About The Production
The nerve-shattering events of Antitrust were first imagined by Howard
Franklin, the screenwriter who previously wrote such thrillers as The Name of
the Rose and Someone to Watch Over Me. Franklin enjoys writing
suspense films that are as provocative as they are entertaining, that are full
of both exhilarating surprises and questions about humanity's path. With Antitrust,
he found a story that unveils a high-stakes battle at the heart of America's
Recently, Franklin became fascinated with the personalities and machinations at
the core of the computer software industry. He was intrigued by the fiercely
competitive search for The Next Big Thing, by warring companies vying to control
the media future and most of all by the intense power struggles between huge
computer corporations and young geniuses in garages who can potentially put the
big guys out of business with one great idea. He immediately began researching
the inner workings of the industry - from the mega-rich CEOs to the teenage
geeks writing code in their bedrooms to the so-called "killer"
applications that can inspire highly cutthroat approaches to business.
In the course of his research, Franklin learned about digital convergence - the
ability for all digital devices to talk with one another - which many industry
experts believe is the next advance that will completely change our lives and
the economy. He learned that those companies at the forefront of digital
convergence could very well win a major piece of the global money pie. Franklin
also became particularly interested in one of the battles at the core of this
future: private control versus open access for everybody.
Seeing the future of what we see, hear and read up for grabs, Franklin
decided to write a gripping, paranoid thriller in the tradition of the political
or espionage thriller but set in the realm of computer software corporations.
Thus was born the character of Milo, a promising young computer science student
who gets caught up in the heady world of a massive fictional software company -
only to discover that he could become the next victim of the company's ruthless
will to win.
When producer Nick Wechsler read Franklin's script he was struck by its powerful
relevancy as an insider's look at an industry that is calling the shots for the
future. "People of all ages are increasingly fascinated by the leaders of
technology because they are today's cultural icons," says Wechsler.
"Our instinct was that a film whose center was the world of technology
would appeal to everyone."
Antitrust was the first script that David Hoberman, C.E.O. of Hyde Park
Entertainment, read after making a deal for his new company at MGM. Hoberman and
partner Ashok Amritraj loved the script's fast-paced, stimulating subject matter
and wanted to co-finance and executive produce the picture.
Although Antitrust takes place in a high-tech environment, it was the
human drama at its center that attracted director Peter Howitt to the story.
Howitt previously directed the structurally original romantic comedy Sliding
Doors, starring Gwyneth Paltrow in the story of a woman who gets a chance to
experience two alternate fates. With Antitrust, he saw a chance to again
explore two interconnected worlds - the often frighteningly unpredictable world
of reality and the clear-cut, rational, binary world inside the computer, which
has drawn Milo so intensely. "I really see Antitrust as a young
man's journey into facing reality," comments Howitt. "In the beginning
Milo is a techno wizard who has spent most of his life in front of a computer.
He has tunnel vision - he's only interested in that s
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