Hello, my name's Justin the Clue, and I'm here today with Will Sloan, and you're listening to the Important Cinema Club.

And this week, we're talking about Steven Soderberg.

Now, I'm a little surprised that you chose this topic, because when I think

Justin, I think, like, you know, dumb as rocks, action movies, you know, bad slasher movies,

Japanese monster movies, just dumb garbage. And yet, Stephen Sotabberg is not only a very

cerebral director. He's also, I think, a very cold director,

which may be a reason why I like Steven Soderberg. I think he's a force for good in the world,

but I don't really embrace him as one of my favorites. So I'm surprised you do.

The thing about filmmakers that I like is that there's a lot of different things that can attract me to them.

Whether it be their work, like Sam Ramey, or their kind of personality, like Erson Welles, or

their cinephelia. And I think synephelia is one of the things that instantly makes me go,

ooh, I need to see more about this director.

Sure. Now, there are some directors like Quentin Tarantino who really wear their cinephelia on their sleeve with a lot of references to other movies. That's not Soderberg.

No, not really. I'm trying to pinpoint exactly when I kind of got obsessed with Steven Soderberg.

And I think it may have been when I read the screenplay for Sex Lives and Videotape. Now, what I would do

in university was I would walk through the film section in York

University, and they have a huge section of film books, and I would just run my finger along

them looking for anything that would grab my interest.

And probably sex lies and videotape, because the word is sex in it, I assume.

Sure.

And I'm like, I'm ready for these salacious photos.

So you're looking for porn in the film book section of York University Library.

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