Will theaters wind up being only the domain of big-budget spectaculars? We’re still seeing this broad template that’s supposed to work for everything, and that’s not how it’s going to get solved. I just think we live in a technological world that allows for fluidity that we’re just not seeing right now. They’re looking for the next thing that’s going to work. Theaters are going to be pushing you out anyway because you bombed. You spent so much money trying to make this work, and if it didn’t, you should be able to do whatever you want to do. it’s not working, you need to be able to get it on a platform as soon as possible.
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If you’re in a bad situation, and you’ve got a movie that you opened wide, and you know Friday at 3 p.m. There’s not going to be one template that fits every movie. I think it’ll finally push the studios and NATO (National Association of Theater Owners) to have some practical and realistic conversations about windowing. But I think Warners is saying: not as soon as you think. There are too many companies that have invested too much money in the prospect of putting out a movie that blows up in theaters-there’s nothing like it. So the theatrical business is not going away. Because let’s be clear: there is no bonanza in the entertainment industry that is the equivalent of a movie that grosses a billion dollars or more theatrically. I think somebody sat down and did a very clear-eyed analysis of what COVID is going to do in the next year, even with a potential vaccine, and said, I don’t see this as being workable in 2021. We will reach a point where anybody who wants to go to a movie will feel safe going to a movie. There’s no scenario in which a theater that is 50 percent full, or at least can’t be made 100 percent full, is a viable paradigm to put out a movie in. It’s just a reaction to an economic reality that I think everybody is going to have to acknowledge pretty soon, which is that even with a vaccine, the theatrical movie business won’t be robust enough in 2021 to justify the amount of P&A you need to spend to put a movie into wide release. Is this the beginning of the end for theaters?
will debut its entire 2021 film slate on HBO Max. The industry has appeared headed toward a streaming world for some time, and COVID has sped up that transition-highlighted by the recent announcement that Warner Bros. When you can do that and also be smart, then you’ve hit the jackpot creatively. You never know, but that one certainly felt like we had all the elements we needed to come up with something really enjoyable and satisfying for an audience. If you could conjure that at will, you would do so. I think the first one just felt like the planets aligned in a really positive way, in every direction, and it resulted in a good version of what we all imagined a Hollywood movie should be.
That’s hard to do, just in terms of cat herding. It’s certainly unusual that we were able to keep that entire cast together and make three films in six years. recently announcing that its entire 2021 movie slate will premiere on HBO Max, Let Them All Talk arrives at a moment of potentially historic industry change, and that was one of the many topics we discussed with Soderbergh during our wide-ranging chat ahead of his latest’s debut-a conversation that also touched on everything from filming on a cruise ship pre-pandemic, to collaborating with Streep, to re-editing some of his earliest gems.įirst, I have to ask: were you one of the 14 lucky individuals who received $1 million from George Clooney? Also featuring Lucas Hedges and Gemma Chan, it’s a simultaneously breezy and profound (as well as intriguingly ambiguous) story about communication, art, and betrayal, and it proves another triumph for the director. 10) with Let Them All Talk, a jazzy, semi-improvised drama for HBO Max-with whom he’s signed a wide-ranging production deal-that stars Meryl Streep as a celebrated author who attempts to reconnect with her two college friends (Candice Bergen, Dianne Wiest) by taking them on a New York-to-London cruise aboard the Queen Mary 2 to attend an awards gala. On the heels of last year’s one-two Netflix punch of High Flying Bird and The Laundromat, Soderbergh returns to the streaming world this week (Dec.
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From his groundbreaking indie debut sex, lies, and videotape, to his Oscar-winning Traffic and Erin Brockovich, to his blockbuster Ocean’s 11 trilogy, to his more unconventional efforts like Kafka, Bubble, The Girlfriend Experience and Unsane-not to mention his forays into TV with Cinemax’s stellar The Knick, and his inventive branching-narrative project Mosaic-the 57-year-old auteur never rests on his laurels, finding new and unexpected ways to push himself and the medium, all while maintaining his signature, electrifying flair and incisiveness. Steven Soderbergh remains American cinema’s most exciting pioneer.
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