Word: soderbergh
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Because Clooney thinks of celebrity as something that is happening to him rather than who he is, he's able to exploit the power of fame for creative control. Since forming the production company Section Eight in 2000 with director Steven Soderbergh, with whom he had worked on Out of Sight, Clooney the producer has used Clooney the actor as barter. He did it to get Warner Bros. to make next year's Good Night and Good Luck, a movie about Edward R. Murrow's battle with Joseph McCarthy that CBS, Murrow's old network, had passed...
Clooney and Soderbergh don't get much in acting and directing fees, owing to their willingness to swap cash for creative control. "I got paid more on K Street as a union camera operator than as a producer," Clooney says of the political-drama series they did for HBO. But on Ocean's Eleven, Clooney the actor made such a phenomenal amount on his percentage of the gross that he's still living off it. "We're basically living Ocean's to Ocean's," he says...
...Hand, his contribution to the three-part Eros (the other parts are by Michelangelo Antonioni and Steven Soderbergh), has no nudity; all sex is suggestive. But the film is called Eros, not Sex; and his episode is throbbingly erotic, as well as a fable about love, lust, loyalty and the ravages of ego in a beautiful young woman who will not always be young or beautiful...
...these, Oceans, with Steven Soderbergh directing the original's all-star cast now augmented by Catherine Zeta-Jones, has the best pedigree. "We were always mindful that we had to be good. None of us just wanted to jump into a cynically made sequel," says Damon. The director never intended to reunite the cast, but while on a press tour in Italy "I could just see in his eyes that he had a great idea," adds the actor, whose own sequel, The Bourne Supremacy, was a summer hit. The movie's retro-glamorous European locations ensured that the shoot...
...anybody else?" he asks. "Gael is the most visceral, talented and mature actor of his generation." Others have played the revolutionary onscreen: Omar Sharif in a much-reviled 1969 biopic; Antonio Banderas alongside Madonna's Eva Perón in Evita; and, soon, Benicio Del Toro in Steven Soderbergh's upcoming Che. They all look the part and get to gaze intensely, speak rousingly, and wave a gun - all film-friendly signals of impassioned freedom fighting. But the pre-revolutionary Motorcycle Diaries calls for naïveté, not intensity, and slowly dawning certainty instead of fervent resolution. Bernal...