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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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Rev Up

Your Portlandia Personality Test

The New Portlandia Webseries Is Going Your Way

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Carrie and Fred understand that although we have so much in common, we’re each so beautifully unique and different. To help us navigate those differences, Portlandia has found an easy and honest way to embrace our special selves in the form of a progressive new traffic system: a specific lane for every kind of driver. It’s all in honor of the show’s 8th and final season, and it’s all presented by Subaru.

Ready to find out who you really are? Match your personality to a lane and hop on the expressway to self-understanding.

Lane 10: Trucks Piled With Junk

Your junk is falling out of your trunk. Shake a tail light, people — this lane is for you.

Lane 33: Twins

You’re like a Gemini, but waaaay more pedestrian. Maybe you and a friend just wear the same outfits a lot. Who cares, it’s just twinning enough to make you feel special.

Lane 27: Broken Windows

Bad luck follows you around and everyone knows it. Your proverbial seat is always damp from proverbial rain. Is this the universe telling you to swallow your pride? Yes.

Lane 69: Filthy Cars

You’re all about convenience. Getting your car washed while you drive is a no-brainer.

Lane 43: Newly Divorced Singles

It’s been a while since you’ve driven alone, and you don’t know the rules of the road anymore. What’s too fast? What’s too slow? Are you sending the right signals? Don’t worry, the breakdown lane is nearby if you need it.

Still can’t find a lane to match your personality? Check out all the videos here. And see the final season of Portlandia this spring on IFC.

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Give Back

Last-Minute Holiday Gift Guide

Hits from the '80s are on repeat all Christmas Eve and Day on IFC.

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GIFs via Giphy, Photos via The Everett Collection

It’s the final countdown to Christmas and thanks to IFC’s movie marathon all Christmas Eve and Christmas Day, you can revel in classic ’80s films AND find inspiration for your last-minute gifts. Here are our recommendations, if you need a head start:

Musical Instrument

Great analog entertainment substitute when you refuse to give your kid the Nintendo Switch they’ve been drooling over.

Breakfast In Bed

Any significant other or child would appreciate these Uncle Buck-approved flapjacks. Just make sure you’re not stuck on clean up duty.

Cocktail Supplies

You’ll need them to get through the holidays.

Dance Lessons

So you can learn to shake-shake-shake (unless you know ghosts willing to lend a hand).

Comfy Clothes

With all the holiday meals, there may be some…embigenning.



Get even more great inspiration all Christmas Eve and Day on IFC, and remember…

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A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

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GIFs via Giphy

Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.

via GIPHY

Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

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