With “Command Z” and “Full Circle” out now, Steven Soderbergh continues build the legend that he’s the busiest filmmaker in show business. Why so busy? Part of the reason is because Soderbergh shoots his own films. In fact, he hasn’t worked with a cinematographer since 1994 when he made “Fallen Angels,” a neo-noir anthology short film series with other directors for Showtime in the 90s. His episode “The Quiet Room” featured Joe Mantegna, Bonnie Bedelia, Vinessa Shaw, Patrick Breen, Peter Gallagher, J.E. Freeman. It was also shot by Emmanuel “Chivo” Lubezki, who would go on to becomes one of the world’s greatest cinematographers winning three Academy Awards so far (“The Revenant,” “Birdman,” “Gravity“) and has been nominated eight times in total.
So why didn’t Soderbergh foster a relationship with Lubezki, and why does he insist of not working with cinematographers in general? Soderbergh had some answers for those questions during a recent appearance on the “Smartless” podcast while promoting “Full Circle.” On the podcast, Soderbergh explained why he doesn’t work with superstar cinematographers—even though he could—or any cinematographers at all. In short, it’s because it’s faster and easier to work alone.
“It’s a sacrifice,” Soderbergh said bluntly about the trade-off he believes he makes working without a cinematographer. “I’m trading one thing for another. I’m trading that I’m not as good as them for the, ‘I’m not bad,’ and the level of intimacy that it gives me with the cast. I would trade it even if I was bad: I like that relationship, and it would be impossible for me to insert a genius like Emmanuel Lubezki [into my process].” And Soderbergh has stayed true to that ethos throughout his entire career. Take note, Soderbergh aficionados: the filmmaker has only worked with three cinematographers in his feature career: Walt Lloyd on “Sex, Lies, And Videotape” and “Kafka;” Elliot Davis on “King Of The Hill” and “The Underneath,” and then Lubezki for “Fallen Angels.”
While Soderbergh has great admiration for Lubezki’s work, he also noted that he worked with him very early on in his career. “I worked with [Chivo] in 1994; it was his first job in the U.S.,” he explained. “It was on an anthology series on Showtime. And if you were to watch it now, it’s all there, [Lubezki was already] fully formed. He was Chivo right out of the gate. But I really need that sense of just us in the room.”
The Smartless hosts then gave some good context for Soderbergh’s comments. By eliminating the cinematographer, another person in the room who has to work out where the actors stands, where they move, where they are lit, and how they dance and interact with the camera, Soderbergh removes one layer of distance between him and the actors. If Soderbergh himself does that role, he retains a sense of intimacy with the actors and control over the project even more. Doubly so, Soderbergh is often camera operating himself, so that level of intimacy with the actor cannot be any greater.
“Full Circle” is available on HBO and Max now while Soderbergh’s latest TV series, “Command Z” is also available as we speak on his website. As for what the filmmaker has up next? He has a limited series with Lem Dobbs in the works about Ottoman physician Emin Pasha.
