Moneyball saga: Cont’d

“I’ve wanted to work with Steven forever, because he’s simply a great filmmaker,” Pascal told me today. “But the draft he turned in wasn’t at all what we’d signed up for. He wanted to make a dramatic reenactment of events with real people playing themselves. I’d still work with Steven in a minute, but in terms of this project, he wanted to do the film in a different way than we did.”

That’s Sony chief Amy Pascal in comments to Patrick Goldstein about the crash-and-burn of “Moneyball” in the Big Picture yesterday. The “Steven” in question is Steven Soderbergh. As was posted here last Friday, some strange stuff went down re this project:

So, to recap, Zaillian’s original script was so good that it made Sony want — nay — need to spend $57 million on a film about baseball statistics, even though such a movie would have limited appeal overseas (and anyone else wary of sitting through a movie about baseball statistics). Then, a week before shooting was to begin — with cameras and catering vans already on their way! — Soderbergh himself turned in a revised version that was so odious it made Amy Pascal completely reverse her earlier decision, likely forfeiting the $10 million Sony had already spent on preproduction. So how bad must Soderbergh’s new draft have been? Surely it’s worth somebody’s $57 million to find out, right?

Goldstein’s take on the matter:

Soderbergh’s last-minute revisions represented a huge change from the shooting script I read when I was working on a story about the film during its pre-production. The script, written by Oscar winner Steve Zaillian, was a baseball movie, but it was loaded with great comic moments and dazzling dialogue that captured the frenetic energy of Beane, a strikingly good-looking former phenom who washed out after a brief stint in the majors, only to resurface as a general manager who operated more like “Entourage’s” Ari Gold than the buttoned-down insiders who normally run big-league teams. Beane was a born hustler, always wheeling and dealing, staying one step ahead of his rivals as he scouted unlikely unknown minor leaguers to replace the high-priced free agents a small-market team like the Oakland A’s couldn’t afford.

Soderbergh wouldn’t talk to me about all this, but it seems clear that he became obsessed with authenticity, replacing many of Zaillian’s inspired scripted set-pieces with actual interviews with the real people who were involved in the events. The Soderbergh aesthetic, according to one source close to the film, was simple: If it didn’t happen in real life, it wasn’t going to be in the movie. That might make for an intriguing art film, but it clearly was no longer a film that any studio would spend $58 million to make, especially with baseball films having virtually no appeal outside of the U.S.

Despite Pascal’s artful words to the press, Sony can not be happy. They’ve sunk a reported $10M in the project, no other studio wants to take it turnaround, they want to make the movie with Brad Pitt, but Pitt is “intensely loyal” to Soderberg, so it’s not at all clear Pitt would stick with the project if Sony brought in another director to do Zaillian’s version of the movie.

You hear it all the time in Hwood: “It’s a damn miracle any movie gets made in this town!”

Stay tune.