'Gallagher on Soderbergh'
by Mark Gallagher
by Mark Gallagher
Filmmaker Steven Soderbergh is retiring. Or maybe he isn’t. His most recent work, Behind the Candelabra (2013), premiered at the Cannes Film Festival on May 21 and debuted on HBO television five days later. Those who follow news and discourse around American independent cinema, around festivals such as Cannes, or around Hollywood and entertainment industries generally may have heard about Soderbergh’s plans in any number of venues since actor Matt Damon mentioned that imminent retirement in a late-2010 interview. The artist-author-filmmaker--“director” is hardly a sufficient description--has not, as one might have imagined, retreated quietly into the shadows. Aside from both fending off and confirming the reports (with caveats), Soderbergh has been dizzyingly active in the ensuing period. He directed a play in Australia, and made a film with the cast (a film that has an IMDB listing and even earns ratings from its users, but which Soderbergh has claimed was never intended for release). He has taken up serious painting and photography. He opened a Twitter account and has composed (or perhaps is still composing) a serial novel called Glue there. He recently gave a widely discussed address at the San Francisco International Film Festival excoriating Hollywood’s present economic logic, which in his view has made films without blockbuster aspirations largely unviable for studios. And to fill up any remaining spare time or perhaps to clean out his attic, he has launched a website, Extension765, selling an eclectic mix of memorabilia, esoteric t-shirts and--why not?--imported Bolivian liquor.
And lest we forget, since his impending retirement was announced, he made somewhere between four and six features (the number varies depending how we define those works). The pandemic thriller Contagion (2011) did solid business for Warner Bros., though the minimalist action film and independent Haywire (2011) did not ignite on its winter 2012 release. Summer 2012 was far kinder to Soderbergh’s career, with the modestly budgeted male stripper drama Magic Mike (2012) delivering huge returns. (The $7 million film was #26 at the U.S. box office in 2012, edging out The Bourne Legacy, which cost in the neighborhood of the $125 million.) This past winter saw the release of another topical thriller from Soderbergh, the pharmaceutical whodunit Side Effects (2013). Side Effects did lukewarm business, but Soderbergh had been part of another major success the previous summer, the megahit (and de facto independent release) The Hunger Games (2012), on which he served, remarkably if to quite limited fanfare, as second-unit director, handling background scenes while director (and longtime friend) Gary Ross worked with the principals on the logistically complex production.
Side Effects may stand as Soderbergh’s last studio release, at least for the foreseeable future. But it was certainly not his last motion picture. As mentioned, his most recent outing as director, the Liberace biopic and troubled romance Behind the Candelabra, debuted at Cannes on May 21. Is this his last film? A better question might be, is it a film at all? In the U.S. it premiered (and continues to play) on cable channel HBO, with no theatrical release planned. IMDB still classifies it as “film” rather than “television,” though, and it will earn a big-screen release in various European countries, Australia, and more in the weeks to come. (In Britain, where I live, it opens on June 7, distributed by the independent Entertainment One.)
And lest we forget, since his impending retirement was announced, he made somewhere between four and six features (the number varies depending how we define those works). The pandemic thriller Contagion (2011) did solid business for Warner Bros., though the minimalist action film and independent Haywire (2011) did not ignite on its winter 2012 release. Summer 2012 was far kinder to Soderbergh’s career, with the modestly budgeted male stripper drama Magic Mike (2012) delivering huge returns. (The $7 million film was #26 at the U.S. box office in 2012, edging out The Bourne Legacy, which cost in the neighborhood of the $125 million.) This past winter saw the release of another topical thriller from Soderbergh, the pharmaceutical whodunit Side Effects (2013). Side Effects did lukewarm business, but Soderbergh had been part of another major success the previous summer, the megahit (and de facto independent release) The Hunger Games (2012), on which he served, remarkably if to quite limited fanfare, as second-unit director, handling background scenes while director (and longtime friend) Gary Ross worked with the principals on the logistically complex production.
Side Effects may stand as Soderbergh’s last studio release, at least for the foreseeable future. But it was certainly not his last motion picture. As mentioned, his most recent outing as director, the Liberace biopic and troubled romance Behind the Candelabra, debuted at Cannes on May 21. Is this his last film? A better question might be, is it a film at all? In the U.S. it premiered (and continues to play) on cable channel HBO, with no theatrical release planned. IMDB still classifies it as “film” rather than “television,” though, and it will earn a big-screen release in various European countries, Australia, and more in the weeks to come. (In Britain, where I live, it opens on June 7, distributed by the independent Entertainment One.)
