

Z Z