Steven Soderbergh decides his next outing will be at the Oscars – Deadline

WarnerMedia’s horrific remake of Hollywood’s release windows has sparked anger among filmmakers and their producers, with reduced fists and threats on the exchange. But then there’s Steven Soderbergh, the idiosyncratic filmmaker who reminds us that he is above all else.

Soderbergh’s response to the chaos of business is to record as a co-producer of the next Oscar show, whatever that may be (more below), and join the streaming line with HBO Max drama semi-developed with the title Let them speak fully (some critics have reiterated it They all let Nap).

Throughout his 30-year career, Soderbergh has cared between emotions and situations, from Erin Brockovich to Mike’s magic, from Contagion to Full face. Follow ee Sex, Lies, and Videotape, his first look, with a timeless drama titled sex Kafka about a paranoid insurance clerk in Prague.

Very formally, Soderbergh has “retired” for four years around 2012, and then came back with a self-funded, self-released heist film titled Lucky Logan. The story did not work out as the box office numbers did.

After giving credit to theaters, he signed to the HBO Max streaming platform with his new Meryl Streep vehicle. Thrown out as a world-famous novelist, Streep invites two lovers to join her on Queen Mary II’s voyage to England.

Soderbergh likes challenges: This one involved shooting his film in two weeks aboard the Cunard ship, working around its strict protocols. Fortunately, the script is skimpy; Streep’s self-obsessed character suffers from a writer’s block, and her friends (Candice Bergen and Dianne Wiest) come on board to take advantage of her rather than respect her. Streep’s agent even slips on board to get her to follow her favorite dealer.

In post-shoot interviews, the director and actresses deliver a vague explanation of the conversation – what stage was done rather than written. Fifty pages was written by Deborah Eisenberg, a short story writer who had no film qualifications. Temporary scenes have always recorded headlines for filmmakers. Robert Altman famously encouraged impromptu, often arguing with actors for delays.

Those spectators who have traveled on cruises – “crossings” is the word Cunard commands – know that the places are fragile, the staff idle and the list of passengers travel in gray uniform. Streep’s character looks bored, if not muted, by the setting. As it is “closed” it does not surprise the audience.

For Soderbergh, always fond of the challenges of filmmaking, the shooting of Queen Mary II must have been more interesting in theory than in practice. One of his previous Streep projects, Laundromat, situations were even more bizarre but he was, at least, immersed in political diatribes rather than novel angst.

Following his invisible film agenda, Soderbergh consistently defies the rules imposed by eminent predecessors, who have succeeded in sex, adhering closely to it. Alfred Hitchcock made no apology for limiting himself to his formula – evidence Vertigo, Back window and Psycho.

He carefully explained to me once that each project was still taking its own risks in terms of throw and positioning, not to mention the second blow from the studio ranks. Forward Psycho, Hitchcock regularly complained to executives at both Universal and Paramount.

Given his popularity with those who know him, Hitchcock seems to have been both deceived and tempted by the strategies devised by a non-stop filmmaker like Soderbergh – especially so willing and it was to perform an Oscar at a time of cosmic uncertainty.

Soderbergh fans on Oscar night would not be surprised if he showed a musical version of it Contagion, apply with on-stage vaccines. And Streep would definitely be on hand to make up the pictures.

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