"iW: In talking about the actual look, there are so many crystal clear images of nature in the film. I almost felt like I could touch the leaves at one point. This leads me to two questions, about working with the new hi-def digital camera, the RED, and also, it makes me think of Terrence Malick, because I know he was involved early on in the project. Was he in the back of your mind?
Soderbergh: Of course, he's in the back of anybody's mind. He's one of those filmmakers who has significant influence. The fact that he was literally involved makes that presence more significance.
One of the reasons that I was so hopped up to get the RED ready in time for shooting was that I knew how much of a contribution that detail would make to the movie, not just in the foliage, but in the costumes and the makeup and everything. Initially, we were going to shoot part two in Super 16 and part one in Super 16 anamorphic. It would have been interesting, but it wouldn't have had the feel that the movies have now. The scale would feel smaller, because of the lack of detail. It's not a contest in resolution. I knew that it would make the movies feel bigger and I really needed that. Plus, the ease of working with them. You're literally recording on flashcards, so you're not hauling film magazines up a ravine and the cameras were small and easy to use. I was able to get more and better shots because of it. For me, it was a great case of good luck that they showed up two days before we started shooting, which was kind of scary."
Read the rest of the interview here.