DID YOU READ

The Naughts: The Director of the ’00s

The Naughts: The Director of the ’00s (photo)

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Steven Soderbergh had a remarkable 12 films in theaters between 2000 and 2009. That includes two shiny Oscar winners, “Erin Brockovich” (which nabbed Julia Roberts a statuette) and “Traffic,” and a potential third, “The Informant!”; all three installments of the blockbuster “Ocean’s” franchise; three fast-and-loose video experiments (“Full Frontal,” “Bubble” and “The Girlfriend Experience”); an anti-period piece period piece (“The Good German”); an anti-biopic biopic (“Che”); and a sorely underrated remake/distillation of a sci-fi classic (“Solaris”).

And that’s not even counting his contribution to the 2004 omnibus “Eros,” or the ten episodes of HBO series “K Street” he helmed. By virtue of unstoppable output alone, Soderbergh’s made more of a mark on the ’00s than any other working director. But that’s not why he’s my pick for director of the decade.

Back in 1989, Soderbergh kicked off the giddy golden age of independent film with “Sex, Lies, and Videotape,” and while the following ’90s days of Park City wine and Miramax roses weren’t as immediately good to him as to other now brand name filmmakers, he remained, as Roger Ebert put it, the “poster boy of the Sundance generation,” the kid who showed studios that the world actually wanted to watch talky, low-budget relationship dramas, provided they were, you know, really good.

12112009_Bubble.jpgIn the Naughts, the floor creaked, sagged and eventually fell out from under the film industry, leaving only those perched on the edges — blockbusters and microbudgets, everyone says, are the safest future if you want to stay in business. Well, Steven Soderbergh, king of the one-for-me, one-for-them career, has been making variations of both for years now.

Actually, “one-for-me, one-for-them” makes it sound as if he shuffles like Persephone from colorless stints in the commercial underworld to brief bursts in the bright daylight of unfettered creativity. There’s no sense that his studio work is any less his own, less distinctive, or less invested in than his more overtly personal projects — as A.O. Scott put it, “Soderbergh may have zigzagged in and out of the movie-industry mainstream in the course of his career, but he has remained, throughout, to an extent matched by very few of his peers, an experimental filmmaker.”

That Soderbergh’s an auteur there’s no doubt, but he’s one whose foremost identifying quality is a quicksilver versatility — the artist as journeyman-for-hire, just as ready to test out new technology and non-professional actors as he is to command a budget in the tens of millions and the biggest stars in the world. You may not like every one of the dozen features he’s turned out in the ’00s, but you can’t deny that they’re all interesting.

He stretches the constraints of genres until they’ve bent into something new, and tests, in a similar way, the limits of the industry’s unwritten rules. Looking back, it’s hard to believe the uproar over “Bubble”‘s 2006 day-and-date theatrical and VOD release — it’s now in no way unusual, but at the time, the president of the National Association of Theatre Owners called it “the biggest threat to the viability of the cinema industry today.”

The same goes for his toe-dips up and down the production scale — if you want to make a movie free of outside oversight, you deal with the constraints of budget, and if you want to make a movie with more resources, you deal with the different constraints that come with them. An innate understanding of those facts, of how to work the system, and of film’s place between art and commerce, seems to underline his career. Not to paint that career in too rosy a financial light — “Che,” while a relative success domestically for a four-hour foreign language film, still only made back half its budget worldwide, and Soderbergh was booted off “Moneyball” days before it was slated to begin shooting because of script disagreements, making it seem like the director’s era of sneaking a more challenging approach into a seemingly standard project might be coming to an end.

12102009_OceansTwelve.jpgIf it is, that’d be a shame. For me, honestly, it’s films like the “Ocean’s” trilogy, collectively light as a feather, that have the most intriguing underlying push and pull to them between what’s prescribed and what’s possible when you color outside the lines. There’s the unexpected delight in the movie stardom of their leads, a hedonistic joy in taking in their glow, beautifully wardrobed, traveling high-end settings — don’t they look good on camera? — the blurring of public persona and character as the films continued a more interesting examination of our concept of the famous than, for sure, “Full Frontal.”

But there’s no doubt that Soderbergh will keep working. It’s what he does best. He’ll be headed back to Park City next month with a new documentary, “And Everything Is Going Fine,” and not to Sundance but to its punkier cousin Slamdance, where he’ll also participate in a summit on new models for content distribution. I’d listen to what he has to say — he’s done pretty good so far.

This feature is part of the Naughts Project.

[Additional Photos: Debbie Doebereiner in “Bubble,” Magnolia Pictures, 2005; Matt Damon, Brad Pitt and George Clooney in “Ocean’s Twelve,” Warner Bros., 2004]

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Forget Oscar

Find Your Spirit Animal

The Spirit Awards are LIVE this Saturday at 2p PT/5p ET.

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In just a few precious days, the greatest, most epic, most star-studded awards ceremony of the year comes to IFC.

And please, we’re definitely not talking about the Oscars. We’re talking about the Spirit Awards. Hosted by iconic comedy duo Nick Kroll and John Mulaney, it’s a relatively under-the-radar awards show with serious cred. And if the past is any indicator, we’re in for a wild night.

If you feel like doing your homework, you can find a full list of nominees and performance excerpts here. It reads like a who’s who of everyone that matters – those larger-than-life personalities with status that borders on mythological. Our celebrity spirit animals, if you will.

This isn’t hyperbole. Literally everyone who takes the stage at the awards show is spirit animal material. Let’s see if we can help you find yours…

Do you

Live in someone else’s shadow despite shining like the sun? Do you inexplicably vandalize your pretty-boy good looks with a sloppy-joe man bun and a repellent pubic-hair beard? Do you think sounding stoned and sounding thoughtful are kinda the same thing?

Congratulations, your spirit animal is Casey Affleck.

He’s the self-canonized patron saint of anyone who’s got the goods but doesn’t give a damn.

Do you

Have mid-length hair and exude a certain feminine masculinity that is universally appealing? Are you drawn to situations that promise little to nothing in the way of grooming or hygiene as a transparently self-conscious attempt to conceal your radiant inner glow? Does that fail miserably?

Way to go, your spirit animal is Viggo Mortensen.

He’s the yoga teacher of actors, in that what should make him super nasty only increases his curb appeal.

Do you

Get zero recognition for work that everyone knows is unrivaled? Do you inspire greatness in others yet get shortchanged when it comes to your own acclaim? Are you a goddam B-52 bomber in an industry of biplanes?

Bingo, your spirit animal is Annette Bening.

What does it take for this artist to win an Oscar? Honestly now, if her performance in 20th Century Women doesn’t earn her every award on the planet, consider it proof that the Universe truly is a cold dark void absent of reason or compassion.

Do you

Walk into a room full of strangers and walk out with a room full of friends? Have you been hiding under the radar just waiting for the right moment to leap out into the spotlight and stay there FOREVER? Do you possess the almost messianic ability to elevate Shia LaBeouf’s on-screen charisma?

You guessed it (or not), your spirit animal is 100% Sasha Lane.

If you haven’t seen American Honey, then you haven’t heard of her. She came out of the blue with a performance both subtle and powerful, and now she’s going to be in all the movies from this moment on. Or she should be, at any rate.

Don’t see your spirit animal there? Worry not. There are many more nominees to choose from, and you can see them all (yes, including Shia LaBeouf) during the Independent Spirit Awards, this Saturday at 2pm PT/5pm ET only on IFC.

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Car Notes

Portlandia Keeps Road Rage In Park

Get a lesson in parking etiquette on a new Portlandia.

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It’s the most American form of cause and effect: Park like a monster, receive a passive-aggressive note.

car notes note

This unofficial rule of the road is critical to keeping the great big wheel of car-related Karma in balance. And naturally, Portlandia’s Kath and Dave have elevated it to an awkward, awkward art form in Car Notes, the Portlandia web series presented by Subaru.

If you’ve somehow missed the memo about Car Notes until now, you can catch up on every installment online, on the IFC app, and on demand. You can even have a little taste right here:

If your interest is piqued – great news for you! A special Car Notes sketch makes an appearance in the latest episode of Portlandia, and you can catch up on it now right here.

Watch all-new Portlandia Thursdays at 10P on IFC.

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Naked and Hungry

Two New Ways to Threeway

IFC's Comedy Crib gets sensual in time for Valentine's Day.

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This week, two scandalous new digital series debut on IFC’s Comedy Crib.
Ménage à Trois invites people to participate in a real-life couple’s fantasy boudoir. And The Filling is Mutual follows two saucy chefs who invite comedians to make food inspired by their routines. Each show crosses some major boundaries in sexy and/or delicious ways, and each are impossible to describe in detail without arousing some awkward physical cravings. Which is why it’s best to hear it directly from the minds behind the madness…

Ménage à Trois

According to Diana Kolsky and Murf Meyer, the two extremely versatile constants in the ever-shifting à trois, “MàT is a sensually psychedelic late night variety show exploring matters of hearts, parts and every goddamn thing in between…PS, any nudes will be 100% tasteful.”

This sexy brainchild includes sketches, music, and props that would put Pee-wee’s Playhouse to shame. But how could this fantastical new twist on the vanilla-sex variety show format have come to be?

“We met in a UCB improv class taught by Chris Gethard. It was clear that we both humped to the beat of our own drum; our souls and tongues intermingled at the bar after class, so we dove in head first.”

Sign me up, but promise to go slow. This tricycle is going to need training wheels.

The Filling is Mutual

Comedians Jen Saunderson and Jenny Zigrino became best friends after meeting in the restroom at the Gotham Comedy Club, which explains their super-comfortable dynamic when cooking with their favorite comedians. “We talk about comedy, sex, menses, the obnoxiousness of Christina Aguilera all while eating food that most would push off their New Year’s resolution.”

The hook of cooking food based off of comedy routines is so perfect and so personal. It made us wonder about what dishes Jen & Jenny would pair with some big name comedy staples, like…

Bill Murray?
“Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to… Oh, that’s easy Meatballs with Lingonberry Space Jam it’d be great, but then we’d have to avoid doing any kind of silly Groundhog Day reference.” 

Bridget Everett?
“Cream Balls… Sea Salt encrusted Chocolate Ganache Covered Ice Cream Ball that melt cream when you bite into them.” 

Nick Kroll & John Mulaney? 
“I’d make George and Gil black and white cookies from scratch and just as we open the oven to put the cookie in we’d prank ’em with an obnoxious amount of tuna!!!”

Carrie Brownstein & Fred Armisen? 
“Definitely a raw cacao “safe word” brownie. Cacao!”

Just perfect.

See both new series in their entirety on IFC’s Comedy Crib.

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