In many ways, Steven Soderbergh could be described as an exemplary postmodern film-maker: smart, prolific, and pragmatic, at ease with Hollywood blockbusters and low-budget experiments alike. He knows enough about the nuts and bolts of technique to serve as his own cinematographer, and enough about the science of deal-making to sustain a parallel career as a producer (thirty films and counting, including such notable titles as Todd Haynes’s Far from Heaven ).
Jake Wilson reviews 'The Cinema of Steven Soderbergh: Indie sex, corporate lies, and digital videotape' by Andrew deWaard and R. Colin Tait
The Cinema of Steven Soderbergh: Indie Sex, Corporate Lies, and Digital Videotape
by Andrew deWaard and R. Colin Tait
Wallflower Press (Footprint Books), $35.95 pb, 202 pp, 9780231165518
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Jake Wilson is a freelance writer who lives in Melbourne and reviews films regularly for The Age. Formerly the Melbourne correspondent for Urban Cinefile and a co-editor of Senses of Cinema, he has contributed to a range of print and online publications, including Kill Your Darlings, RealTime, Bright Lights Film Journal, and Meanjin. Some of his film writings are archived on his personal website.
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