If you want to tell the truth to the authority, write a story. This was Aaron Sorkin’s message at the 2017 WGA Awards when he received the honor of Buddy Chayvsky. In his speech, he addressed the politics of migration and climate change, among others. So, it is not shocking to see him address our freedoms with his Netflix movie, Chicago trial 7, Today it was named WGA in the Original Screenplay category, its fifteenth nomination for the Writers Guild after winning three. The film follows protesters, including Tom Hayden and Abbie Hoffman, accused of inciting riots during the 1968 Democratic National Convention. Steven Spielberg initially commissioned Sorkin to write the story, and the 2020 election hastened Sorkin at last. To date, Chicago trial 7 It counts five Golden Globe nominations including Best Picture – Drama, and Sorkin in the Director and Screenplay categories.
How Chicago 7 Trial Still Resonates with Aaron Sorkin Amid US Capitol Riots, Donald Trump, and #BlackLivesMatter – Crew Call Podcast
Deadline: How you feel Chicago 7 As part of the conversation in the aftermath of everything in January, including the swearing-in of Joe Biden as president?
Aaron Sirkin: I watched what happened on January 6, terrified, like everyone else. Terrified of what I was seeing and how empowered the president and powerful leaders like Ted Cruz and Josh Hawley. Then the opening was like a cool breeze. It was almost like drinking water after spending four years in the desert. Scenery and sound of normality. Not just the inauguration, but Jane Psaki’s first press conference; In the sight and sound of the questions that are answered the best possible. Listen, there’s a lot of work to do and a long way to go. I love what the poet Amanda Gorman said. But one of the things she said was, “We’re not broken. We’re not done yet.” This idea gives you hope.
So, what is all this related to Chicago 7? Well, first of all, Donald Trump did exactly what the Chicago 7 on trial was like. Incite a riot. Not just a riot, a rebellion. Let’s be clear, this was not a false protest. It was an attack on the U.S. Capitol. They did what they went there to do. It surprised me in terms of how much that relates to the movie. I think there are still clear parallels between last year’s protests, since May already. Legitimate protests and protesters in cities across America face police violence and riot clubs, how much it sounded like 1968 and how it felt like we were kind of living, like a rubber band, in 1968.
Deadline: While the 2020 elections were the catalyst for the production of this film, what is the eureka moment in the 14-year writing process?
SorkinA: It’s not like I went from a third draft that’s not working to a fourth draft and that’s what I saw on screen. It was a slow, incremental process of writing somewhere between 20 and 30 drafts of text. I did not rewrite at any time for the text to reflect what was happening in the world. The opposite was happening. Suddenly, the events reflected what was going on in the scenario. I was just trying to make the scenario better with every pass and more focused.
I’ll tell you about an early Eureka moment that couldn’t have happened when I started this. Tom Hayden was alive. You spent time with him, and there were important things to get from Hayden that you wouldn’t be able to find in any of the many books written about Chicago 7 or the trial version of 21,000 pages. That was the personal tension between Tom and Abby. But he also told me “ours”: he meant to say, “So our The blood will spill all over the city, ”which differs from“ If the blood is going to be spilled, let it spill all over the city, ”which sounds like an order to start the violence.
Deadline: Abby Hoffman was known for his sarcasm and threatened to put LSD in Chicago’s water supplies to protest the Vietnam War. The film portrays him coherently and eloquently, especially when on the catwalk. Tell us about it.
Sorkin: It really surprised me the first time I saw a news clip from a press conference that Abby and Jerry mentioned. [Rubin] I gave early in the trial. They gave a lot of press conferences, but this one that we actually see is a moment in the movie, and when Abby is asked … It’s after all, can you call it all up for the $ 100,000 certificate that Abby was joking about. “Give me $ 100,000 and I’ll stop everything.” At this press conference, the reporter presses him and says, “What’s your price?” Abe asked, “To cancel the revolution?” The reporter says: “Yes.” Abby says, “My life.” OK. While watching this during the research phase of this whole thing, I suddenly saw, because I saw tons and tons of shots of Abby the clown … At this moment, all this clown draining in an instant of his face said, ‘He was authentic and he was strong, and I was interested Very much about that, in Abby and in those moments of transformation.
Even in his big blast with Tom Hayden when he tried to get him to understand, “I have to do all these stunts because we don’t have any money and that’s what makes the cameras out there,” I knew that the Abby Hoffman people were aware of was insane. I thought there was a lot of value in showing contrast.
Deadline: We often hear stories about screenwriters whose work was not properly visualized by the director overseeing it. Does your direct decision stem from a reluctance to amend?
SorkinI have had great experiences with the directors I worked with. I didn’t have that Barton Fink Experience that screenwriters are so famous for, and I’ve never finished wanting to work with great directors, and they have this collaboration. With Molly gameAnd the Chicago 7, And now with Being RicardusI still haven’t written a script, knowing I’m going to direct it. I became the director after I wrote it. Not so, “I want to protect this scenario from the director.” The manager is my closest collaborator. With Chicago 7Steven Spielberg threw it in my head. He said, “It’s time to make this movie.” He watched Molly game, He said, “You must direct it.” And the thing that was the budget problem for 14 years, the two series of riots were losers in the budget, and he said, “Now riots are your problem.” So, that’s how it happened. Then with Being Ricardus, Again, I hand in the draft and the product is starting, Todd Black and I meet with the directors. Then Todd gets to see a part of Chicago 7 And he said, “This drew.” So, my point is, no, I never had “the manager ruining my child’s experience.” exactly the contrary. My experiments were, look at what Danny Boyle wrote, look at Mike Nichols, look at what David Fincher did, look at what Tommy Schlamey did with this thing that she wrote.
Deadline: Do you think there is a sequel in Social networkLooking at everything Mark Zuckerberg has been through since then?
Sorkin: There is no doubt that there is a story. Whether or not you want to call it a sequel, there’s a story there. Whether or not I was the guy who told me this, I’m not sure. What I mean now is, while we’re talking, I won’t be able to write. I don’t quite know how to tell the story, and I think it’s also likely something I wouldn’t want to do without David Fincher.