Steven Andrew Soderbergh (/ˈsoʊdərˌbɜːrɡ/SOH-dər-burg; born January 14, 1963)[1] is an American film director, producer, screenwriter, cinematographer, and editor. A pioneer of modernindependent cinema, Soderbergh later drew acclaim for formally inventive films made within thestudio system.
Soderbergh's directorial breakthrough, the indie dramaSex, Lies, and Videotape (1989), lifted him into the public spotlight as a notable presence in the film industry. At 26, Soderbergh became the youngest solo director to win thePalme d'Or at theCannes Film Festival, and the film garnered worldwide commercial success, as well asnumerous accolades. His next five films, including the critically laudedKing of the Hill (1993), found limited commercial success. He pivoted into more mainstream fare with the crime comedyOut of Sight (1998), the biopicErin Brockovich (2000) and the crime dramaTraffic (2000), for which he won theAcademy Award for Best Director.
Soderbergh was born on January 14, 1963, inAtlanta, Georgia, to Mary Ann (née Bernard) and Peter Andrew Soderbergh, who was a university administrator and educator. Soderbergh hasSwedish,Irish, andItalian roots.[2] His paternal grandfather immigrated to the U.S. from Stockholm.[3]
In his first job, he worked as a game showscore keeper and cue card holder; soon after which he found work as a freelance film editor.[5] During this time, he directed the concert video9012Live for the rock bandYes in 1985, for which he received aGrammy Award nomination forBest Music Video, Long Form.[6]
After Soderbergh returned to Baton Rouge, he wrote the screenplay forSex, Lies, and Videotape on alegal pad during an eight-day cross-country drive.[7] The film tells the story of a troubled man who videotapes women discussing their lives and sexuality, and his impact on the relationship of a married couple.[8] Soderbergh submittedSex, Lies, and Videotape to the1989 Cannes Film Festival where, at age 26, he became the youngest solo director to win thePalme d'Or, the top prize.[9][10] Its critical performance led it to become a worldwide commercial success, grossing $36.7 million on a $1.2 million budget.[11]
Sex, Lies, and Videotape is considered to be the most influential catalyst of the 1990sIndependent Cinema movement.[12][13] Film criticRoger Ebert called Soderbergh the "poster boy of theSundance generation".[14] His relative youth and sudden rise to prominence in the film industry had him referred to as a "sensation" and a prodigy.[15][16] In 2006,Sex, Lies, and Videotape was selected by theLibrary of Congress for preservation in the United StatesNational Film Registry, being deemed "culturally, historically, or aesthetically significant" and theAmerican Film Institute nominated it as one of the greatest movies ever made.[17][18]
When I say this is the most important motion picture you'll ever attend, my motivation is not financial gain, but a firm belief that the delicate fabric that holds all of us together will be ripped apart unless every man, woman, and child in this country sees this film and pays full ticket price, not some bargainmatinée cut-rate deal.
Soderbergh's directorial debut was followed by a series of low-budget box-office disappointments.[19][20] In 1991, he directedKafka, a biographical film ofFranz Kafka written byLem Dobbs and starringJeremy Irons. The film returned one tenth of its budget and received mixed reviews from critics.[21]Roger Ebert's review stated: "Soderbergh does demonstrate again here that he's a gifted director, however unwise in his choice of project".[22] Two years later, he directed the dramaKing of the Hill (1993), which again underperformed commercially, but fared well with critics.[23] Based on the memoir of writerA. E. Hotchner, the film is set during theGreat Depression and follows a young boy (played byJesse Bradford) struggling to survive on his own in a hotel inSt. Louis after his mother falls ill and his father is away on business trips.[24] Also in 1995, he directed a remake ofRobert Siodmak's 1949 film noirCriss Cross, titledThe Underneath, which grossed $536,020 on a $6.5 million budget and was widely panned by critics.[25] Soderbergh has since called the film "dead on arrival" and described the making of it as his bottoming out.[26]
Soderbergh directedSchizopolis in 1996, a comedy which he starred in, wrote, composed and shot as well as directed. The film was submitted to theCannes Film Festival to such a "chilly response" that he reworked the entire introduction and conclusion before releasing it commercially.[28] In the movie's introduction, he said: "In the event that you find certain sequences or events confusing, please bear in mind this is your fault, not ours. You will need to see the picture again and again until you understand everything".[29] He starred inSchizopolis as Fletcher Munson, a spokesman for aScientology-esque lifestyle cult, and again as Dr. Jeffrey Korchek, a dentist having an affair with Munson's wife.[29] The film switched languages multiple times mid-scene without subtitles, leaving large parts of it incomprehensible.[29] It was viewed by a critic as a "directorial palate cleanse" for Soderbergh.[30] During the months following his debut ofSchizopolis, he released a small, edited version of theSpalding Gray monologue filmGray's Anatomy. Soderbergh would later refer toSchizopolis as his "artistic wake-up call".[29] Soderbergh co-wrote the script for the 1997 horror-thrillerNightwatch with Danish filmmakerOle Bornedal.Nightwatch is an English-language remake of Bornedal's ownfilm of the same name, which was produced three years earlier in Denmark.[31]
Soderbergh's reemergence began in 1998 withOut of Sight, a stylized adaptation of anElmore Leonard novel, written byScott Frank and starringGeorge Clooney andJennifer Lopez.[32] The film was widely praised, though only a moderate box-office success.[33] The critical reception of the movie began a multi-movie artistic partnership between Clooney and Soderbergh. Soderbergh followed up on the success ofOut of Sight by making another crime caper,The Limey (1999), from a screenplay byLem Dobbs and starring actorsTerence Stamp andPeter Fonda. The film was well-received and established him within thecinematic niche of thriller and heist films.[34] He ventured into his first biographical film sinceKafka in 2000 when he directedErin Brockovich, written bySusannah Grant and starringJulia Roberts in herOscar-winning role as a single mother taking on industry in a civil action.[35] In late 2000, Soderbergh releasedTraffic, a social drama written byStephen Gaghan and featuring an ensemble cast.[36]Time compared him to a baseball player hittinghome runs withErin Brockovich andTraffic.[36] Both films would be nominated at the2001 Academy Awards, making him the first director to have been nominated in the same year forBest Director for two different films since Michael Curtiz in 1938. He was awarded theAcademy Award for Best Director forTraffic and received best director nominations at the year'sGolden Globe and theDirectors Guild of America Awards.[37][38]
In early 2001, he was approached to directOcean's Eleven, a reboot of the 1960sRat Pack-movieOcean's 11 written byTed Griffin. After Griffin wrote the screenplay, Soderbergh signed on to direct. The film opened to critical acclaim and widespread commercial success.[39] It quickly became Soderbergh's highest-grossing movie to date, grossing more than $183 million domestically and more than $450 million worldwide.[40][41]Rolling Stone credited the movie with "[spawning] a new era of heist movies".[39] In the same year, Soderbergh madeFull Frontal, which was shot mostly on digital video in an improvisational style that deliberately blurred the line between which actors were playing characters and which were playing fictionalized versions of themselves.[42] A year later, he was asked by executives atWarner Bros Studios to direct the psychological thrillerInsomnia (2002), starring Academy Award winnersAl Pacino,Robin Williams, andHilary Swank. Despite their insistence, Soderbergh declined, preferring to see it directed by up-and-coming directorChristopher Nolan.[43]
Before returning to theOcean's series, Soderbergh directedK Street (2003), a ten-part politicalHBO series he co-produced with George Clooney.[44] The series was both partially improvised and each episode being produced in the five days prior to airing to take advantage of topical events that could be worked into the fictional narrative.[45] Actual political players appeared as themselves, either incameos or portraying fictionalized versions of themselves, notablyJames Carville andMary Matalin.[45]
The reason my career took such a left turn at a certain point was because I realized I was in danger of becoming aformalist. But that wasn't the best representation of me–even as a person. It's easy to fall into that because it's a very isolated position to occupy and it's easy to keep other elements–people and ideas–at a distance.
Soderbergh directedOcean's Twelve, a sequel toOcean's Eleven, in 2004. The second installment received muted critical reviews, and was another commercially successful film, grossing $362.7 million on a $110 million budget.[47] Matt Singer ofIndieWire called it a "Great Sequel About How Hard It Is to Make a Great Sequel."[48][49] Also in 2004, Soderbergh produced and co-wrote the adapted screenplay for the filmCriminal—a remake of the Argentine filmNine Queens—with his longtime assistant directorGregory Jacobs, who made his directorial debut with the film.[50]
A year later, Soderbergh directedBubble (2005), a $1.6 million film featuring a cast of nonprofessional actors. It opened in selected theaters andHDNet simultaneously, and four days later onDVD. Industry heads were reportedly watching how the film performed, as its unusual release schedule could have implications for future feature films.[51][52] Theater-owners, who at the time had been suffering from dropping attendance rates, did not welcome so-called "day-and-date" movies.[53]National Association of Theatre Owners chief executive John Fithian indirectly called the film's release model "the biggest threat to the viability of thecinema industry today."[54] Soderbergh's response to such criticism: "I don't think it's going to destroy the movie-going experience any more than the ability to get takeout has destroyed the restaurant business."[55] A romantic drama set in post-war Berlin,The Good German, starringCate Blanchett and Clooney, was released in late 2006. The film performed poorly commercially grossing $5.9 million worldwide against a budget of $32 million.[56]
Soderbergh next directedOcean's Thirteen, which was released in June 2007 to further commercial success and increased critical acclaim.[57] Grossing $311.3 million on an $85 million budget, it is the second highest-grossing film of his career after the firstOcean's.[58] The film concluded what would later be known as theOcean's trilogy, a collection of heist movies that would go on to be described as defining a new era of heist films.[59] Soderbergh directedChe, which was released in theaters in two parts, titledThe Argentine andGuerrilla, and was presented in the main competition of the 2008 Cannes Film Festival, on May 22.Benicio del Toro played the Argentine guerrillaErnesto "Che" Guevara in an epic four-hour double bill which looks first at his role in theCuban Revolution before moving to his campaign and eventual death in Bolivia.[60] Soderbergh shot his feature filmThe Girlfriend Experience in New York in 2008. Soderbergh cast adult film starSasha Grey as the film's lead actress to great reception and controversy.[61][62]
Soderbergh's first film of 2009 wasThe Informant!, a black comedy starringMatt Damon as corporate whistleblowerMark Whitacre. Whitacre wore a wire for2+1⁄2 years for theFBI as a high-level executive at aFortune 500 company,Archer Daniels Midland (ADM), in one of the largestprice-fixing cases in history. The film was released on September 18, 2009. The script for the movie was written byScott Z. Burns based onKurt Eichenwald's book,The Informant. The film grossed $41 million on a $22 million budget and received generally favorable reviews from critics.[63][64] Also in 2009, Soderbergh shot a small improvised film with the cast of the play,The Last Time I Saw Michael Gregg, a comedy about a theatre company staging Chekhov'sThree Sisters. He has stated that he does not want it seen by the public, and only intended it for the cast. Soderbergh nearly filmed a feature adaptation of the baseball bookMoneyball, starringBrad Pitt andJonah Hill. The book, byMichael Lewis, tells of howBilly Beane, general manager ofOakland Athletics, usedstatistical analysis to make up for what he lacked in funds to beat the odds and lead his team to a series of notable wins in 2002. Disagreements between Sony and Soderbergh about revisions toSteven Zaillian's version of the screenplay led to Soderbergh's dismissal from the project only days prior to filming in June 2009. In 2010, Soderbergh shot the action-thrillerHaywire, starringGina Carano,Ewan McGregor,Michael Fassbender andChanning Tatum which, though shot in early 2010, was not released until January 2012.[65]
In 2010, Soderbergh shot the epic virus thrillerContagion, another film written by Burns.[66] With a cast including Damon,Kate Winslet,Gwyneth Paltrow,Laurence Fishburne,Marion Cotillard andJude Law, the film follows the outbreak of a lethalpandemic across the globe and the efforts of doctors and scientists to discover the cause and develop a cure. Soderbergh premiered it at the68th Venice Film Festival in Venice, Italy on September 3, 2011, and released it to the general public six days later to commercial success and widespread critical acclaim.[67] Grossing $135.5 million on a $60 million budget,Manohla Dargis ofThe New York Times called his film a "smart, spooky thriller about a thicket of contemporary plagues—a killer virus, rampaging fear, an unscrupulous blogger—is as ruthlessly effective as the malady at its cool, cool center."[68]
In August 2011, Soderbergh served as asecond unit director onThe Hunger Games and filmed much of the District 11 riot scene.[69][70] In September and October 2011, he shotMagic Mike, a film starring Tatum, about the actor's experiences working as a male stripper in his youth. Tatum played the title mentor character, whileAlex Pettyfer played a character based on Tatum. The film was released on June 29, 2012, to a strong commercial performance and favorable critical acclaim.[71] Throughout 2012, Soderbergh had announced his intention to retire from feature filmmaking. He stated that "when you reach the point where you're saying, 'If I have to get into a van to do another scout, I'm just going to shoot myself,' it's time to let somebody who's still excited about getting in the van, get in the van."[72] Soderbergh later said that he would retire from filmmaking and begin to explore painting.[73] A few weeks later, Soderbergh played down his earlier comments, saying a filmmaking "sabbatical" was more accurate.[74] For his then-final feature film, he directed the psychological thrillerSide Effects, which starred Law,Rooney Mara, Tatum andCatherine Zeta-Jones. It was shot in April 2012 and was released on February 8, 2013.[75] Screened at the63rd Berlin International Film Festival,A. O. Scott ofThe New York Times stated that Soderbergh "[handled] it brilliantly, serving notice once again that he is a crackerjack genre technician."[76] In the end, while promotingSide Effects in early 2013, he clarified that he had a five-year plan that saw him transitioning away from making feature films around his fiftieth birthday.[77] Around that time, he gave a much publicized speech at theSan Francisco International Film Festival, detailing the obstacles facing filmmakers in the current corporate Hollywood environment.[78]
In May 2013—only months into his retirement—Soderbergh announced that he would direct a ten-part miniseries forCinemax calledThe Knick. The series followed doctors at a fictionalized version of theKnickerbocker Hospital in Manhattan in the early twentieth century. The series starredClive Owen,Andre Holland,Jeremy Bobb,Juliet Rylance,Eve Hewson andMichael Angarano and was filmed in 2013.[83] It began airing in August 2014 to critical acclaim.[84] After completing the second season, Soderbergh revealed he was finished directing for the show, and said: "I told them [Cinemax] that I'm going to do the first two years and then we are going to break out the story for seasons 3 and 4 and try and find a filmmaker or filmmakers to do this the way that I did. This is how we want to do this so that every two years, whoever comes on, has the freedom to create their universe."[85]
After his work withThe Knick, Soderbergh began working on a variety of personal projects starting with directing anOff-Broadway play titledThe Library, starringChloë Grace Moretz in January 2014.[86] On February 24, 2014, Soderbergh released a mash-up of Alfred Hitchcock'sPsycho (1960) and Gus Van Sant's1998 shot-by-shot remake on his website, titledPsychos.[87][88]On April 21, 2014, Soderbergh released an alternate cut ofMichael Cimino's controversial 1980 WesternHeaven's Gate on his website. Credited to his pseudonym Mary Ann Bernard and dubbed "The Butcher's Cut", Soderbergh's version runs 108 minutes.[89][90][91] On September 22, 2014, he uploaded a black-and-white silent version ofRaiders of the Lost Ark, withTrent Reznor andAtticus Ross's score ofThe Social Network. The purpose of it is to study the aspects ofstaging in filmmaking.[92] It was announced in June 2014 that Soderbergh would be executive producing a series based on his earlier filmThe Girlfriend Experience for theStarz network, to premiere sometime in 2016.[93] In September 2015, Soderbergh was announced to be directingMosaic, a series for HBO. StarringSharon Stone, it was a dual-media project; it was released as both aninteractive movie app in November 2017 and as a six-part miniseries airing in January 2018.[94][95]
In February 2016, Soderbergh officially came out of his retirement to direct aNASCAR heist film,Logan Lucky, starringChanning Tatum,Adam Driver, andDaniel Craig, among others. The film was produced entirely by Soderbergh, with no studio involved in anything other thantheatrical distribution.[96] The film was released on August 18, 2017, byBleecker Street and Fingerprint Releasing, his own distribution and production company.[97][98]Logan Lucky was met with widespread critical acclaim,Matt Zoller Seitz writing forRogerEbert.com stated: "The odds seem stacked inLogan Lucky's favor the instant you spot 'Directed by Steven Soderbergh' in theopening credits".[99]
In July 2017, it was revealed that Soderbergh had also secretly shot a horror film usingiPhones titledUnsane, and starringClaire Foy andJuno Temple.[100][101] The film was released on March 23, 2018[102] and was well received by critics, with Scott Meslow ofGQ noting its relevance to the modern plight of women inpatriarchal societies, and called it a "nerve-jangling modern-dayKafka story".[103] His usage of an iPhone in4K to film the movie was considered "inspirational to aspiring filmmakers" for breaking down the perceived costs associated with producing a feature film in the United States.[104]
Soderbergh's visual style often emphasizes wealthy urban settings, natural lighting, and fast-paced working environments.[9][2][133] Soderbergh's experimental style and tendency to rejectmainstream film standards stems from his belief that "[filmmakers] are always, in essence, at the beginning of infinity... there is always another iteration... always will be."[134]
On a technical level, Soderbergh prefers sustainedclose-ups,tracking shots,jump cuts, experimental sequencing and frequently skipsestablishing shots in favor of audio and alternative visuals.[9] Many of his films are noted for a milieu of suspense through the usage ofthird-person vantage points and a variety ofover-the-shoulder shots. In his filmContagion (2011), he used amulti-narrative "hyperlink cinema" style, first established withintheOcean's trilogy.[135] He is known for tracking aesthetic transitions with a variety ofcolored washes, most notably yellow to symbolize open, socially acceptable situations while blue washes typically symbolize illegal or socially illicit endeavors.[136] In line with these washes, Soderbergh is liberal in his usage ofmontages as he believes that they are equally important story-telling as dialogue.[137]
Soderbergh is known for having a combative relationship withHollywood and the standards ofstudio filmmaking.[2] Film criticRoger Ebert has commented in this stylistic antagonism, "Every once in a while, perhaps as an exercise in humility, Steven Soderbergh makes a truly inexplicable film... A film so amateurish that only the professionalism of some of the actors makes it watchable... It's the kind of film where you need the director telling you what he meant to do and what went wrong and how the actors screwed up and how there was no money for retakes, etc."[138]
InOcean's Twelve (2004), he had actressJulia Roberts play the part of Tess, a character then forced to play a fictionalized version of Roberts.[139] During the production stages ofThe Girlfriend Experience (2009) he cast adult film starSasha Grey in the lead role.[139] InHaywire (2011), Soderbergh cast and eventually launched the film career of professionalmixed martial arts (MMA) fighterGina Carano.[140] Soderbergh'sLogan Lucky (2017) made reference to his trilogy by alluding to an "Ocean's7–11", noting the trilogy's influence on the Southern heist film.[139]
Soderbergh's films are centered on suspenseful and ambientsoundscapes.[141] A primary way he achieves suspenseful soundscapes is by introducing audio before visuals in cut scenes, alerting the viewer of a sudden change in tone.[141] His frequent collaborations with composersCliff Martinez,David Holmes, and most recentlyThomas Newman, provide his films with "the thematic and sonic landscapes into which he inserts his characters."[45]
The simplest way that I can describe it is that a movie is something you see, andcinema is something that's made…. Cinema is a specificity of vision. It's an approach in which everything matters. It's the polar opposite of generic or arbitrary and the result is as unique as a signature or a fingerprint. It isn't made by a committee, and it isn't made by a company, and it isn't made by the audience.
– Soderbergh (in 2013) on the influence his methodological choices have on his films[142]
Soderbergh's early films—on account of his youth and lack of resources—were primarily filmed onSuper 8 and16 mm film formats.[143] A variety of his feature films have been shot using a diverse range of camera equipment. He filmed all ofThe Girlfriend Experience (2009) on aRed One camera, which has retailed for $17,500[144]—a relatively inexpensive camera for a movie produced for $1.3 million.[145] Soderbergh filmed the entirety ofUnsane (2018) on aniPhone 7 Plus with its4K digital camera using the app FiLMiC Pro.[146] He filmed with three rotating iPhones using aDJI stabiliser to hold the phone in place.[147] In January 2018, he expressed an interest in filming other productions solely with iPhones going forward.[148] He then filmed the entirety of 2019'sHigh Flying Bird on aniPhone 8.[149]
In addition to his directing, he is frequently a screenwriter for his films. Scott Tobias ofThe A. V. Club has noted his method ofexperimental filmmaking as "rigorously conceived, like a mathematician working out a byzantine equation". Starting in 2000 with his filmTraffic, when directing films Soderbergh has used various pseudonyms in order to hide the fact that he edits, writes, and arranges.[150]
When working with actors, Soderbergh prefers to pursue a non-intrusive directorial style. "I try and make sure they're OK, and when they're in the zone, I leave them alone. I don't get in their way".[151] This method has attracted repeat performances by many high-profile movie stars which has established a reoccurring collaboration between them and Soderbergh.[151]
Soderbergh's films often center the themes of shiftingpersonal identities,sexuality, and thehuman condition.[152]Richard Brody ofThe New Yorker stated that Soderbergh is focused on the process of presenting ideas through film rather than their actual realization.[152] In line with this actual realization, he presents themes to critically evaluate political and corporate institutions such as money andcapitalism.[153] Film criticA. O. Scott has noted that Soderbergh has a critical interest in exploring the impact capitalist economies have on living an ethical life and the detractions associated withmaterialism.[154] Money is central to many of his movies as Soderbergh believes that it serves as an obsession unrivaled by any other.[154]
Starting withOut of Sight (1998), Soderbergh's heist films explore themes of vengeance, characters on a mission, and the morality of crime.[155] He is generally said to have acinematic niche in these types of films. "I've always had an attraction to caper movies, and certainly there are analogies to making a film. You have to put the right crew together, and if you lose, you go to movie jail", the director noted in 2017.[156]
In 2018, Soderbergh launched aBolivian grape spirit brand called "Singani 63". In 2014, he had teamed up with adistillery based inTarija, Casa Real and became the sole exporter of the spirit from the mountains of Bolivia.[165][166]Singani is a traditional spirit of Bolivia, and Soderbergh doesn't like to label singani abrandy, because he says, "Millennials hate brandy." To demonstrate this, he created a very short iPhone/YouTube video, "Brandy VS Singani 63", that asks people to give their thoughts regarding brandy and Singani 63.[167]
Soderbergh has frequently relied onJerry Weintraub to produce many of his films.[170] ComposerCliff Martinez has scored eleven Soderbergh films starting withSex, Lies, and Videotape (1989) and ending withKimi (2022). Northern Irish composerDavid Holmes joined him in 1998 to scoreOut of Sight and rejoined him in scoring hisOcean's trilogy.[171] Soderbergh rejected Holmes' score for his 2006 filmThe Good German, but brought him back for subsequent movies, most recentlyLogan Lucky (2017).[171][172] Starting in 2000, composerThomas Newman has worked with four Soderbergh films, most recently in 2020 withLet Them All Talk.[173] Often editing the films himself, he also works with editorStephen Mirrione and frequently collaborates with screenwritersScott Z. Burns,Lem Dobbs,David Koepp andEd Solomon.[174]
Soderbergh is a vocal proponent of the preservation of artistic merit in the face of Hollywood corporatism. He believes that "cinema is under assault by the studios and, from what I can tell, with the full support of the audience".[152] He claims that he no longer reads reviews of his movies. "AfterTraffic I just stopped completely", said the director.[175] "After winning the LA and New York film critics awards, I really felt like, this can only get worse".[175]
Soderbergh dislikespossessory credits, and prefers not to have his name front and center at the start of a film. "The fact that I'm not an identifiable brand is very freeing," Soderbergh stated in 2009, "because people get tired of brands and they switch brands. I've never had a desire to be out in front of anything, which is why I don't take a possessory credit."[175] He often takes cinematography credits on his feature films under the alias Peter Andrews, the given name of his father, and editing credits under Mary Ann Bernard, that of his mother.
In 2009, Soderbergh appeared before theU.S. House Committee on Foreign Affairs, and "cited the French initiative in asking lawmakers to deputize the American film industry to pursue copyright pirates", indicating he supports anti-piracy laws and Internet regulation.[176]
Soderbergh married actressBetsy Brantley in 1989; the couple had a daughter together before their 1994 divorce.[20] He has been married toJules Asner since 2003, whom he often credits for influencing his female characters.[177] He has a daughter, born in 2010, with a woman in Australia, where he was working during a separation from Asner.[178] Soderbergh lives in New York City.[179] His 2023 web seriesCommand Z was filmed inside his own home.[180]
In 2009, Soderbergh signed a petition in support of film directorRoman Polanski, calling for his release after Polanski was arrested in Switzerland in relation to his1977 sexual abuse case.[181]
^Mahadevan-Dasgupta, Uma (July 18, 2003)."A filmmaker's celluloid feats".The Hindu. Archived from the original on December 16, 2008. RetrievedMarch 4, 2008.
^Steven Soderbergh (2002)."Ed Kelleher/1998". In Kaufman, Anthony (ed.).Steven Soderbergh – Interviews. University Press of Mississippi. p. 107.ISBN9781578064298. RetrievedJuly 12, 2021.
^Palmer, R. Barton; Sanders, Steven M., eds. (January 28, 2011).The Philosophy of Steven Soderbergh. University Press of Kentucky.ISBN9780813139890. RetrievedJuly 12, 2021.Soderbergh called Traffic his "$47 million Dogme film" and used hand-held camera, available light, and (ostensibly) improvistational performance in an attempt to present a realistic story about illegal drugs. He prepared by analyzing two political films made in a realist style: Battle of Algiers (Gillo Pontecorvo, 1966) and Z (Constantin Costa-Gavras, 1969), both of which he described as having "that great feeling of things that are caught, instead of staged, which is what we were after."
^The Observer (November 26, 2022)."Godard only knows..."The Guardian. Guardian News & Media Limited. RetrievedSeptember 14, 2022.'Godard is a constant source of inspiration. Before I do anything, I go back and look at as many of his films as I can, as a reminder of what's possible.' – Steven Soderbergh
deWaard, Andrew, and R. Colin Tait (2013).The Cinema of Steven Soderbergh: Indie Sex, Corporate Lies, and Digital Videotape. New York: Wallflower/Columbia University Press.
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