Q&A with Soderbergh on ‘boat movie’
NEW YORK — Steven Soderbergh calls it “the boat movie” even though he’s not supposed to call it “the boat movie.”
The Queen Mary 2, on which Soderbergh filmed the majority of his new film “Let Them All Talk,” is technically a ship, and a big one at that. The thought of making a movie on the $750-million ocean liner, during an eight-day Transatlantic crossing from New York to South Hampton, U.K., tickled Soderbergh, a filmmaker who hunts quicker, less plodding methods of making movies the way some seek other shores.
If there were any doubt, Soderbergh is not a cruise guy. But despite — or maybe because of — his proficiency as a filmmaker, he likes to put himself at sea, with new problems to navigate. He shot much of “Let Them All Talk” while rolling around the decks in a wheelchair, with a camera in his lap.
The film, written by the acclaimed short-story writer Deborah Eisenberg (at 75, her first screenplay), stars Meryl Streep as an author traveling to receive an award, who brings along two friends (Dianne Wiest, Candice Bergen) and her nephew (Lucas Hedges). As a travel setting now associated with outbreaks from the beginning of the pandemic, Soderbergh calls his film, on HBO Max on Friday, “from the before times.”
That’s something Soderbergh, as the maker of “Contagion,” knows about, too. In an interview by phone, he spoke about that prophetic 2011 film, leading Hollywood’s return to production and the future of the movie industry post-pandemic. Answers have been edited for length and clarity. ———
AP: Were you more mentally prepared for the pandemic because you had thought it through on “Contagion”?
Soderbergh: Certainly everybody that I talked to that worked with us on “Contagion” said very, very early this is very serious, this thing is — to use a technical term — gnarly. Get ready to hunker down is what I was hearing in early January. None of it was a surprise. But there are aspects of how this has played out that (screenwriter) Scott Burns and I could have never anticipated.
AP: What’s most surprising to you? Soderbergh: We are clearly, history tells us, a deeply irrational species. We’ve never had as stark an example of that as COVID.
AP: Was part of the appeal of “Let Them All Talk” giving yourself a rigid time frame? You need to finish before docking.
Soderbergh: Yeah, I like the fact that this is happening whether we want it to or not. They’re moving at a certain pace and it takes a certain amount of time, and we have a certain amount of time to execute. The first few days were rough. We were behind. We finally caught our rhythm day three or four. But since we were going from the U.S. to the U.K., we were losing an hour a day. It was kind of the production nightmare scenario. Every day got shorter.
AP: For you, what did the setting give the film? Soderbergh: I looked around and everywhere I looked I was like: This is a $750-million film set. Everywhere you pointed the camera, it screamed scale. While delivering the final elements to Warner, I sat down to watch it one last time. And I was just looking at it going: I still can’t believe we thought you should do that, that you should go shoot a movie on a crossing. I was shaking my head. Who would think: Yeah, we should do that. But that’s what made it so fun.
AP: You led the Directors Guild task force for on-set COVID-19 protocols, and you just returned from shooting “No Sudden Move” in Detroit. How did it go?
Soderbergh: It didn’t slow me down. We were able to get out of there safely. The bottom line — I don’t care what anybody says — if you’re shooting on a film set, there’s no version of that that includes physical distancing. It’s impossible. It’s an anthill. So what that means is: For the people that in are in that anthill, you gotta test them three times a week and you need the results within 24 hours. If you can do that, you can choke off an outbreak before it’s gotten anywhere. We created a bubble of sorts. We took over a hotel and the densest part of the anthill stayed there. It’s a production within the production.