Steven Soderbergh is nothing if not ever-evolving–except, maybe, for tireless. After proving himself as one of his generation’s huge auteurs with movies like Sex, Lies, and Videotape, Out of Sight, and Traffic, he vowed to stop originating theatrical films. During the believed hiatus, he made HBO’s Liberace biopic Behind the Candelabra, and two seasons of prestige drama The Knick for Cinemax. Then this summer, “retirement” over, he returned to the multiplex with the robbery flick Logan Lucky.

That wasn’t all, though. He’s too wasted the last few years working on Mosaic, an app-based miniseries mystery that witness steer their course through, period by section.( At the end of each node, they can choose which reputation to follow or which new representation to watch .) For most other administrators, it would be a dramatic career curdle. But for someone as prolific as Soderbergh, it’s just one of a handful of projects he seems to be constantly wreaking his behavior through with a savant-like ease.

Soderbergh sat down with WIRED in his Tribeca office( which searches delightfully like where a 1930 s gumshoe would set up shop) to share the backstory on his latest activity, as well as his thoughts on virtual reality, the future of filmmaking, and the sexual harassment charges against the man who helped clear Copulation, Lies, and Videotape a reach: Harvey Weinstein.

Steven Soderbergh on making an app that tells a narration 😛 TAGEND

I was first reticent–as a filmmaker/ novelist, anything that seems game-y is a little scary because activities and being told a tale work at cross-purposes. In video games, the observer has agency, and as a result there’s a certain kind of participation that happens that isn’t the kind of psychological commitment you get from suffering a floor. So my feeling was: Will I still have the kind of switch as a filmmaker that I need to have? But what I investigated was something that was not a film, and not a game. It was scratching up against both sets of situations, but was different fairly from each to be agitating. The technological inventions that have taken place in gaming over the past decades and a half are stunning, so this seemed as though an opportunity to take advantage of a constitute that has been around a long time–branching narrative–and have the technology be an organic part of the narration, as opposed to someone coming along and saying “Oh, I get this article of new tech, let’s jam-pack a narrative into it.”

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