10.20.2014

STEVEN SODERBERGH ON THE THREE MAJOR TURNING POINTS IN HIS CAREER

From Mentorless:

My relationship with movies had reached a point where I felt I needed a trial separation. I would hate for people to think that it was out of some sense of, ‘Oh, I’ve figured it out.’ It wasn’t that; it was actually the opposite. It was, I’ve just reached a point where I’m not sure how to get to another level with this in terms of my abilities. I feel there’s another iteration in terms of my relationship with cinema, but I don’t know what it is. All I know is there has to be something else, and until I can figure that out, I’m going to step off because I don’t want to go to work feeling stuck. And the good news is that I’ve been able to work on The Knick and have a lot of fun and continue to learn, while in the background I’m thinking about my relationship to cinema and whether or not there is another version of me that can evolve and come back. I didn’t know at the time of Che what I would be doing in five years would turn out to be TV, but I just knew it wasn’t going to be movies. And now the only area of growth in the entire entertainment industry is one-hour original content. That’s exploding, while everything else is shrinking. So from a Guild standpoint, that means we now have to be especially diligent about how directors who work in that medium are being treated both economically and creatively, because that’s become a real power base. And now I’m part of that world as well.”

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Masterclass with Darren Aronofsky

Find the whole thing at Mentorless:

“You definitely need to be a bit obsessive to make a film, but that doesn’t mean you need to be obsessed all the time. When you get an idea, thousands of people will say no to you before it gets done, in all different times and ways. So I think more than obsessive, what drives me is the passion for the characters, for the story, sometimes for a shot.The first draft I wrote of The Fountain, I pumped it out very quickly and I wrote the scene of the flower coming out of the conquistador’s mouth and him exploding with the flowers, and I just knew I just wanted to do it. I didn’t know how I was going to do it, but I wanted to see it done and executed. So when the fifth person of that day said ‘no’ I remember getting that and going through it. Is that obsessiveness? I don’t know, it’s not the only thing that you think about. You think about so many other things but it’s obsessive to an idea and holding on to a project. I think that’s a bit part of it, it’s being stead fast with a project. Persistance maybe is more?”

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Terrence Malick: The Art of Voiceover

Apollo 7 and Television From Space

Polanski Makes Macbeth

10.19.2014

Music for Henry IV | Royal Shakespeare Company

Three Reasons: My Darling Clementine

Werner Herzog: "Let them fact check to their death!"

In Focus: Costume Design

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Moving Pictures: Krzysztof Kieślowski