
Steven Soderbergh tonight unveils what he says is his final feature film Behind The Candelabra. The film explores the secret father/son/lover relationship between Liberace (Michael Douglas) and his valet Scott Thorson. It’s playing in competition here at Cannes, even though HBO will premiere it in the U.S. on Sunday before it gets a traditional overseas theatrical release. If that seems complex, it fits Soderbergh, a true maverick who has always been up for putting himself on the line for disruptive, ground breaking fare. That began with sex, lies and videotape. That movie won the Audience Award at Sundance and the Palm d’Or at Cannes before grossing nearly $25 million in 1989. It is viewed as the picture that turned indie film into a viable business. “He is the father of this movement,” said Harvey Weinstein, who distributed the film. “Before him, there was no independent movie that did more than $5 million. This was the one that went out, almost wide, in the summer where they said these films could not play, and broke the art house ghetto.” Two Oscars (for directing Erin Brockovich and Traffic) later, and a career that spanned every genre and enterprising release strategy (he aroused the ire of theater owners by road testing the day and date release platform that is now a Sundance deal staple), the 50-year old Soderbergh unveils his last feature film tonight with Behind The Candelabra.
Related: Steven Soderbergh’s State Of Cinema Talk
DEADLINE: All week, I’ve heard people here debate whether Michael Douglas and Matt Damon will lose possible Oscar nominations because the film plays first on HBO, before a more traditional international theatrical roll out. You intended it originally to be an indie feature. Explain the gyrations that ended up with this unusual release strategy.
SODERBERGH: We were trying to get the last $5 million to finish it off. The movie cost $22 million and change. We’d raised $18 million foreign and we just needed this piece. Superficially it would seem like a no-brainer but when you look at the realities of the economics of putting a movie into wide release, you have to gross $65 million-$75 million dollars just to get out. People just didn’t have that appetite for this kind of material.
DEADLINE: How different were things back when you conceived it as an indie and took several years to get to it and get a script by Richard LaGravanese?
SODERBERGH: There’s no question in my mind that if it had been five years earlier that we’d probably would have gotten it. But the pressure has gotten so extreme. I talk to people at the studios about it all the time. Somebody told me last week that they are doing a better job controlling movie costs, but that marketing costs keep moving at a trajectory faster than everything else. Another terrifying thing is, you used to be able to bank on stars. If you had certain elements in a certain kind of movie, you could bank on doing X. Now you are guaranteed nothing. Read More »
































from Film Independent, the nonprofit arts organization, spread the wealth today at a daytime luncheon in a tent on the beach in Santa Monica. (The broadcast will air at 10:00 pm ET/PT on IFC.) Many audience favorites won, as indicated by the cheering. 



