Editing Steven Soderbergh (section)

===Style===
<!-- Introduction  -->
Soderbergh's visual style often emphasizes wealthy urban settings, natural lighting, and fast-paced working environments.<ref name=":3">{{Cite web|url=http://www.festival-cannes.com/en/artist/steven-soderbergh|title=Steven Soderbergh – Festival de Cannes 2018|website=Festival de Cannes 2018 |access-date=April 14, 2018|archive-date=March 20, 2021|archive-url=https://web.archive.org/web/20210320104451/https://www.festival-cannes.com/en/artist/steven-soderbergh|url-status=live}}</ref><ref name=Vulture/><ref>{{Cite news |url=https://www.nytimes.com/1992/01/23/movies/at-the-sundance-film-festival-art-and-commerce-square-off.html |title=At the Sundance Film Festival, Art and Commerce Square Off |last=James |first=Caryn |author-link=Caryn James |date=1992-01-23 |work=[[The New York Times]] |url-access=subscription |access-date=April 15, 2018 |archive-date=March 20, 2021 |archive-url=https://web.archive.org/web/20210320104449/https://www.nytimes.com/1992/01/23/movies/at-the-sundance-film-festival-art-and-commerce-square-off.html |url-status=live}}</ref> Film critic Drew Morton has categorized his stylistic approach to films akin to the [[French New Wave]] movement in filmmaking.<ref>{{cite web|url=http://stevensoderbergh.net/articles/2000/premiere.php|title=Steven Soderbergh: The Filmmaker Series|author=Anne Thompson|access-date=December 19, 2007|archive-date=March 20, 2021|archive-url=https://web.archive.org/web/20210320104448/https://stevensoderbergh.net/articles/2000/premiere.php|url-status=live}}</ref><ref>{{cite web|url=http://stevensoderbergh.net/articles/2003/frenchnewwaveinfluences.php|title=French New Wave Influences in Steven Soderbergh Films|author=Drew Morton|access-date=December 19, 2007}}</ref> Soderbergh's experimental style and tendency to reject [[Cinema of the United States|mainstream film standards]] stems from his belief that "[filmmakers] are always, in essence, at the beginning of infinity{{nbsp}}... there is always another iteration{{nbsp}}... always will be."<ref>{{Citation|last=Movieclips Coming Soon|title=Side By Side Interview – Steven Soderbergh (2012) Film Documentary Movie HD|date=August 6, 2012|url=https://www.youtube.com/watch?v=lepOQ2KfDwo|access-date=April 17, 2018|archive-date=March 20, 2021|archive-url=https://web.archive.org/web/20210320104703/https://www.youtube.com/watch?v=lepOQ2KfDwo|url-status=live}}</ref><!-- Technical aspects  -->

On a technical level, Soderbergh prefers sustained [[close-up]]s, [[tracking shot]]s, [[jump cut]]s, experimental sequencing and frequently skips [[establishing shot]]s in favor of audio and alternative visuals.<ref name=":3" /> Many of his films are noted for a milieu of suspense through the usage of [[Third-person effect|third-person]] vantage points and a variety of [[Over the shoulder shot|over-the-shoulder shots]]. In his film ''[[Contagion (2011 film)|Contagion]]'' (2011), he used a [[Hyperlink cinema|multi-narrative "hyperlink cinema" style]], first established within [[Ocean's (film series)|the ''Ocean's'' trilogy]]''.''<ref>{{Cite news |url=https://filmmakermagazine.com/29667-thoughts-on-contagion/|title=Thoughts on 'Contagion' |last=Macaulay |first=Scott |work=Filmmaker Magazine |access-date=April 15, 2018|language=en-US|archive-date=March 20, 2021|archive-url=https://web.archive.org/web/20210320104503/https://filmmakermagazine.com/29667-thoughts-on-contagion/|url-status=live}}</ref> He is known for tracking aesthetic transitions with a variety of [[Color wash|colored washes]], most notably yellow to symbolize open, socially acceptable situations while blue washes typically symbolize illegal or socially illicit endeavors.<ref>Baker (2011), p. 13</ref> In line with these washes, Soderbergh is liberal in his usage of [[Montage (filmmaking)|montages]] as he believes that they are equally important story-telling as dialogue.<ref>{{Cite web|url=http://www.aboutfilm.com/movies/l/limey.htm|title=The Limey (1999) – Review|last=Vorndam|first=Jeff|date=November 1999|website=About Film|access-date=April 15, 2018|archive-date=March 20, 2021|archive-url=https://web.archive.org/web/20210320104443/https://www.aboutfilm.com/|url-status=live}}</ref><!-- Relationship with Hollywood & studio filmmaking  -->

Soderbergh is known for having a combative relationship with [[Hollywood (film industry)|Hollywood]] and the standards of [[Film studio|studio filmmaking]].<ref name=Vulture/> Film critic [[Roger Ebert]] has commented in this stylistic antagonism, "Every once in a while, perhaps as an exercise in humility, Steven Soderbergh makes a truly inexplicable film{{nbsp}}... A film so amateurish that only the professionalism of some of the actors makes it watchable{{nbsp}}... It's the kind of film where you need the director telling you what he meant to do and what went wrong and how the actors screwed up and how there was no money for retakes, etc."<ref name="Ebert">{{cite web|url=https://www.rogerebert.com/reviews/full-frontal-2002|title=Full Frontal|last=Ebert|first=Roger|date=August 2, 2002|website=Chicago Sun Times|access-date=January 22, 2012}}</ref>

In ''[[Ocean's Twelve]]'' (2004), he had actress [[Julia Roberts]] play the part of Tess, a character then forced to play a fictionalized version of Roberts.<ref name="Wilkinson">{{cite news|url=https://www.vox.com/culture/2017/8/18/16150632/steven-soderbergh-explained-brockovich-knick-mike-logan-oceans-unsane|title=Why Unsane director Steven Soderbergh's work is compulsively watchable|last=Wilkinson|first=Alissa|date=March 21, 2018|work=Vox|access-date=April 17, 2018|archive-date=March 20, 2021|archive-url=https://web.archive.org/web/20210320104456/https://www.vox.com/culture/2017/8/18/16150632/steven-soderbergh-explained-brockovich-knick-mike-logan-oceans-unsane|url-status=live}}</ref> During the production stages of ''[[The Girlfriend Experience]]'' (2009) he cast adult film star [[Sasha Grey]] in the lead role.<ref name="Wilkinson"/> In ''[[Haywire (2011 film)|Haywire]]'' (2011), Soderbergh cast and eventually launched the film career of professional [[mixed martial arts]] (MMA) fighter [[Gina Carano]].<ref>{{cite news|url=http://www.slate.com/articles/arts/the_completist/2011/09/i_watched_every_steven_soderbergh_movie.html|title=I Watched Every Steven Soderbergh Movie|last=Kois|first=Dan|date=September 14, 2011|work=Slate|access-date=April 18, 2018|language=en-US|issn=1091-2339|archive-date=March 20, 2021|archive-url=https://web.archive.org/web/20210320104454/https://slate.com/culture/2011/09/i-watched-every-steven-soderbergh-movie-1.html|url-status=live}}</ref> Soderbergh's ''[[Logan Lucky]]'' (2017) made reference to his trilogy by alluding to an "Ocean's [[7-Eleven|7–11]]", noting the trilogy's influence on the Southern heist film.<ref name="Wilkinson"/> <!-- Soundscape and scoring  -->

Soderbergh's films are centered on suspenseful and ambient [[soundscape]]s.<ref name=":4">{{cite news|url=https://www.npr.org/templates/story/story.php?storyId=1431770|title=Clooney and Soderbergh's 'K Street'|last=Bianculli|first=David|date=September 15, 2003|work=NPR|access-date=April 14, 2018 |archive-date=March 20, 2021|archive-url=https://web.archive.org/web/20210320104456/https://www.npr.org/templates/story/story.php?storyId=1431770|url-status=live}}</ref> A primary way he achieves suspenseful soundscapes is by introducing audio before visuals in cut scenes, alerting the viewer of a sudden change in tone.<ref name=":4" /> His frequent collaborations with composers [[Cliff Martinez]], [[David Holmes (musician)|David Holmes]], and most recently [[Thomas Newman]], provide his films with "the thematic and sonic landscapes into which he inserts his characters."<ref name="NPR.org"/>