For over thirty-five years, Steven Soderbergh has epitomized the innovative approach of the “one for them, one for me” filmmaking strategy, effectively blending commercial success with personal passion projects. Following the massive success of his blockbuster hit, Ocean’s Eleven, Soderbergh took a bold turn by releasing the independent film Full Frontal, which had a modest budget of just $2 million. He has expertly balanced the Ocean’s trilogy with a diverse range of projects, including indies, tributes to classic Hollywood, and extensive biopics focusing on significant historical figures like Argentine revolutionaries. Despite his reputation as a champion of mid-budget films, the question remains: what happens when such films do not perform as expected at the box office?
In a recent conversation with The Independent, Soderbergh expressed his disappointment regarding the lukewarm audience turnout for his latest film, Black Bag, which had an estimated budget of around $50-$60 million. He lamented, “This is the kind of film I made my career on. And if a mid-level budget, star-driven movie can’t seem to attract viewers over the age of 25 to theaters—if that’s genuinely a dead zone—then that spells trouble for the future of cinema. What are the implications for upcoming filmmakers aspiring to create similar films? I learned from a conversation with a colleague at another studio that immediately after Black Bag premiered, the morning meeting revolved around the question: ‘What does it signify when a film like this struggles to perform?’ And that’s incredibly frustrating.”
While Soderbergh has been assured by the studio that Black Bag will eventually yield a profit, he remains apprehensive about the overall viability of mid-budget movies at the box office. He reflected on his remarkable achievement in 2000, when he released the critically acclaimed hits Erin Brockovich and Traffic, as a stark reminder of how drastically the landscape has transformed. He stated, “Erin Brockovich wouldn’t be produced today; Traffic wouldn’t get made either. The only exception might be if you have someone like Timothée Chalamet, who, thank goodness, seems eager to explore diverse film genres. However, the opportunities for filmmakers to break through are diminishing rapidly.”
This sentiment somewhat contrasts with Soderbergh’s earlier assertion made last year, where he suggested that audiences would flock to theaters if directors consistently deliver high-quality content. Although we have immense admiration for Soderbergh and wholeheartedly support his artistic vision and dedication to filmmaking, it’s crucial to recognize that there is often little correlation between a film’s quality and its box office performance. For instance, despite our fondness for Black Bag, its commercial success has been far from stellar.
What are your thoughts on Steven Soderbergh’s insights regarding the current state of the film industry? Do you believe that films like Erin Brockovich and Traffic are destined for extinction?
