I felt very mean-spirited after posting my comment on your article last night as I realised, too late, that you must have been, understandably, very busy. Please accept my apologies and thank you for being so gracious.
Oh and kudos for talking to Mr Soderbergh in the street. I think I would have been too nervous as he's a bit of a hero of mine!
I hate to sound like a pedant, but I really want you to take more pride in your work and read what you've written more carefully before you publish it.
You are in a privileged position to have your thoughts and ideas read by such a large number of people and without getting too Spiderman, with that great power comes great responsibility!
Your article is being lessened by a lot of errors which make the reader feel like you couldn't care less about them or its content, which I know is untrue. I bring this up as I think it's also pertinent to the content of the article.
Soderbergh has long championed indie film making and the idea that anyone with simple technology can make a film. He is however also a master and a large part of that mastery lies in maintaining high standards regardless of what camera he is shooting a film on. He wouldn't release a film in the same state as this article - which is good, but still at the rough cut stage - and neither should you.
Whether it's film making or journalism, craft is about doing a thing as well as you can - care as much as your heroes do and you take one step closer to becoming them. I say this in an attempt to be constructive not unkind because I really liked what you had to say and I often struggle with written construction and grammar myself.
I've included the problematic sections below. I hope that's helpful and I look forward to reading your next article.
- Soderbergh’s response as to ask Nolan when he’d go back to writing scripts with a pencil.
- He added that the two directors have had exchanged playful back-and-forth barbs over the shift from celluloid to the digital medium. And he also added that to each his own the proper approach.
- The story replaces the hardwood with boardrooms, offices, and saunas. It replaces dribble drives, crossovers and hesi’s with quick-witted barbs, and fast-paced dialogue while character maneuver in a game of three dimensional chess.
- Soderbergh said that when shooting in the iPhone, everything would be in focus, so he decided to embrace that.
- Soderbergh simply had to make a call and tell them the meet with him
- In one question and audience member thanked Steven Soderbergh for taking risks
- Soderbergh said he always feels a slight discomfort when while watching sports
- He’s a filmmaker as an artist.
- Pushing himself, and medium to do more
Thank you for such a beautifully written and considered piece on a wonderful director, I'll definitely check out his early work and rewatch the perfect, one flew over the cuckoos nest as a tribute to a truly great talent.
More articles by this writer on here please!
This is a really interesting subject and one I've struggled with a lot. I think the advice of the video is very good although what I'd add is that it's really important to take the emotion of jealousy back to its base root - vulnerability.
Jealousy gets a bad rap but it's a very natural emotion that stems from our fear that someone else will take our parents attention away from us and we will be abandoned and subsequently die if we don't kill our rival right this instant! A very faint possibility when we are a two year old but maybe not quite so likely as a forty two year old filmmaker, grinding our teeth in the back row of our friends premiere screening.
Trying to nice it out in the comments section or turn the shame extinguisher on it won't work for long, those methods are what have kept it alive all these years in the first place.
What I find works for me is to really admit my jealousy, and most importantly how it makes me feel, to someone who cares about me outside of my creative endeavours. This act of honesty to a real live person usually reconnects me pretty quickly to the feeling of vulnerability that all that anger is trying to avoid.
It's an unpleasant feeling not because we are unpleasant people for thinking negative things towards someone else and their success, it's because when all eyes are on someone else we are remembering how it felt to believe we might literally cease to exist.
Showing someone this vulnerability allows us to be regarded in the way we really want to be, not for the things we make but just for being us, alive in the world. And best of all it un-hitches creativity from our need to be seen and loved and this is what frees us up to play and make our unique little marks just for the pure joy of it again.
A great article, thank you so much!
Then you too can have, "A life moving so fast, and so full, you won't even have time to process it"
Hmmm, is that really our guru?
Drive is vital and so is tenaciousness but I'm not sure the frenetic mania he's selling is going to get you to creative nirvana. The hardest thing isn't always the doing, it's the finding out what's worth saying, otherwise we're all just barking at once.
I can't slow down.
I can't get quiet.
I can't hear myself.
Sorry, also one more thing that this scene illustrates is how good writing layers many levels into a scene that feed back into one another. Miles is the story. The other characters are there to drive his story. A psychological reading of this scene that's intriguing is that jack represents the side of miles that wants to be outwardly impressive, the actor playing to an audience and maya the soulful more real side of miles that accepts itself and needs no outside audience to complete it. Miles' choice in this respect shows that he is not ready to accept himself yet and is tied to the outward looking false side of his personality.