Steven Soderbergh

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domino harvey
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Re: Steven Soderbergh

#201 Post by domino harvey » Thu Jan 09, 2020 9:04 pm

We know he loves Guided by Voices. For years he tried to make a Cleopatra musical starring Catherine Zeta-Jones using GBV songs jukebox style, which is one of the craziest missed opportunities in the history of cinema

EDIT the comment I was replying to got deleted, it asked if Soderbergh listened to music

EDIT No. 2: Here’s an exhaustive breakdown of the history of the project and a competing Angelina Jolie-starring version

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therewillbeblus
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Re: Steven Soderbergh

#202 Post by therewillbeblus » Thu Jan 09, 2020 10:34 pm

I cannot believe I never knew about this project! GBV is perhaps my favorite band or tied for it when all is said and done, as if I needed another reason to love Soderbergh. What a marvelous idea for a film and so incredibly depressing that it never came into being

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Oedipax
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Re: Steven Soderbergh

#203 Post by Oedipax » Fri Jan 10, 2020 4:53 pm

Robert Pollard did do the score for Bubble, as well. It's one of my favorites.

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PfR73
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Re: Steven Soderbergh

#204 Post by PfR73 » Wed Jan 22, 2020 5:26 pm

And a Robert Pollard song is used over the end credits of Full Frontal

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rapta
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Re: Steven Soderbergh

#205 Post by rapta » Tue Feb 18, 2020 3:30 pm

Recent 4K restoration of The Limey finally coming to Blu-ray via LionsGate in April (in the UK at least): https://www.amazon.co.uk/The-Limey-Blu- ... B084XT1HQ2

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therewillbeblus
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Re: Steven Soderbergh

#206 Post by therewillbeblus » Sat Mar 28, 2020 5:52 pm

I know the Full Frontal blu-ray is OOP and going for insane prices, but can anyone speak to the differences or merit of the “new” 112-minute edit, if it’s worth seeking out? I’ve only seen (and love) the original 101-min DVD cut.

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PfR73
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Re: Steven Soderbergh

#207 Post by PfR73 » Sun Mar 29, 2020 10:38 am

On the original DVD, the deleted scenes section listed the scenes on 2 different pages. Weirdly, none of the scenes from Page 1 are in the extended cut, but every scene from Page 2 is in the extended cut.
SpoilerShow
Included:
- Linda Driving
- Parked Car Scene
- Lee Arrives at Hotel
- Name Dropping
- Batting Average
- Stoned Dog and the Porno Shop
- What's Up, Dog?
- What Are We Shooting?
These scenes make up the bulk (approximately 8-9 minutes of the 11 minute difference) of the extended cut, the rest are mostly short scene extensions. A full breakdown can be seen at https://www.movie-censorship.com/report.php?ID=254279

The film doesn't feel changed in any major way, nothing majorly affects the characters or plot. I hadn't seen the film for many years before recently watching the Blu-ray and if I hadn't already known it was an extended cut, I probably would not have realized. However, comparing the two cuts, the extended one does slightly flesh out certain moments in a more satisfying way.

I would say, if you check those deleted scenes on the DVD and feel like you would appreciate seeing them be part of the actual film, then you'd want the extended cut. If you could do without them and are satisfied with them being deleted scenes, then it's unnecessary.
Last edited by PfR73 on Sun Mar 29, 2020 10:49 am, edited 1 time in total.

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domino harvey
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Re: Steven Soderbergh

#208 Post by domino harvey » Sun Mar 29, 2020 10:41 am

If it makes you feel worse, TWBB, I’m pretty sure I bought my copy when it came out for all of $5.99 like all the other Miramax Blu-rays Echo Bridge put out!

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therewillbeblus
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Re: Steven Soderbergh

#209 Post by therewillbeblus » Sun Mar 29, 2020 12:59 pm

Thanks for the detailed breakdown PfR73! I’ll check out the deleted scenes when I get to this next week in my Soderbergh revisits. Like a lot of OOP blus, this only makes me wish I subscribed to the format earlier domino, though it’s heartening to see it go for such high prices considering its still-trifled status, which can only indicate that there’s a strong market for Soderbergh devotees out there!

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therewillbeblus
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Re: Steven Soderbergh

#210 Post by therewillbeblus » Wed Apr 08, 2020 10:53 pm

Revisited Full Frontal again and I continue to find that this misunderstood gem gets closer to perfect every time. I know people don’t like this one but I struggle to see how anyone can’t find it to be hilarious - not because it's a satire of the industry (which it undoubtedly is, though the meta-jokes were done better in Ocean’s Twelve) but as a farce on basic human behavior and their inappropriate absurdities, though filmed in reserved objective banality masked as intimate documentary. The joke spreads in all directions: unreliable narration would make the joke on us but the perspectives shared are mocked so the joke is on them. And throughout all of this there isn’t a malicious teasing from Soderbergh but a presentation of very real people who express a mixture of the kind of obnoxious idiosyncrasies we encounter daily with exaggerated behaviors that we think and don’t say. This is the kind of humor Larry David has made a living on, but retracted back enough so as to counter that annoying, discomforting content by refusing to become those qualities as an intrusive author like other works do with impulsive aggression in form. Soderbergh’s greatest strength here is that his stylistic choices throws us a curve ball in finding his usual humble place, refraining from manipulation or disrespect by taking five steps back and allowing those manipulations and disrespect to unfold without the need of his intrusions. It's a level of trust and confidence that is much more difficult to pull off that it appears.

The tonal shifts work well too, with a wide range of comedy including a never-better Nicky Katt stealing scenes as an eccentric actor - and just when you think that the dramatic ventures are being played for laughs, scenes pop up like Keener walking in on Pierce’s speech about liking her in addition to loving her, which is such a cinematically convenient insert splicing an raw, genuine moment with a contrivance. Soderbergh has his cake and eats it too, brilliantly.

Even the ending basks in the monotonous self-consciousness of authentic expression, with corny jokes and awkward voiceovers explaining blandly that two characters met in a 'classic cinema' spontaneous love ending, where they had a "nice time," and mostly leave it at that, subverting all expectations that come with the ending. Soderbergh ironically reminds us that verbalizing one’s experiences with nuance isn’t an honest account of expression but a cinematic one, and then these nervous, uncomfortable characters give the final lines when words cannot do experience justice- “it was like in the movies.” Blanket statement, no details, box filled, leave me alone- roll credits.

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The Narrator Returns
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Re: Steven Soderbergh

#211 Post by The Narrator Returns » Tue May 19, 2020 6:38 pm

Having not written a script in 15 years, Soderbergh has written/rewritten three screenplays during lockdown, including an adaptation of David Levien's City of the Sun and a sequel to sex, lies, and videotape.

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The Narrator Returns
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Re: Steven Soderbergh

#212 Post by The Narrator Returns » Tue May 19, 2020 6:59 pm

He also teased the fuller cast of Kill Switch, including the previously-announced Cheadle, Stan, and Jon Hamm, plus Ray Liotta, Benicio Del Toro, George Clooney, and Amy Seimetz.

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therewillbeblus
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Re: Steven Soderbergh

#213 Post by therewillbeblus » Tue May 19, 2020 7:06 pm

Do you have a link?

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The Narrator Returns
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Re: Steven Soderbergh

#214 Post by The Narrator Returns » Tue May 19, 2020 7:13 pm

This is from a livestream interview he's been doing with spirits website Flaviar.

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therewillbeblus
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Re: Steven Soderbergh

#215 Post by therewillbeblus » Mon Jun 15, 2020 2:09 pm

Aside from his Yes doc I’ve officially seen all Soderbergh’s work as director, after finishing off K Street a couple months ago, which I thought was fantastic (though mostly the first half). The Knick, and the Fallen Angels episode The Professional Man, would be other TV works threatening to make a top ten list, but none likely would.

After listening to the Ocean’s Twelve commentary and seeing it again I’m convinced that it is Soderbergh’s most creative film, most experimental and driven by the desire of having fun prioritized above all, and so - for a filmmaker who clearly thrives on this playful exuberance, it’s fitting to call his best. The Amsterdam coffee house scene alone is the funniest thing he’s ever done, on par with Damon's narration in The Informant! -it's main threat for that top spot. More than any other filmmaker though, it feels difficult- even impossible- to properly rank his work in my esteem (it's basically a 15-way tie). He would probably be the most challenging list project, and the one that I'd beat myself up over exclusions most harshly, if we ever do get to him.

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knives
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Re: Steven Soderbergh

#216 Post by knives » Mon Jun 15, 2020 2:24 pm

Including that Australian movie that never got a release?

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domino harvey
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Re: Steven Soderbergh

#217 Post by domino harvey » Mon Jun 15, 2020 2:27 pm

That leaking could save 2020. C’mon someone in that cast, share your copy

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The Narrator Returns
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Re: Steven Soderbergh

#218 Post by The Narrator Returns » Fri Jul 31, 2020 3:08 pm

At the end of this interview with him and Amy Seimetz, Soderbergh says that he'll start shooting Kill Switch eight weeks from now.

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