DID YOU READ

The Naughts: The Director of the ’00s

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

Posted by on

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]

Watch More
JaniceAndJeffrey_102_MPX-1920×1080

Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

Posted by on

She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

JaniceAndJeffrey_106_MPX-1920x1080

IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

Watch More
IFC-Die-Hard-Dads

Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

Posted by on
Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

Watch More
IFC-revenge-of-the-nerds-group

Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

Posted by on
Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

geowash_flat

Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

Watch More
Powered by ZergNet