![]() His research quickly lead him to Jamon Jordan, Detroit historian and founder of the Black Scroll Network, who hosts walking tours of the city, and Emily Kutil, adjunct professor at the University of Detroit Mercy School of Architecture, who was just wrapping her Black Bottom Street View project at the Detroit Public Library. The genre, the director says, encourages a filmmaker to bring something to the table - to “style it up.” “It’s just made for the movies,” he says.Īs time wound down before Soderbergh and Cheadle had to leave for the Tribeca Festival premiere of “No Sudden Move,” he wondered if returning to the scene of his first crime movie was pushing his luck.That's when Solomon got to work, learning about the city and the time period and the racial strife in the community during those years. “No Sudden Move” is Soderbergh’s sixth heist film, a cycle begun with “Out of Sight” that includes the three “Ocean’s” films and “Logan Lucky,” a self-financed meta-heist movie in that it sought to pull one over on Hollywood, too. ![]() We both seem to be in sync with the purpose of my deal which is for me to be really busy.” Nobody knows what’s a cyclical thing as opposed to a real secular change,” says Soderbergh. I honestly would not like to be running these companies. “It’s a really good time for somebody who makes things. “No Sudden Move,” a period crime film for adults, is very much the kind of movie that before the streaming flood gates opened would have been unlikely to get made. He recently shot his third film for HBO Max, “KIMI,” a pandemic-set thriller with Zoë Kravitz. “To me, this is the real question that needs to be confronted.”īut the conditions, and the opportunities of streaming, are also ripe for a protean, fast-working filmmaker like Soderbergh. ![]() “I just look at it as a larger issue than the specifics of what our show looked like, and that is: How do we make people care about the movies the way they used to?” Soderbergh says. Ratings, like they have for most pandemic award shows, plummeted. This is what happens when you hire the director of a movie called ‘Let Them All Talk,’” he jokes, referring to his 2020 film for HBO Max, with Meryl Streep, shot largely on an ocean liner crossing.īut Soderbergh did walk away from the experience - a satisfying and unique one, he says - with a gnawing sense of a larger existential crisis for movies. “As far as I know, we’re the first show in a long time where nobody ever got played off, and I’m proud of that. The broadcast did what it set out to do: pull off an in-person Oscars safely while experimenting with an often inflexible format. Overall, Soderbergh is pleased with the show. But it was also talky, with lengthy introductions and speeches, and one gambit to rearrange the final awards ended awkwardly. The telecast was handsomely shot, opening with a fluid tracking shot of Regina King, and it made an often impersonal ceremony warmly intimate. In April, Soderbergh led an effort to mount an in-person Oscars despite COVID-19 protocols. “I also blame him for ‘Contagion,’” referring to Soderbergh’s prophetic pandemic drama from 2011. I was really gun shy about even leaving my house.”Ĭheadle smiles. “I know that I put Steven through some version of hell in my uncertainty about coming back,” Cheadle says. The central cast and crew members were kept in a quarantine bubble. The director managed the shoot without incident by frequent testing in two mobile COVID-19 testing units that were personally paid for. But he also realized that if he didn’t, a-stuck-at-home Soderbergh would probably keep writing and sending him scripts. ![]() It felt in a lot of ways like ‘Out of Sight 2.0’ or 1.0, 30 years beforehand - revisiting that kind of energy.”Ĭheadle wasn’t necessarily eager to return to a film set at the time. “It was all part of the narrative intrigue. “We were able to talk about redlining and community and the devastation of Detroit and the greed of the car manufacturers without proselytizing or hitting it on the head,” says Cheadle. The rest of the cast includes Bill Duke, Jon Hamm, David Harbour, Julia Fox, Brendan Fraser, Matt Damon and Ray Liotta. “No Sudden Move” begins with three hired guns (Cheadle, Benicio del Toro, Kieran Culkin), but in a multiplying series of double-crosses, expands in scope to encapsulate some of Detroit’s original sins, a little like how “Chinatown” does for Los Angeles. The classic ‘70s crime film “The Friends of Eddie Coyle” was another.)īut while working on the script, Solomon came upon the history of the automotive industry’s efforts to avoid emissions controls. Soderbergh and screenwriter Ed Solomon conceived of the film from the start as a heist movie with a trio of thieves brought together not unlike those in Robert Wise’s electric 1959 noir “Odds Against Tomorrow.” (That was one inspiration. “No Sudden Move” opens with Cheadle, as Curt Goynes, strolling through 1950s Detroit.
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