The Stevens — Soderbergh and Spielberg — defined late-20th-century film. Can they agree on its 21st-century future?
By Ann Hornaday Ann Hornaday Movie critic Email Bio Follow Movie critic March 7 at 4:22 PM In 2013, director Steven Soderbergh delivered the keynote address at the San Francisco International Film Festival, a meditation on the “state of cinema” that immediately went viral.
A few months later, another Steven by the name of Spielberg made his own dire predictions regarding the movie business, warning his audience at a newly opened cinematic arts building at USC that an “implosion” of the American movie industry was inevitable and that it would probably lead to tiered pricing at movie theaters, whereby “you’re gonna have to pay $25 for the next ‘Iron Man’ [and] you’re probably only going to have to pay $7 to see ‘Lincoln.
Last month, while accepting an award at the Cinema Audio Society, he doubled down, stating that he’s “a firm believer that movie theaters need to be around forever.” Spielberg is expected to advocate for rule changes at an academy governors’ meeting in April that would demand a longer theatrical window for Netflix movies before they are made available for streaming.
While Spielberg was creating cinema’s culture of hyper-commercialized spectacle, Soderbergh was helping to resuscitate the American indie: His 1989 feature debut “Sex, Lies, and Videotape” was part of a movement of regional low-budget filmmakers who crafted new, rough-and-ready narrative styles outside high-gloss Spielbergian conventions.
Steven Spielberg's"Ready Player One." Spielberg has been criticized — even ridiculed — for his devotion to tradition. But deeper than trying to shore up shaky business models or outmoded canonical standards, his anxieties speak to something even platform agnostics like Soderbergh can understand. What Spielberg is missing, and mourning, is the sense of occasion that has historically defined film as an aesthetic experience.
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