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The Playlist

Steven Soderbergh Finally Tackling Long-Gestating Adaptation Of 'Sot-Weed Factor' For 12-Hour TV Series

  • By Kevin Jagernauth
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  • March 29, 2013 5:13 PM
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  • 10 Comments
While Steven Soderbergh may be done with narrative filmmaking for the moment, his "retirement" will perhaps find him busier than ever, but not on projects that will be screened at a multiplex near you. He's got his hands in stage musicals for "Magic Mike" and "Cleopatra," he's directing a play this fall, he'll be focusing on painting and writing books, and he's got some kind of web thing called Extension 765 he's launching soon too. But it seems he's also circling back to a project that had been kicking around a while, and might be familiar to devoted Soderbergh heads.

Shane Carruth Talks Sci-Fi 'A Topiary,' Shares Plot Details, Reveals Steven Soderbergh & David Fincher Were Going To Produce

  • By Kevin Jagernauth
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  • March 19, 2013 12:41 PM
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  • 5 Comments
It's taken nearly a decade, but "Primer" writer/director Shane Carruth has returned this year with another acclaimed head-scratcher, "Upstream Color." A film that we raved was "thematically rich, layered and hypnotic," as the movie heads into release next month and the conversation continues to swell, Carruth is opening up to press. And an extensive, must-read piece in Wired is a good place to start, especially for those wondering just what the heck happened with his sci-fi flick "A Topiary."

Steven Soderbergh Says "Writing Is The Worst Job In The World," Explains His Transition From Writer To Cinematographer

  • By Charlie Schmidlin
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  • March 1, 2013 9:17 AM
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  • 4 Comments
If you haven't assumed the notion by now, Steven Soderbergh is pretty much the ideal interview subject (check out our recent conversation with him here). Witty, relatable, and willing to divulge extensive behind-the-scenes details, the director has faced his indefinite hiatus with reflections galore, the latest of which concerns his turn away from screenwriting, and more toward the cinematographer role he's so frequently explored.

Scott Z. Burns Talks Writing 'Side Effects,' Confirms Soderbergh Is Directing His Columbine Play 'The Library'

  • By Drew Taylor
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  • February 8, 2013 11:20 AM
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  • 0 Comments
It was supposed to be so easy: Steven Soderbergh, for his last theatrical feature, was going to reteam with two of his favorite collaborators (handsome movie star George Clooney and his "Contagion" screenwriter Scott Z. Burns) for a big budget Hollywood spectacle, an adaptation of the television spy series "The Man From U.N.C.L.E." But, things slowly fell apart, first when an injury sidelined Clooney and then when Warner Bros, nervous about Soderbergh going with a potentially unproven star (and shaky about the budget and period setting), shuttered the project indefinitely. But, just as Soderbergh moved from "Moneyball" to "Haywire," so too did Burns and Soderbergh soldier on, this time turning to a project Burns had wanted to direct himself – a psychosexual thriller set in the pharmaceutical industry called "Side Effects."

Interview: Steven Soderbergh Talks 'Side Effects'; 'Behind The Candelabra' & Comparing 'Dragon Tattoo' Notes With David Fincher

  • By Rodrigo Perez
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  • February 7, 2013 12:04 PM
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  • 0 Comments
Steven Soderbergh is almost out the door. Last week we rolled out part one of our interview with the filmmaker about his impending retirement from cinema, his process of filmmaking, the "tyranny of narrative," and his upcoming directorial efforts on the stage (including reviving an old film project, "Cleopatra"). Today, we deliver our final part of our lengthy chat with the director focusing on his Scott Z. Burns-penned pharma-thriller-caper, "Side Effects."

Retrospective: The Films Of Steven Soderbergh

  • By The Playlist Staff
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  • February 5, 2013 1:03 PM
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  • 8 Comments
If there are two things that mark out the career of director Steven Soderbergh, they arguably could be described as a willingness to fail and a constant routine of creative calisthenics. A process-rather-than-results person, he has, over the last 24 years, been one of the most daring, unpredictable and restless filmmakers around. His output has run the gamut of everything from indie relationship drama to star-packed heist movies, from experimental, micro-budget thrillers to philosophical sci-fi, and from melancholy coming-of-age to kick-ass action.

Steven Soderbergh Teases 'The Canyons' Contains A “Spectacular Sex Scene,” Paul Schrader Says It's “Cinema For The Post-Theatrical Era”

  • By Charlie Schmidlin
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  • February 5, 2013 10:00 AM
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  • 1 Comment
A tumultuous shoot, a volatile leading lady, and a veteran director collaborating with one of the most visible Twitter presences around; Kenneth Anger might just need to devote the entirety of “Hollywood Babylon IV” to Paul Schrader's “The Canyons” alone. But before that volume comes out, we've got the filmmaker's latest rebuttal against early criticisms of the film, as well as Steven Soderbergh hinting at what's in store when it's finally released.

Steven Soderbergh Says 'Side Effects' Isn't A "Big Pharma" Movie & Explains Why Every Shot Matters

  • By Gabe Toro
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  • February 1, 2013 11:24 AM
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  • 2 Comments
With “Side Effects,” director Steven Soderbergh is about to see the release of his final theatrical film (read our review here). The picture, dealing with the rabbit hole that one doctor (Jude Law) falls into when treating a depressed patient (Rooney Mara) has elements of an "issue film," but at a Lincoln Center screening earlier this week, Soderbergh and writer Scott Z. Burns claim that’s just a bit of misdirection.

Megan Ellison Hates Harvey Weinstein & More: 7 Highlights From The Juicy Vanity Fair Profile On The Annapurna Scion

  • By Edward Davis
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  • February 1, 2013 10:00 AM
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  • 33 Comments
Vanity Fair’s 2013 Hollywood issue is kind of the gift that keeps on giving. It not only has an awesome oral history of “Pulp Fiction” (highlights of which you can read here), but it also has some pretty in-depth and juicy profiles. But, the most tantalizing is about Megan Ellison, the 27-year old daughter of the third richest man in the U.S. She’s rumored to have been given a bankroll as large as $2 billion from her Dad on her 25th birthday (though her reps deny the figure), with the movie buff using the amount to help bankroll her slate of films.

Review: 'Side Effects' A Satisfying, Twisty Psychodramatic Thriller From Steven Soderbergh

  • By Drew Taylor
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  • February 1, 2013 9:00 AM
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  • 4 Comments
"Side Effects," a twisty-turny psychodrama and thriller, will occupy a special place in the Steven Soderbergh oeuvre. Since his highly influential debut "sex, lies, and videotape" single-handedly launched the American independent film revival, his body of work has included 26 films that have covered an absurd amount of topical ground, nevermind all the genres he's dipped into. If all goes according to plan, "Side Effects," will be the last Steven Soderbergh movie ever released theatrically. In some ways this puts an almost unfair amount of pressure on the complex little thriller, especially considering that the film may be better suited for premium cable than his upcoming HBO Liberace biopic "Behind the Candelabra." The picture's conspiratorial late-night tone and fleshy after hours luridness was practically built for watching at night, when our parents think we've gone off to bed (think '80s films directed by folks like Adrian Lyne). Like much of his recent output, "Side Effects" is a somewhat slight genre exercise, but given that it's Soderbergh, it's stylistically unparalleled, totally gripping and occasionally devastating in its emotional presentation thanks to its two leads Rooney Mara and Jude Law.

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