Right, and one of the interesting things about a project like this with a complex production history is that you can sort of see the competing approaches overlapping in the film itself—Lewis’s approach to the book, the original screenplay, Soderbergh’s attempt to take on the story in a less straight-line fashion, Steven Zaillian’s drafts, and then the rewrite by Sorkin for Miller (the purpose of which seems to have been largely to streamline the story and punch up the role of Beane for Pitt).
Matt Parks
Right, and one of the interesting things about a project like this with a complex production history is that you can sort of see the competing approaches overlapping in the film itself—Lewis’s approach to the book, the original screenplay, Soderbergh’s attempt to take on the story in a less straight-line fashion, Steven Zaillian’s drafts, and then the rewrite by Sorkin for Miller (the purpose of which seems to have been largely to streamline the story and punch up the role of Beane for Pitt).