captioning funded by cbs and ford. we go further, so you can. >> bill whitaker: tonight, on this special edition of "60 minutes presents: a night at the movies": ♪ "star wars" is the most successful franchise in hollywood history. and for the first time, there's a new force behind it: j.j. abrams. >> energy and action! >> whitaker: tonight, we'll find out how he was chosen to direct "the force awakens", and how he hopes to please the fans waiting for the most anticipated movie of the year. >> nothing will stand in our way. >> whitaker: talk about the force. the fans are a force to be reckoned with. >> it's not the movie. it's a... it's bigger than all of us. it's a... it's almost a religion for people. >> leslie stahl: how do you think you did in this movie? rate yourself. >> michael caine: secretly with myself, i regarded it as the best thing i ever did. it was the most difficult.

and the criterion for that is i made it look the most easy. >> stahl: "youth" is set in the swiss alps. michael caine plays fred ballinger, a retired, celebrated composer and conductor who has turned his back on music. but he can't help finding it everywhere. ( cow bells ring musically ) ( cow lows ) >> you're going to fix it... now! >> steve kroft: michael fassbender and kate winslet were both nominated for oscars this year. >> fix it! >> what the? >>kroft: not because they are great actors, but because they had very demanding roles in a very unusual movie that allowed them to show just how good they are. >> tell me what's wrong with you this morning. >> i just knew that it was going to be electric to be in a room with michael fassbender and danny boyle and i honestly promise you, it was. i drive a golf ball.

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>> whitaker: good evening. i'm bill whitaker. welcome to "60 minutes: a night at the movies." we begin with a look at the director behind this past year's biggest blockbuster: "star wars: the force awakens." it's the first new "star wars" in a decade, and the first to be made without creator george lucas. nearly four years ago, lucas sold his empire to the walt disney company for $4 billion. enter j.j. abrams, the director hand-picked to re-ignite the fan fervor, and who -as we reported

last december- was under tremendous pressure to make sure disney's big bet pays off. he's been called the "steven spielberg" of his generation, and we learned spielberg helped get him the job. when abrams took us behind the scenes, we found a 49-year-old man fueled by a childlike enthusiasm for the magic of movies, and a movie that's going to hit some classic "star wars" notes. ♪ ♪ six weeks before the premiere, we dropped in on a hollywood scoring session for "the force awakens." ♪ ♪ composer john williams, who won an academy award for the first "star wars" film, was back, along with the iconic refrain he wrote 38 years ago. take a look behind williams. that's not some awestruck groupie. that's the movie's director, j.j. abrams.

i saw you up here with your video camera, taking... >> j.j. abrams: oh, well, this is... this is, like, momentous, you know-- john williams conducting his "star wars" music. i mean, as a fan, i can't even believe i get to be here. ♪ ♪ ♪ ♪ >> whitaker: abrams saw "star wars" when he was 11, and never outgrew his passion for the film. on this day, when he wasn't in the middle of the orchestra, filming on his phone, he was racing around the soundstage, here the fan... >> john williams: do you think it could work? >> abrams: let me just think. yeah. it's incredible. >> whitaker: ...there the director. >> abrams: we may need to make the ♪ bum-ba-da-ba-da... repeat those bars just because it might be a little bit longer before we get into the interior of the transport. >> whitaker: i see you running around. i mean, you're very... >> abrams: really? i've... i've felt so calm today. >> whitaker: yeah. this is you, calm? >> abrams: really, this is me, "oh, god"...

>> whitaker: this is you, calm? >> abrams: yeah. >> whitaker: is it intimidating, in any way? >> abrams: uh... oh, yeah. oh, yeah. it's... there are moments of just abject terror, as to what... what we're all taking on. >> whitaker: what he's taking on is this-- "the force awakens." disney is counting on abrams to expand the universe of "star wars" fans, while staying true to george lucas' original vision. and the die-hard fans-- their expectations are out of this world. >> the force-- it's calling to you. >> whitaker: when the official trailer was posted online, it was viewed 112 million times in just 24 hours. >> nothing will stand in our way. >> whitaker: talk about the force. the fans are a force to be reckoned with, and it's intense. >> abrams: it is. >> whitaker: it's not just the fans here; this is global. >> abrams: it's not the movie.

it's a... it's... it's bigger than all of us. it's a... it's almost a religion for people. >> whitaker: what grabbed you about "star wars"? >> abrams: the experience of it was so profound and so moving and so funny and so sweet that, for me, as a kid, it blew my mind. and it was just... it said, "anything is possible." >> whitaker: abrams has been working on "the force awakens" non-stop for three years. he's managed to keep a tight lid on it. this is one of the few clips disney has released. he told us his movie is set about 30 years after "return of the jedi," the final film in the first trilogy. at the end of that movie, the good guys had vanquished the empire and subdued the dark side... or so it seemed. what has been going on in that galaxy? >> abrams: "return of the jedi" seemed to end pretty happily. but the walk off to the sunset is always a misleading thing,

because, "well, then what?" and so, one of the things that i think you see in this movie is that things didn't just end happily, and that the idea of the force-- both the dark and the light side-- are at a classic "star wars" place, which is in a desperate moment. >> whitaker: a moment which forces a new generation to step up. >> finn: we can't outrun them. >> rey: we might in that quad jumper. >> whitaker: stepping into a lead role-- 23-year-old newcomer daisy ridley. her character is rey, a desert scavenger. john boyega is another new face. he plays finn, a disillusioned stormtrooper. >> finn: i've got nothing to fight for. >> whitaker: your universe seems to be a more diverse place, by gender? by race? >> abrams: mm-hmm. >> whitaker: what do you think the impact of that is going to be? >> abrams: when we started casting the movie, it felt incredibly important to me that

the movie look like the world in which this movie is being released. >> whitaker: abrams didn't just direct the movie; he wrote it with lawrence kasdan, who wrote two of the original "star wars" with lucas. abrams knew from the start he would tell a story that blended the new with the old. taking his cue from the first trilogy, he made authenticity paramount, shooting in far-flung locales, like this desert in abu dhabi. the sets were built from scratch; the explosions were real. were there times when you stepped back from being the director and you were just the fan on the set? >> abrams: it was very hard to be in the 125-degree heat in abu dhabi with actual stormtroopers running through this village that we had built, and not have moments constantly of "holy... what the...?" you know, "i can't believe i'm here." it was constantly happening, and i had to suppress that and say,

"yep, okay, let's do it," and, like, put that away, because the job was not to be a wide-eyed fan boy. the job was to be the director of the movie. energy and action! >> whitaker: as the director, he managed a cast and crew of almost 1,000. he set limits on computer- generated imagery. most of abrams' creatures, like the new droid bb-8, were crafted by hand, including his own. >> abrams: we knew we had to have a hero droid that was not a familiar one. >> whitaker: and you came up with a concept, like, by sketching it out? >> abrams: i drew the dumbest little thing. i just... i drew something like... like this. >> whitaker: he gave his sketch to the creature department, a group of about 100 artists and designers. they made a puppet. >> abrams and the puppeteer came out with bb-8, and he was moving around. and it was, like "oh, my god, it lives." >> rey: where do you come from? >> whitaker: we watched as abrams worked on a scene where the droid meets rey for the first time.

>> abrams: maybe we could connect them so it's not so separate. >> mm-hmm. >> whitaker: so he's going to fit the pantheon-- r2-d2, c-3po. now, bb-8. >> abrams: from your mouth, sir. from your mouth, sir. i don't... i... i hope so. >> whitaker: only a handful of people have seen the finished film. one of them is abrams' wife of 19 years, katie mcgrath. they have three children, a charitable foundation she oversees, and a "harry met sally" rapport. >> katie mcgrath: i love the movie. i really love the movie. and i'm sort of picky, and i'm a little, you know... >> abrams: brutally... brutally honest. >> mcgrath: i'm... i'm honest. and at the end of the day, it's a movie. you know, this is not curing cancer. this is not eradicating poverty. this is... this is making a movie, right? right? that's what you believe, right? >> abrams: i'm sorry, she lost me after, "this is just a movie." i was like... >> whitaker: jeffrey jacob abrams grew up in hollywood's

backyard, not far from the big studios. but when he took a tour of a movie back lot at age eight, he knew he'd found his calling. what in particular drew you to it? >> abrams: i think the thing that was so cool is the whole thing felt like a magic trick, that it was... it was every aspect of illusion, of creating something that seemed like it was actual... actually happening and real. >> whitaker: he picked up the family's home movie camera and tried his own sleight of hand. >> now, we seek revenge! >> whitaker: he admits his earliest works weren't that good. but he got better. he won a teen film festival and got written up in the "los angeles times." that's him in the middle. the article caught the eye of steven spielberg. he reached out to the young filmmaker, who reminded him of himself. today, spielberg is abrams' friend, collaborator, and a big fan. what first struck you about him? >> steven spielberg: he just reminded me of a cartoon character that was so full of

magnetic energy and ideas coming out of him, sometimes just, like, sparks flying in all directions. he was just absolutely, deliriously, madly in love with the film business and with making movies. >> whitaker: the kid in abrams is on display at bad robot, his santa monica production company. he says this quirky place is a grown-up version of his childhood bedroom-- with toys, an art area, and a place for special effects. here, about 90 employees churn out a constant stream of movies, tv shows, video games, and apps. abrams stage manages it all. he's kind of, like, all over the place. is it difficult? >> mcgrath: i don't even try. it can give you a bit of a complex if... that you don't have enough hobbies in your life, but he... >> whitaker: you're... you're not doing enough. >> mcgrath: no, no. and i'm doing plenty, by the way. but this is a whole other ballgame. you know, he...

>> abrams: i'm right here, guys. >> mcgrath: i know. this is so weird. >> abrams: bill, it's like sixth sense. bill, katie... >> whitaker: but it's good energy. >> mcgrath: no, it's great energy, actually. >> whitaker: he sold his first screenplay in college. he went on to write or co-write five more movies, including the blockbuster "armageddon". he made several tv shows. the cult hit "lost," about plane crash survivors on a mysterious island, won him two emmys. >> you're going to be okay, do you understand me? >> abrams: cut. that was awesome! >> whitaker: after that, his rousing remakes of flagging franchises "mission: impossible" and "star trek" grossed more than $1 billion worldwide and earned abrams the reputation as the remake king. he found himself in a financially lucrative but creative rut. he decided to move on from sequels. then, fate-- in the form of a conversation between steven

spielberg and "star wars" producer kathy kennedy- changed his destiny. >> spielberg: and i just said, "kathy, there's only one director that really should undertake this daunting, epic task, and that's j.j. abrams." >> whitaker: his daunting task-- to justify disney's $4 billion investment, plus the estimated $200 million it cost to make the movie. wall street would be disappointed with anything less than $1.5 billion at the box office. what's going on in his head right now? >> spielberg: oh, j.j. is terrified. there's a lot of pressure on j.j. to start paying disney back for, you know, the franchise they bought from... from george lucas. >> abrams: you just know that there will be people, no matter what you do, that will have issues with some aspect. you just know that there is some number that is being thrown out there that will not be hit. you just know. >> whitaker: fans snapped up more than $50 million in

advance tickets. in hollywood, they started lining up outside the theater a week before opening. the force seems to be with abrams. >> mcgrath: he's got a long way to go, still, for what he's potentially able to do, in my opinion. >> abrams: thank you. >> whitaker: you think he's got another gear in his filmmaking? >> mcgrath: i hope so. you better. we're running out of sequels. right, babe? come on. isn't... that's enough! what do you do after "star wars"? >> whitaker: whether "the force awakens" soars or disappoints, j.j. abrams is ready for this all-consuming three-year rocket ride to be over. >> abrams: i said to someone recently, it's like i've had the greatest... in this movie, i've had the... the greatest roommate ever for too long. like, it's just time for him to move out. he just... he needs to get his own place, and i just need to figure out, you know, what's next. >> whitaker: "the force awakens" ended up soaring to record

heights. it became the top-grossing film in u.s. box office history and, just seven and a half weeks after opening, blasted past the $2 billion mark worldwide. >> cbs money watch update sponsored by lincoln financial. you're in charge. >> reporter: good evening. u.s. markets are closed for innocence day. two israeli companies say houston-based noble energy will help drill an auction. and an auction site goes on trial accused of a $900 million scam. i'm elaine quijano, cbs news. if you have moderate to severe rheumatoid arthritis,

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>> whitaker: if you don't remember michael caine as alfie in the 1960s, you might have seen him in "dirty rotten scoundrels" in the '80s, or more recently as alfred the butler in the "batman" movies. he has been in so many films, there's no official count, though he says it's nearly 180. he's been nominated for an academy award in every one of the last five decades. as leslie stahl reported in december, at 82, michael caine can still make hollywood take notice of his acting, this time for his role in the movie "youth." >> leslie stahl: "youth" is set in the swiss alps. michael caine plays fred ballinger, a retired, celebrated composer and conductor who has turned his back on music. but he can't help finding it everywhere. ♪ ♪ ( cow lows ) ♪ ♪

♪ ♪ it was a part written specifically for him. >> michael caine: it was the most surprising offer i've ever had in my life. i don't get offered many leads at the... >> stahl: at your age? ( laughter ) >> caine: at 82, there aren't too many. and i almost said, "don't bother to send the script. i'll do it. it's okay. it's okay." ♪ ♪ do you know who composed that piece that you're practicing? >> no, who? >> caine: me. >> my teacher makes me play it. he says it's a perfect piece to start with. >> caine: yeah, he's right, it's very simple. >> it's not only simple. >> caine: oh, really. >> it's also really beautiful. >> caine: yes, it... it is beautiful. i composed it while i still loved.

>> stahl: would you say that fred's in crisis in the movie? >> caine: he's more or less destroyed, as a matter of fact. but you don't know that. and he would never let you see that. >> stahl: we have so much sympathy for him. how... how did you do that? >> caine: i go back to situations in my life, and you can see it in my face. >> stahl: but sometimes, caine wasn't acting at all. in one scene, director paolo sorrentino decided to present caine and his co-star harvey keitel with a surprise. >> caine: we had no idea. we're in a swimming pool. and one of the most beautiful girls you've ever seen comes up with absolutely nothing on and gets in the pool. and we just look in disbelief. and he didn't tell us because he wanted us to have a certain reaction. we just sat there like... who is she? >> harvey keitel: god! what do you mean, "who is she?"

miss universe. >> stahl: how do you think you did in this movie? rate yourself. >> caine: secretly with myself, i regarded it as the best thing i ever did. it was the most difficult. and the criterion for that is i made it look the most easy. >> stahl: so in other words, you've improved? >> caine: i just try to play more and more difficult roles. >> stahl: so... so you want a greater challenge at the age of 82 than when you were alfie? >> caine: i need a challenge because i don't get the girl anymore. >> stahl: right. >> caine: all i get was grandma, you know. >> stahl: what's wrong with grandma? ( laughter ) >> caine: nothing, you know, so long as she's pretty. >> stahl: there's a sense of the futures of these characters closing in on them, that age is shutting down their future. did it, in any way, begin to infect you? >> caine: oh, no. but there was a point in the movie where i'm being examined by my doctor, he says, "how's it feel to be old?"

and i said, "i don't understand how i got here." and that affected me like hell. because i was thinking, "that's true of me. i don't understand how i got here." >> stahl: he was born maurice joseph micklewhite in 1933, the son of working class cockneys in the slums of south london, a lot of which have been torn down and rebuilt. >> caine: it was very, very tough. and it was full of razor gangs and all that. is this the london road coming up, mitchell? >> mitchell: on the right-hand side, yes. >> caine: yeah, turn right there, please. oh, look. now, there's an example. i spent my life in the library reading books to get away from this-- that's the library. >> stahl: this pile of rubble? >> caine: a pile of rubble. >> stahl: your library. >> caine: that is my library. i spent my entire time reading books and going to the cinema, just to escape. and they pulled my library down. >> stahl: you were really, really poor. >> caine: yeah. oh, yeah, yeah.

but my father was a fish market porter. so i grew up on fish, because he used to steal one a day. i grew up on the very best fish that money could buy, because he only stole the good stuff. >> stahl: caine was determined not to be a fish porter like generations of micklewhites before him. he was going to be a movie star and make a lot of money. at 14, he joined a local acting club. acting was considered sissy- like. >> caine: it was, yeah. >> stahl: were you teased? >> caine: yeah. oh, yeah, but i... you know, you didn't tease me for very long. ( laughs ) >> stahl: why not? >> caine: because you... yeah, that wouldn't go down very well. >> stahl: you'd beat them up. >> caine: yeah. >> stahl: were you that tough? >> caine: yeah. i'm not tough anymore, i'm 82. ( laughter ) >> stahl: at 22, caine was struggling to find acting jobs. on the dole, he had a new wife and a baby, and left them both. this is a very traumatic time of your life, because you really... >> caine: oh, yes. >> stahl: you, basically, in

effect, walked out. >> caine: yeah, well, i screwed up. yeah, i screwed up on everything. >> stahl: you walked out. you walked out on the baby, you walked out on the wife. >> caine: everything. everything, yeah. >> stahl: it wasn't till he was 30 that he got his first big break in the 1964 film "zulu", where he played an upper class british officer. >> caine: oh, when you take command, old boy, you're on your own. the first lesson the general, my grandfather, ever taught me. the luck of it was that the director was an american, because no english director would've cast me as an officer, i promise you. not one. >> stahl: because you were cockney? >> caine: because i was a cockney. >> stahl: the class system was that rigid. >> caine: it was that rigid, yeah. and it holds people back, you know. it really holds... >> stahl: but it makes you angry. >> caine: oh, me, i... you start snobbery with me, and that's one of the times you get into trouble. ( laughs ) >> stahl: he helped trigger the breakdown of that class system with a series of roles he played as a cockney. >> i've had a lovely time, alfie. >> caine: i always say, make a

married woman laugh and you're halfway there with her. >> stahl: alfie was a shameless, impudent rogue, and audiences loved him. >> caine: nice, isn't it? >> stahl: starting in the so- called "swinging '60s," his characters personified the working class antihero. >> caine: courtney, i am going to cook you the best meal you've ever eaten. >> caine: with his irresistible charm, he played lovers, fighters, killers, spies, all with his trademark cockney swagger. >> caine: why the hell aren't you here? >> mister... >> caine: carnehan, former gunnery sergeant in her majesty's forces. >> stahl: caine's success got hollywood's attention. soon, he was playing leads in american movies like the classic "the man who would be king." >> caine: glenlivet, 12 years old. >> you have an educated taste in whisky. >> caine: i've an educated taste in whisky and women, waistcoats, and bills of fare. though i've had few chances to exercise it lately because them

that govern spend all their time making up new laws to stop men like you and me from getting anywhere, right? >> stahl: by 1987, he was one of the most bankable british actors in hollywood, living the life of a movie star in a beverly hills mansion. that same year, he won his first oscar for actor in a supporting role for woody allen's "hannah and her sisters." he played a man who was married to hannah, but had the hots for her sister. >> did you ever read this one...? elliot, don't. >> caine: lee, lee, lee. i'm in love with you. >> stahl: talk about slime buckets, he was it. ( laughter ) and yet, we like you. >> caine: i don't think human beings are bad. they're weak, and that's what makes them bad. and so, i always exposed the weakness rather than the nastiness. but you got the nastiness, anyway. >> stahl: over the next couple of years, he made a few clunkers. >> caine: you're all the same-- complain, complain...

>> stahl: he came to the harsh realization that his career was fading. >> caine: you don't retire from the movies; the movies retire you. there was a certain moment. i was about 61, 62, 63, or 64, and i got a script. and i sent it back to the producer saying, "i don't want to do it. the part's too small." and he sent it back to me, he said, "you shouldn't read the lover. you should read the father." >> stahl: so he reinvented himself as a father figure, and it paid off. at 67, caine won his second oscar for actor in a supporting role in "the cider house rules." >> caine: good night, you princes of maine, you kings of new england. >> stahl: a few months later, he got the ultimate accolade when queen elizabeth knighted him sir maurice micklewhite-- not bad for a bloke from the slums of south london. >> caine: it's the best award i ever had because you get the academy award, it's about a performance. you get a knighthood, it's about a life. >> stahl: was there a sense,

after the knighthood, that you had totally arrived? >> caine: i knew i had arrived. this was proof for anybody who thought i hadn't. ( laughs ) >> stahl: so i should be calling you "sir michael." >> caine: you should be, but i've let you off. ( laughter ) >> stahl: yes, let me off the hook. >> christohper nolan: he's one of the greats. >> stahl: where do you put him? he's up there with who? >> nolan: i wouldn't put anybody above him. >> stahl: director christopher nolan has cast caine in his last six films, including the batman movies, where he plays alfred the butler. at 72, caine started the third act of his career, picking up a whole new generation of fans. >> bats are nocturnal. >> caine: bats may be, but even for billionaire playboys, 3:00 is pushing it. >> nolan: it's an incredible rapport with the audience that he has. and it's to do with warmth and humor, as well as just basic, grounded humanity. feels very real. he is very real. >> stahl: somebody said that a lot of your characters are way out there, and you put michael in there to be normal, to be the

solid one. >> nolan: when you see michael in the scene, you do... there's a sort of sigh of relief a little bit. like, "okay, i'm going to... i'm going to have something i can understand here." there's somebody else who's grounded, you know, the way the audience is. >> stahl: what's kept him grounded, he says, is his family. he and his second wife, shakira, have been married for 42 years. they now devote themselves to their grandchildren, and their daughter natasha. >> caine: by the way, here she comes. these are my... these are my two grandchildren with her. hiya, guys, how you doing? >> grandpa! >> caine: yeah! yeah, yeah, yeah, yeah, yeah, yeah. great to see you. lovely. i'm the happiest grandfather in the world, i promise you. >> stahl: the kids are now the center of his life. he says he's like a father to them, so he and shakira are moving so they can live closer and see them more often. >> caine: i was watching

cartoons on television, and a commercial came on for one of the batman series where i played the butler. and then, my grandson looked up at me and he said, "do you know batman?" i said, "yes." he said, "really?" i said, "yeah." i said, "i know him very well." and he told all the boys at school. he said, "my grandpa knows batman. does your grandpa know batman? okay, no. mine does." ( laughter ) >> stahl: caine says he's a happy man, made even happier by the talk that his role in "youth" might get him his fifth oscar nomination for actor in a leading role. and if he wins... >> caine: it would be one of the most important things in my life, you know? it'd be up there with a knighthood. >> stahl: ...you would be... >> caine: i'd be the oldest person. >> stahl: ...person-- actress, actor-- to ever win such a thing. >> caine: i think it would be great for the academy to... to recognize old age. >> stahl: and all 82-year-old men out there, right? >> caine: yeah, yeah, all those 82-year-old men. >> stahl: maurice micklewhite, look at you.

>> caine: yeah, i thank god every day. >> stahl: yeah, but you've worked for it. >> caine: yeah, i gave god a hand. >> this cbs sports update is brought to you by the lincoln motor company. at the world golf championship bridgestone invitational in akron, ohio, dustin johnson in his first appearance since winning the u.s. open backed it up with another victory, a final round 66 to win by one over scott pearcey. france defeated iceland in the are you aware owe 2016 tournament and -- the euro 2016 tournament and will play germany in the semifinal. jim nantz reporting from akron, ohio.

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>> whitaker: all movies are collaborations in which many people deserve credit, even if

they are not nominated for academy awards. the best example this year may have been "steve jobs," a complex and cautionary character study of the apple co-founder that generated critical acclaim, disappointing receipts at the box office, and two of the best performances of the year. michael fassbender and kate winslet were both nominated for oscars, not just because they are great actors but because they had very demanding roles in a very unusual movie that allowed them to show just how good they really are. and, as steve kroft noted this past february, that would not have happened without screenwriter aaron sorkin and director danny boyle. >> steve jobs: for a given clock rate, a power pc chip is twice as fast as a pentium two chip. >> kroft: it was by every measure a unique and ambitious project about the inner workings of a recently deceased genius.

someone who saw the future, and built it by breathing life into the personal computer. defining how it would be used, and selling the idea to the american public. >> jobs: see how this reminds you of a friendly face, but the disk slot is a goofy grin? it's warm, and it's playful, and it needs to say hello. >> kroft: unlike many hollywood films, "steve jobs" wasn't built around a star. it was built around a massive theatrical script from academy award-winning screenwiter aaron sorkin, on the right, then placed in the hands of academy award winning director danny boyle, on the left. >> danny boyle: everybody knows aaron sorkin's scripts. there's a huge amount of lines. there's a huge amount of interchange. you got to do a lot of learning to be able to get it up to pace. >> kroft: to begin with, there were more than 180 pages of dialogue, nearly twice the size of an average script. a drama in three acts that takes place backstage at three different product launches spanning 14 years in steve jobs'

life. it is two hours of talk. intelligent, often humorous conversation and adversarial confrontation. >> jobs: you had three weeks. the universe was created in a third of that time. >> andy hertzfeld: well, someday you'll have to tell us how you did it. >> boyle: can i just see you? >> kroft: it was the director's job to bring action and movement to the sorkin script, which read like the sound of steve jobs' mind. >> jobs: everyone, everyone, everyone, everyone is waiting for the mac. >> boyle: it's this-- this tormented mind and what's involved in the process, as-- he saw it, of changing the world, you know. and he did change the world back then. and-- and how do you do that? and it's that fevered mind. >> jobs: we're there? >> hertzfeld: i need more time. >> jobs: you can't have it. >> hertzfeld: twenty minutes! >> kroft: when it came to casting the lead, boyle thought there was only a tiny number of people who could pull off the complicated and demanding role. he was less interested in landing someone who looked like steve jobs than finding a

committed actor determined to convince people he was steve jobs. >> jobs: two most significant events of the twentieth century: the allies win the war and this. >> kroft: he decided on michael fassbender, the rising irish star with the german surname and a work ethic like the man he was picked to play. >> boyle: he has a very kind of jobsian approach, i think. he's so focused and uncompromising about the way he does the work. >> kroft: is this the most complicated thing you've ever done? >> michael fassbender: it's the hardest thing i've ever done. >> kroft: fassbender had been praised for his part in quentin tarantino's "inglorious basterds." >> lt. archie hicox: well if this is it old boy, i hope you don't mind if i go out speaking the kings. >> kroft: and he received an academy award nomination for his supporting role in "12 years a slave." his range runs from macbeth: >> macbeth: so foul and fair a day i have not seen. >> kroft: to magneto, the villain in the "x-men" action franchise. but "steve jobs" was going to be different. >> fassbender: it was like an action piece in words. ( laughs ) you know-- >> kroft: no-- no exploding

cars. >> fassbender: no. ( laughs ) >> kroft: no sex. >> fassbender: nope. >> kroft: not ev-- any romance. ( laughs ) >> fassbender: mmmm. ( laughter ) yeah. so, i was, like, "perfect. this is gonna be great." ( laughter ) yeah, it was just-- it was such an unusual piece of writing. >> boyle: because it was such an enormous, it was like tackling a huge-- one of the big shakespeare's, like a lear or-- >> fassbender: yeah. >> boyle: --a hamlet. or, you know, it's like a mountain to climb. >> kroft: kate winslet first heard that the steve jobs movie was casting not from her agent or producer scott rudin, but from her hair and make up person while shooting a film in australia. >> kate winslet: i just knew that it was going to be electric to be in a room with michael fassbender and danny boyle. and i honestly promise you, it absolutely was. >> kroft: winslet, who has one oscar already to go with six nominations, can have just about any role in hollywood she wants. >> joanna hoffman: we're out of time. they've got to mop the floor. >> kroft: but no one seemed to be thinking about her for this one, the part of apple marketing whiz joanna hoffman, who was one of the few people who could handle steve jobs.

you did want to do this movie. you sought out the role? >> winslet: i-- i offered my-- offered my services and-- let it be known that should they be interested in casting completely against type and considering the blonde english woman to play the dark-haired polish armenian, ( laughs ) i'd be delighted. >> kroft: with some wit and an iphone, she managed to get their attention. >> winslet: i gave them a little bit of a nudge. and i-- i put a dark-haired wig on myself and some glasses and made myself look as much like the real joanna hoffman as i possibly could. and i took a selfie and sent it to scott rudin, and-- it seemed to do the trick. and danny boyle came to australia and we had a meeting. and he asked me to play the role. >> kroft: by the time kate winslet arrived in san francisco to begin shooting, she and the rest of the cast had read the script and realized they were facing a huge challenge: a fast paced drama that unfolds in hallways, on staircases and in dressing rooms. winslet, who's character was a composite of the strong women in jobs' life, found it all a bit terrifying. >> kroft: why terrifying?

>> winslet: terrifying because it's 187-page script. and it flows. there's a rhythm to it. there's a pace to it that has to feel entirely accidental and fluid. and the only way to really honor that and respect those words is to know them and to not forget them. that's the hardest part. >> hoffman: start 15 minutes late so avie can recompile. just at least give us a fighting chance. >> jobs: jesus christ, how many times have we had this conversation? >> hoffman: fine! >> jobs: we're not starting late ever, we're not ever starting late. >> winslet: because if you forget even one word, one line, or you pause for just too long while sort of trying to remember what comes next, the whole thing unravels. >> kroft: danny boyle, who spent years directing at the royal court theatre in london, knew exactly what his actors were up against and got the studio to agree to a costly six weeks of rehearsal. the cast would learn one act at a time, then film it in sequence.

>> boyle: i couldn't see any other way that the actors would be able to control this beast, this huge beast of this extraordinary dialogue that he'd written as a way into this man's mind. and i thought the only way the actors can get on top of it and own it, which is the key, i think, is by breaking it down and letting us rehearse. >> winslet: we rehearsed the first scene-- well, act, first scene. and we got it-- as-- we got it down. and then we went and filmed it. and then filming would stop, and we would go back and we would shoot-- we would rehearse the second part. and then we would go in and shoot that. and then filming would stop again. and so there's this crew on hiatus while we would go off and rehearse again for another 12 days. and then we'd go back in and shoot. so by the time we got onto the set, we were already on performance number 50, because we had been doing it for two weeks straight. >> kroft: fassbender, who had by far the most lines, saw steve jobs as a great man and a flawed human being.

a visionary, and a vainglorious control freak. >> jobs: what size shirt do you wear? >> man: me? >> jobs: does anyone know what size shirt he wears? does anyone know what size shirt i wear? >> hoffman: does anyone know where the closest psychiatrist is? >> jobs: the disk fits in your pocket. >> hoffman: does it have to be a white shirt, is blue ok? >> jobs: no. the mac is beige, i'm beige. the disk is blue. the shirt has to be white. >> kroft: a brilliant motivator and recruiter of talent. >> jobs: that was cool! >> kroft: who could be an unreasonable boss, an indifferent father and an unreliable friend. >> steve wozniak: you know when people used to ask me what the difference was between me and steve jobs, i would say steve was the big picture guy and i liked the solid work bench. when people ask me what the difference is now, i say steve's an ( bleep ). >> kroft: he's not a very sympathetic character. >> fassbender: you say that. ( laughs ) i-- yeah, i don't-- i find him to be. i think, you know, when you have such strong convictions and a lack of patience with-- that goes with it, and a sharp tongue

and, you know-- elements of cruelty perhaps, you know, it's- - it can come across as-- as maybe a bit harsh for people to take onboard. i think he was an extraordinary person. and he changed the way we lived our lives. i never looked at him or approached him as an unsavory character. >> kroft: unpleasant? unsociable? >> fassbender: yeah, unsociable, i would say. yeah. you know i suppose, approaching it as actor, unpleasant isn't really something that i want to set out to play, you know. i can't really play unpleasant. but if somebody said, "play somebody who's got a lack of patience, who's very-- you know, got a very strong vision-- is unrelenting in that vision, you know, has a problem perhaps with emotional connection," now i'm going somewhere. now i can start putting together something. >> kroft: fassbender believes jobs' anti-socal tendencies may have been a convenient way of putting distance between himself

and other people, a way of managing their judgements and expectations of him. >> hertzfeld: why do you want people to dislike you? >> jobs: i don't want people to dislike me. i'm indifferent to whether they dislike me. >> kroft: all of this made little difference to job's widow who was unhappy with her husband's portrayal. apple refused to cooperate with the project. c.e.o. tim cook called it opportunistic. for the most part, the cast and danny boyle shrugged it off. >> boyle: his importance to our world now is such that you can't ignore him. you have to write as much right about these guys. and not just him, there are many, many ot-- other figures that are turning the world around, literally overnight. so for that reason, it felt like it was important to tell a story. there is a steve that apple would like to actually present to the public. they have a character, steve, and they want to keep that story going. and it's very important that writers challenge that occasionally and not just trust their parent companies to tell them.

>> kroft: danny boyle has always had an aversion to that kind of power. a working class guy with no discernible ego, he joined the ranks of britain's top directors after winning an academy award for "slumdog millionaire," and he became a national hero for directing the elaborate opening ceremony for the 2012 olympics in london. then he became very famous for turning down a knighthood from the court of queen elizabeth. >> kroft: you were offered a knighthood. >> boyle: yes, i was. but that, it's not really the-- it's not my cup of tea, really. i feel very, i d-- i feel very fake walking ar-- i find it difficult enough being called "mr. boyle," which as i age i'm increasingly called. ( laughter ) i find that hard enough, anyway. so, any-- anything else, i-- i wouldn't be comfortable with. >> kroft: did you know this was in the works? did you know this was coming? or did your name just appear on this list? >> boyle: no, no. you get a phone call. ( laughter ) >> kroft: and you just told 'em flat out. >> boyle: yeah. and i-- and you get another phone call to see if you'd change your mind. ( laughter )

>> kroft: no regrets. >> boyle: n-- well-- no, no. not-- not-- not-- not at all, no. ( laughs ) absolutely not. >> kroft: danny boyle and the cast share some disappointment that more people didn't see "steve jobs," but they all say it's getting harder and harder to get people out of their houses and away from their t.v.s, premium cable and on demand services. that is the marketplace "steve jobs" moved into hoping to find a new audience. >> winslet: it was an amazing experience. i honestly couldn't have cared less if no one ever saw this film, because it was such an amazing experience to be a part of. i mean, there are so many reasons as an actor that i can-- i can march onward in my life and go, stake in the ground, "i'm proud of that." >>announcer: can the steve jobs movie be both truth and fiction? go to 60minutesovertime.com. before fibromyalgia, i was active. i was energetic. then the chronic, widespread pain drained my energy.

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captioning funded by cbs >> previously on big brother. a new twist for the summer split the house guests into four teams. >> we are category four! >> we are the freakazoids. >> we are big victor. >> we are team unicorn. >> with joze blanca paulie and bridgette on the block, the house was divided. it was the eight pack alliance on one side. >> the eight pack. >> eight pack. >> i love it. >> i like it. >> and the self-described messiah loyal desiep els on the other. >> in this house majority rules, and who rules the majority? me. >> although jozea and