Steven Soderbergh Net Worth

Steven Soderbergh Net Worth 2023: Wiki Biography, Married, Family, Measurements, Height, Salary, Relationships

Steven Soderbergh net worth is
$40 Million

Steven Soderbergh Wiki Biography

Steven Andrew Soderbergh was born on 14 January 1963, in Atlanta, Georgia USA of Swedish descent. He is a famous producer, screenwriter and director, probably best known for working on such movies as “Traffic”, “Out of Sight”, “Ocean’s Eleven”, “Contagion” and others. During his extraordinary career, Steven has been nominated for and has won such awards as Academy Award, Golden Globe Award, Primetime Emmy Award, BAFTA Award and many others. In addition to his career as a producer, director and screenwriter, Steven is also known as a cinematographer. There is no doubt that he is a man of many talents. Hopefully, Steven will continue his career and will create even more successful shows and movies.

If you consider how rich Steven Soderbergh is, sources estimate that Steven’s net worth is $40 million. It is clear that Steven gained this sum of money because of his acclaimed work as a producer, director and screenwriter. During his career Steven has created many popular movies and shows and all of these have helped him to gain this huge sum of money. Steven is now 52 years old and he could still create many extraordinary projects. If this happens, Steven’s net worth should become higher.

Steven Soderbergh Net Worth $40 Million

When Steven was just a teenager, he became interested in filmmaking and started creating short videos. When Steven started attending the Louisiana State University Laboratory School, he became a part of the film animation class and continued to improve his skills in video making. Later Steven decided not to go to university, and focus on filmmaking instead. In 1989 Steven made the very successful movie called “Sex, Lies, and Videotape”. It was the time when Steven’s net worth began growing quickly, and soon Steven’s name was recognized among others in the industry. Later he also worked on such movies as “Kafka”, “The Underneath”, “Criss Cross” and others. In 1998 Steven made another very successful movie, “Out of Sight”, the popularity of which had a huge impact on the growth of Steven’s net worth. In 2001 Soderbergh worked on the movie called “Ocean’s Eleven”, which became famous worldwide. While working on this movie, Steven had an opportunity to work with such actors as George Clooney, Matt Damon, Brad Pitt and many others.

Other movies and television shows that Steven has directed and produced include “Solaris”, “The Good German”, “Magic Mike”, “Side Effects”, “The Knick”, “K Street” and others. Many of these became very successful and gained him further worldwide fame and status, and of course had an impact on the growth of his net worth.

To talk about Steven Soderbergh’s personal life, it can be said that he was married twice. His first wife was Betsy Brantley(1989-94), with whom he has a daughter. In 2003 Steven married Jules Asner, who is a great inspiration for him. Steven also has a daughter from a previous relationships. All in all, Steven Soderbergh is one of the most famous producers and directors in the industry and he has a lot of experience. That is why many of his works become very successful and famous all over the world. Let’s hope that Steven will continue his career as long as he is able to.

Full NameSteven Soderbergh
Net Worth$40 Million
Date Of BirthJanuary 14, 1963
Place Of BirthAtlanta, Georgia, United States
Height6 ft (1.83 m)
ProfessionFilm Producer, Television producer, Film director, Television Director, Cinematographer, Film Editor, Screenwriter, Television Editor, Actor
EducationLouisiana State University Laboratory School
NationalityUnited States of America
SpouseJules Asner (m. 2003), Betsy Brantley (m. 1989–1994)
ChildrenSarah Soderbergh, Pearl Button Anderson
ParentsPeter Soderbergh, Mary Ann Soderbergh
SiblingsKatherine Soderbergh, Susan Soderbergh, Mary Soderbergh, Charley Soderbergh
NicknamesPeter Andrews , Mary Ann Bernard , Sam Lowry , Steve Soderbergh , Steven A. Soderbergh , Steven Andrew Soderbergh
AwardsAcademy Award for Best Director, Palme d'Or
NominationsAcademy Award for Best Original Screenplay, Golden Globe Award for Best Director - Motion Picture, Golden Globe Award for Best Screenplay - Motion Picture, Primetime Emmy Award for Outstanding Directing for a Drama Series, BAFTA Award for Best Direction, César Award for Best Foreign Film, Directors...
MoviesOcean's Eleven, Magic Mike, Sex, Lies, and Videotape, Contagion, Erin Brockovich, Out of Sight, Side Effects, Haywire, Behind the Candelabra, The Informant!, The Girlfriend Experience, The Limey, Solaris, Ocean's Twelve, King of the Hill, Ocean's Thirteen, Schizopolis, Traffic, Full Frontal, Logan L...
TV ShowsK Street, Totally Hoops
1Often includes a company named "Perennial" in his films (e.g. Traffic (2000), The Limey (1999), Out of Sight (1998) and The Underneath (1995)).
2Often acts as his own cinematographer under the pseudonym "Peter Andrews"
3Frequently uses jump-cuts
4Frequently casts Don Cheadle, George Clooney, Matt Damon, Topher Grace, Luis Guzmán, Eddie Jemison, Catherine Zeta-Jones and Julia Roberts and works with producer Jerry Weintraub.
5Use of ambient-music scores by Cliff Martinez
1[when asked what he considers his best work] Out of Sight (1998) is one of the least-flawed things I've done. I'm really happy with The Informant! (2009). I was the beneficiary of things lining up at the right time with the right people and the right approach. It's terrifying how early the die is cast when making a movie. It's well before shooting. And that's scary thing to know. I know before I was making The Underneath (1995) that the movie wasn't going to work, and that was an unpleasant sensation to have to hide from people. All you can do, if it's going wrong, is try to exert enough influence to turn a car accident in which four people are killed into one where no-one is killed and you're in the hospital for three weeks. In the case of The Informant! I felt like the right key creative choices were made early and played out in a way that really unified the film.
2[on his reason for retirement, 2013] Cinema, as I define it and as something that inspired me, is under assault by the studios and, from what I can tell, with the full support of the audience.
3When you have no one in your life who you can call and say, 'I'm scared,' then your life is uninteresting, unfulfilling, superficial. You need somebody you can trust enough to say, 'I need help.'
4[on being asked "have you met any naturally great leaders?"] George Clooney. He inspires people. He listens. He's generous. He's loyal. He's funny, which is crucial. He solves problems better than anyone I know. That's why people keep telling him to run for office, but he's too smart for that. If there were 500 of him, you could take over an entire country - but of course three weeks later you'd lose it again because of all the parties.
5American movie audiences now just don't seem to be very interested in any kind of ambiguity or any kind of real complexity of character or narrative - I'm talking in large numbers, there are always some, but enough to make hits out of movies that have those qualities. I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.
6[on working with actors who are also writers and if it is preferable in any way] No, it's a huge benefit. I mean, Scott [Z. Burns] would be the first to tell you. In a couple of cases in Contagion (2011) we'd have a scene that he and Matt [Damon] and I would sort of re-tool on the set based on what we were thinking that day. To have someone like Matt who's not looking at it from the point of view of, "I'm the movie star," but who's someone who has written and is very sort of savvy about how movies work and how narrative works. It's great to have that person in the conversation to be able to talk about the movie on a macro level and not just the thing that we're doing right now. That's just a huge plus for a filmmaker. I mean, he's very bright. ...He [Matt Damon] understands that stuff. It's something he thinks about a lot, and his instincts are good. My opinion is if you can get him, you should get him.
7[on studios replacing writers more often than directors] Yeah, they are, more than filmmakers, which I don't understand why writers are so angry at directors all the time. In my experience, it's usually the studio that's going, "Yeah, let's throw this person under the bus and get somebody new." I wouldn't allow that to happen.
8[on his relationship with writers] I like them to be around constantly [on set] whenever possible. Some of them are really happy to do that, and some of them don't want to be around at all. But that's really the fun part to me, is to have somebody there to keep calibrating, to keep trying to make it better, to keep asking the questions, "Is this the best version of this idea?" I'm very, very protective of them, and also, if you look at my list of films, on a percentage basis, I would argue that I had more sole credits either to a writer or a writing team than any other director you can find. I have never replaced a writer.
9[on realism/accuracy in film and if one can make a movie too smart for audiences] ... As sort of airtight as the science is, there used to be a lot more of it, and what we found out was people started tuning out. There was a tipping point where they became overwhelmed and they just stopped paying attention completely, so we had to back off of some of that and make sure. But again, it was kind of trial and error to try and find this balance of enough science to make it feel real and make it feel scary, but not so much that you were going, 'Hey man, give me a break.' ... I think when you're dealing with a certain kind of material, yeah. That was the case here. Like I said, there were versions where there was just too much technical information, and we were expecting people to sort of assimilate and retain information that a journalist might not assimilate or retain, and we didn't know that. You just gotta show it to people who are not your friends to figure that out.
10[on what he feels is his most underrated film] I don't know. My sense of [critical reaction] since Traffic (2000) is based on a vague understanding of what the response is, because I stopped reading reviews about my own movies. I read stuff about other people's movies. My sense is that The Good German (2006) was not fully understood. Probably of all of them, that would be the one. There are other things that have been lambasted that I think had things wrong with them, but [The Good German], creatively, from my standpoint, is a very unified piece, and was, again, from my viewpoint, successful at what it was trying to do. It's a weird thing to say, but it would appear to me axiomatic that if you understood fully what I was doing and appreciated it, you would like it. But that issue was more in the forefront because it needed critical support to work commercially, and it didn't get it. So it lost every nickel. The lesson coming out of that one for me was that you should never assume anything coming from a critical standpoint. You should go into everything assuming you're going to get crushed. It's like when people talk about Obama. My whole attitude is, "You should govern like you aren't going to get a second term." I make every movie like it's the last one. "If this was the last movie, what decision would I make?" That's how I make my decisions.
11[on if he feels he understands what audiences want] No. I've tried to get better about weighing what I think the accessibility of an idea is against the cost of executing it. I've tried to be smarter about that, because if you're not smart about that, you're going to be unemployed. But I'm still mystified about what works for people. And I'm not talking about my movies, I'm talking in general. I'm mystified by the stuff that doesn't work. I'm mystified by what's going on in the critical side, too. Stuff I like is getting trashed and stuff that is being praised I think is terrible. I don't really feel in sync with what's happening, but at the same time, what I think keeps me afloat is that I try not to be, and don't want to be, very indulgent. I try to make the films as lean as possible, and to not spend a lot of time crawling up my own ass creatively.
12[on Magic Mike (2012), his film about male-strippers] We were looking for the right people who had some buzz behind them. They also had to be able to do what we wanted them to do. But we got real lucky. All those guys were great and have brought something specific to the movie. There's nothing like shared humiliation to bond and these guys bonded very quickly. As soon as we started rehearsing the numbers, you rally around each other because it's so embarrassing. It's terrifying. Then once you've done it, you're in. You've just got to jump off the cliff.
13The only two categories I have are good and bad. No other categories exist for me in terms of scale, content or intent. The only thing that matters to me is whether it's good.
14[observation, 2012] I just feel I want to have more fun as a filmmaker, and I'd like to make things that are more fun for the audience. I don't need to be taken anymore seriously than I am.
15[on achieving reality on film] What's real? Let's start with the world. Knowing that it's a movie, we may have to recalibrate. But I know in every instance what's real. What would be happening. Usually, that's good enough. It's not very often that you feel 'Oh, we've got to tweak that'.
16Even with a trained actor it's dangerous to get them thinking too much. You don't want them thinking, you want them doing.
17[on 'Gina Carano' in Haywire (2011)] You're dealing with a cage fighter. You never know what you're going to get. But she seemed pretty normal, sincere. She knows what to do with her body. And she knows what to do with her eyes. So I felt we were going to be fine.
18[on striving for realism in his filmmaking] I just think that's the first question we ask when we start something. What's real? Let's start with the world. Knowing that it's a movie, we may have to recalibrate. But I want know in every instance what's real, what would really be happening. Usually, that's good enough. It's not very often that you feel, "Oh, we got to tweak that." I'm less prone to change things now that I would have been 10, 15 years ago. "Moneyball" is the perfect example of that. At the end of the day, part of my problem with that was my refusal to do something that didn't happen. I wanted the movie to be absolutely accurate in every particular.
19[on categorizing films by genre] That can become a very facile exercise and one that doesn't really take into account certain kinds of filmmakers. Pick any of the people that we think are very, very good, if they go and make something that's a genre film, you know that it's not going to be just that. The only two categories I have are good and bad. No other categories exist for me in terms of scale, content or intent. The only thing that matters to me is whether it's any good. And look, there are times when that's hard. It's hard to root for assholes and sometimes it's harder still to see something bad made my somebody who's really great. I remember reading that unauthorized Led Zeppelin biography that came out in the '80s. I couldn't listen to their music for a year after I read that book. Seriously, it was so disturbing. I took me a year to go, look, I don't care. If you're looking for fair, you're in the wrong universe.
20[on making genre films and not being interested in making "serious" or "important" films anymore] Somebody just sent me one of those books that just came out on Pauline Kael, who I didn't always agree with but I was always interested in what she had to say. And, look, she was a big proponent, especially at a time when it was not fashionable in the '60s. She would say, "I'm getting a lot more out of these lowbrow movies that aren't supposed to be taken seriously than I am these A-level important films. They just feel more alive." And I agree. Maybe since "Che," my interest in and appetite for "serious" movies, making them, has really dropped. I just feel like I want to have more fun as a filmmaker and I'd like to make things that are more fun for the audience. I don't need to be taken anymore seriously that I am. I don't have to prove my important-film bonafides anymore. And so, since "Che," I've been looking for stuff that's more fun. Even "Contagion" to me was a more "genre" movie. I mean, that's my version of a disaster-horror movie. It's how I would do it. The stuff I have coming up, since "Che," I haven't made what I would consider a serious movie by Academy standard. I have no interest in that.
21[on his reported sabbatical or "retirement" from filmmaking] It's a combination of things. It's feeling out of sync with everything that's going on this business at every level. I could probably deal with that if I really felt that I was evolving into something better. Like I said, I'm better now than I was when I started. I'm better than I was five years ago... but at stuff that's superficial - craft. You know, filtering, problem solving... that stuff I'm better at. But in terms of making something that's just off the chart, I'm not. That's not a shift or change that's going to take place incrementally. It requires some form of amputation. So I just need to stop for a while.
22[on his reported sabbatical/"retirement" from filmmaking] I'm not going to stop making things. I just need to come at it from a different direction. I don't think change can be incremental. I need to tear it all down and start again. I tried that after "The Underneath," with "Schizopolis," and that felt like my second "first" film, and that reverberated [in my work] for quite a long time. But even that explosion [of creativity] has started to ... has stopped expanding, and I've started to retract. I feel like I'm not moving forward. Plus, it's not as fun as it used to be. I wish movies mattered more. I wish they were more influential. I mean, they do influence things, but only things that are not that important, such as how people talk, how they dress. But in terms of having a real role in the ongoing debate about how everything should work, how lives should work, they're not influential. There was a period where I felt that the movies coming out were as good as any novel, as any form of serious art that you could look at, and I'm particularly frustrated by my inability to create something at that level. I watch older movies regularly, depending what I'm working on, for inspiration. But I'm just not that inspired right now.
23Things are so prescribed in movies. I don't care who's financing it, there's always a list: "Here's a list of names who would be good for that part." It's so boring. Shouldn't we be growing new crops here? That's why I love this cast, and building this movie [Haywire (2011)] around Gina (Carano). Let's open up the field a bit!
24It was fun during a preview [of Contagion (2011)] to watch the lights come up and have 400 people realize that they were next to a bunch of strangers and that they had all touched everything. You could tell they weren't very happy about it.
25[on Contagion (2011)] Everybody felt there was a place for an ultrarealistic film about this subject. Nobody hesitated. Uncharacteristically it happened very quickly, considering what the business is like for adult dramas. So it made me feel like maybe we're on to something.
26I'd argue my failures have been more on a conceptual level than on an execution level. I have made some mistakes that, in retrospect, come from overestimating the appeal of a certain idea. The Good German (2006) is a failure because the idea isn't simple enough to attract enough people to return its investment. The execution of it is fine, but it's clear that there just aren't enough people in the world wondering, "What if Michael Curtiz could do anything he wanted?" That's my fault for not seeing the target was just way too small. It's frustrating to watch The Good German lose every nickel that was spent on it, because Warners were very supportive on it. And I don't like losing people money.
27One of the reasons the business is in the condition it's in now is a lack of vision about how to deal with talent. Instead of trying to identify, on a project-by-project basis, what is going to work, studios ought to be betting on talent and making deals that have specific financial parameters within which the talent can do whatever they want, if they prove themselves able to generate a profit. Because if you'd financed all of my films, you're up - significantly up, actually. That's the way you should be running this business. Because in point of fact - any rat-based lab experiment about probability will tell you this - you increase your chances of missing when you choose films individually. They should be betting on the career of somebody. By definition the really smart people in this business are the ones making the stuff. That has to be the case. Making it is harder than sitting in an office and deciding what should be made. It doesn't mean I should walk around feeling like a smart guy. I'm just saying that's a reality you have to understand when you try and convince somebody to give you money to make a movie: you know more about making movies than they do - by definition. When you combine that with the fact that we're in a very tricky economic time, there's a lot of fear in the room. So when you talk about things that are difficult to describe in writing but are crucial to the creative success of a movie, that's tricky. You're saying, "You're just going to have to trust me..." I don't like to say those words, and they don't like to hear them, and there's no question that in the last two years there are certain words in meetings that you can't say. Words like "elevated", "smart", "better". You literally can't indicate at any point that you're going to do anything that won't be understood by a below-average-intelligence audience member. You really have watch what you say.
28I think it's a real privilege to make a living doing this job. It's a great job - the best I can think of, actually. You walk into a room and say, "I'm imagining this," and they give you millions of dollars to go out and make it real. That's a pretty good gig. I have certain standards - sometimes I hit them and sometimes I don't. I don't think being precious is really good for any artform. So I believe in being really prepared, working hard, doing everything I can think of to improve it, but staying on budget, staying on schedule, and when it's over, it's over and I'm onto the next thing. I'm really dispassionate about it, in that regard. I haven't seen a great benefit in my own work in agonising over things. I've seen more of a benefit in my work, for moving quickly. It's harder to be pretentious when you're moving really fast.
29I certainly get the sensation that we've kind of hit a wall in the last 20 years. Obviously, people are pushing the technical side of it - and when Avatar (2009) comes out that'll be a game-changer for sure - but in terms of the grammar of cinema, I haven't seen anything made since the late '70s or early '80s that I felt was really pushing the ball forward. That doesn't mean I haven't seen some good movies, but I don't feel like there's been a new wave of of how stories are told cinematically. Some of the recent Godard stuff is pretty extraordinary, Notre musique (2004) was really, really beautiful and he got at something at the end of that movie that I wasn't sure you could get at in a movie. But what's the audience for that? How many people are interested in watching somebody make that attempt? I'm frustrated by what's going on in the business, in terms of what's getting made, and I'm frustrated by my own inability to break through to something else.
30This is a good moment to comment on the cottage industry that has sprung up around "How To" ... Screenwriting manuals. I think of this because Robert Towne's script (Chinatown (1974)) is often cited as a great template (which it is) but, invariably, with no understanding or acknowledgment of the role film editing has in shaping a finished work. So any discussion that omits this issue shows a palpable lack of experience in the actual making of films on the part of the scriptwriting teacher/author.
31I find it hilarious that most of the stuff being written about movies is how conventional they are, and then you have people ... they are upset that something's not conventional.
32I'm process-driven, I'm not result-driven.
33I'm not a world-class cinematographer, but the momentum and the closeness to the actors ... I'm so close to them that I can just whisper to them while we're in the middle of a take.
34If you're sitting around thinking what other people think about your work, you'll just become paralysed.
35[on his decision to direct Out of Sight (1998)] It was a very conscious decision on my part to try and climb my way out of the arthouse ghetto, which can be as much of a trap as making blockbuster films. And I was very aware that at that point in my career, half the business was off limits to me."
36I learned from Richard Lester that as your career goes on, you learn more about how things can go wrong, but you never learn how things can go right. And it's really disorienting.
37...there've been a lot of questions about commercial films and non-commercial films, and I've never really made that separation in my mind. There's no question that when you read a piece of material, you have ideas about how it should be realised ... certainly when I read the script for Ocean's Eleven, I thought if this was realised the way it should, then it would appeal to a lot of people. Then you get involved in a film like Solaris and if you realise it the way it should be realised, then it won't appeal to a lot of people. But what are you going to do? You have to go at it...
38There are certain directors - Spielberg, David Fincher, John McTiernan - who sort of see things in three dimensions, and I was watching their films and sort of breaking them down to see how they laid sequences out, and how they paid attention to things like lens length, where the eyelines were, when the camera moved, how they cut, how they led your eye from one part of the frame to another.
39Well, I think a part of you has to be scared, it keeps you alert; otherwise you become complacent. So absolutely, I'm purposefully going after things and doing things that I'm not sure if it's going to come off or not. Certainly Full Frontal was one of those. That was pure experimentation, that's the kind of film that you make going in where you know that a lot of people are not going to like it because it's an exploration of the contract that exists between the film-maker and the audience and what happens when you violate that contract.
40On DVD audio commentaries: "Would I, growing up, like to have had access to stuff on DVDs like this? Oh God, yeah! It's better than any film school, I think."
1Is a member of the advisory council for Brooklyn College's Feirstein Graduate School of Cinema.
2He has acknowledged that he fathered a baby girl born in 2010 with an Australian woman named Frances Anderson despite being married to Jules Asner.
3During his early days in Los Angeles, he rented an above-garage room from the Gyllenhaal family: director Stephen Gyllenhaal, screenwriter Naomi Foner and their young children, Maggie Gyllenhaal and Jake Gyllenhaal.
4Is the only director to have had two films (Traffic (2000) and Erin Brockovich (2000)) receive Best Director nominations in the same year for the Academy Awards, the Golden Globes, and the Directors' Guild of America.
5He and his producing partner George Clooney have decided to close down their Section Eight production company after six years of working partnership. [August 2006].
6At one point, was interested in directing Fantastic Four (2005).
7Was a member of the dramatic jury at Robert Redford's Sundance Film Festival in Utah in 1990, just one year after he had apologetically unveiled Sex, Lies, and Videotape (1989), his directorial debut, which he then considered to be unpolished and technically incomplete.
8Has directed three actors to Oscar nominations: Julia Roberts, Albert Finney and Benicio Del Toro. Roberts and Del Toro won the Best Actress and Best Supporting Actor Oscars, respectively, for Erin Brockovich (2000) and Traffic (2000).
9Was offered the chance to direct Quiz Show (1994), with Tim Robbins in the role of Charles Van Doren.
10Member of the jury at the Cannes Film Festival in 2003
11Ranked #39 in Premiere's 2003 annual Power 100 List. Had ranked #35 in 2002.
12Elected first vice president of the Directors Guild of America in March 2002.
13Daughter Sarah Soderbergh (born in February 1990) with Betsy Brantley.
14Became the youngest winner ever of the Palme d'Or at the 1989 Cannes Film Festival for Sex, Lies, and Videotape (1989), his feature film directorial debut. He was 26.
15In 2001, he became the first director in 62 years to have twin Best Director Oscar nominations for Erin Brockovich (2000) and Traffic (2000). The last director to do that was Michael Curtiz with twin nominations for Angels with Dirty Faces (1938) and Four Daughters (1938). Soderbergh topped Curtiz by going on to win the Oscar for Traffic (2000).
16Steven's paternal grandfather was a Swedish immigrant ("Soderbergh" is a Swedish surname), while Steven's paternal grandmother had Irish ancestry. All of Steven's maternal great-grandparents were Italian immigrants. His mother's surname was changed from "Bernardi" to "Bernard".
17Father, Peter Soderbergh, was a professor and dean of the College of Education at Louisiana State University where Steven took some classes.


Ocean's Eight2018producer filming
Godless2017TV Series executive producer - 1 episode filming
Mosaic2017TV Movie executive producer post-production
Untitled Panama Papers Projectproducer announced
Red Oaks2014-2016TV Series executive producer - 20 episodes
The Girlfriend Experience2016TV Series executive producer - 13 episodes
The Knick2014-2015TV Series executive producer - 20 episodes
Magic Mike XXL2015executive producer
Citizenfour2014Documentary executive producer
Da Sweet Blood of Jesus2014associate producer
Roman Polanski: Odd Man Out2012Documentary executive producer
We Need to Talk About Kevin2011executive producer
His Way2011TV Movie documentary executive producer
Rebecca H. (Return to the Dogs)2010executive producer
Solitary Man2009producer
Playground2009Documentary executive producer
Roman Polanski: Wanted and Desired2008Documentary executive producer
I'm Not There.2007executive producer
Michael Clayton2007executive producer
Wind Chill2007executive producer
Pu-2392006executive producer
A Scanner Darkly2006executive producer
Rumor Has It...2005executive producer
Syriana2005executive producer
The Big Empty2005Short executive producer
Good Night, and Good Luck.2005executive producer
Unscripted2005TV Series executive producer - 10 episodes
The Jacket2005producer
Symbiopsychotaxiplasm: Take 2 1/22005Documentary executive producer
Keane2004executive producer
Able Edwards2004executive producer
K Street2003TV Series executive producer - 10 episodes
Confessions of a Dangerous Mind2002executive producer
Far from Heaven2002executive producer
Naqoyqatsi2002Documentary executive producer
Welcome to Collinwood2002producer
Insomnia2002executive producer
Tribute2001Documentary executive producer
Who Is Bernard Tapie?2001Documentary executive producer
The Daytrippers1996producer
Suture1993executive producer


Logan Lucky2017post-production
Mosaic2017TV Movie post-production
Untitled Panama Papers Projectannounced
The Knick2014-2015TV Series 20 episodes
Behind the Candelabra2013TV Movie
Side Effects2013/I
An Amazing Time: A Conversation About End of the Road2012Video documentary short
Magic Mike2012
The Last Time I Saw Michael Gregg2011Video
And Everything Is Going Fine2010Documentary
The Informant!2009
The Girlfriend Experience2009
Che: Part One2008
Che: Part Two2008
Ocean's Thirteen2007
The Good German2006
Building No. 72006Short
Ocean's Twelve2004
Eros2004segment "Equilibrium"
K Street2003TV Series 10 episodes
Full Frontal2002
Ocean's Eleven2001
Erin Brockovich2000
The Limey1999
Out of Sight1998
Gray's Anatomy1996
Fallen Angels1993-1995TV Series 2 episodes
The Underneath1995
King of the Hill1993
Sex, Lies, and Videotape1989
Access All Areas1985Video short
Yes: 9012 Live1985Video documentary


Logan Lucky2017post-production
Mosaic2017TV Movie director of photography post-production
The Knick2014-2015TV Series director of photography - 20 episodes
Magic Mike XXL2015director of photography - as Peter Andrews
Behind the Candelabra2013TV Movie director of photography - as Peter Andrews
Side Effects2013/Idirector of photography - as Peter Andrews
Magic Mike2012director of photography - as Peter Andrews
Haywire2011director of photography - as Peter Andrews
Contagion2011director of photography - as Peter Andrews
The Informant!2009as Peter Andrews
The Girlfriend Experience2009as Peter Andrews
Che: Part One2008as Peter Andrews
Che: Part Two2008as Peter Andrews
Ocean's Thirteen2007as Peter Andrews
The Good German2006as Peter Andrews
Building No. 72006Short
Bubble2005/Ias Peter Andrews
Ocean's Twelve2004as Peter Andrews
Eros2004segment "Equilibrium", as Peter Andrews
K Street2003TV Series 10 episodes
Solaris2002as Peter Andrews
Full Frontal2002as Peter Andrews
Ocean's Eleven2001as Peter Andrews
Traffic2000as Peter Andrews


Logan Lucky2017post-production
The Knick2014-2015TV Series 20 episodes
Magic Mike XXL2015as Mary Ann Bernard
Behind the Candelabra2013TV Movie as Mary Ann Bernard
Side Effects2013/Ias Mary Ann Bernard
Magic Mike2012as Mary Ann Bernard
Haywire2011as Mary Ann Bernard
The Girlfriend Experience2009as Mary Ann Bernard
The Good German2006as Mary Ann Bernard
Building No. 72006Short
Bubble2005/Ias Mary Ann Bernard
Eros2004segment "Equilibrium", as Mary Ann Bernard
K Street2003TV Series 10 episodes
Solaris2002as Mary Ann Bernard
King of the Hill1993
Sex, Lies, and Videotape1989
Yes: 9012 Live1985Video documentary
Games People Play1980TV Series


Building No. 72006Short
Eros2004written by - segment "Equilibrium"
Criminal2004screenplay - as Sam Lowry
Schizopolis1996written by - uncredited
The Underneath1995screenplay - as Sam Lowry
King of the Hill1993screenplay
Sex, Lies, and Videotape1989written by


Contagion2011John Neal (voice, uncredited)
The Last Time I Saw Michael Gregg2011Video
Ocean's Eleven2001Vault-Bombing Thief (uncredited)
Waking Life2001Interviewed on television
Schizopolis1996Fletcher Munson / Dr. Jeffrey Korchek (uncredited)

Camera Department

Magic Mike XXL2015camera operator
Access All Areas1985Video short photographer

Sound Department

Sex, Lies, and Videotape1989sound editor - uncredited / sound re-recordist - uncredited

Assistant Director

The Hunger Games2012second unit director




Visitors2013Documentary presenter


Free State of Jones2016special thanks
The Birth of a Nation2016special thanks
Videotape2016additional acknowledgments
21 Years: Richard Linklater2014Documentary special thanks
Two Night Stand2014the producers wish to thank
A Walk Among the Tombstones2014special thanks
Mystical Traveler2014Documentary special thanks
The One I Love2014thanks
La Bare2014Documentary special thanks
Tomas Milian: Acting on Instinct2013Video documentary special thanks
What Maisie Knew2012thanks
The Hunger Games2012special thanks
Julian2012/IIShort very special thanks
The Wayshower2011very special thanks
I Melt with You2011thanks
Morning2010/IIspecial thanks
Where the Wild Things Are2009special thanks
Who Are You2009Short the producers wish to thank
Vertical Living Made Easy2008Short special thanks
Hamlet 22008thanks
The Lost City2005additional thanks
The Brothers Grimm2005thanks - as Steve Soderbergh
Stir of Echoes1999special thanks
Bongwater1998special thanks
Inside 'Out of Sight'1998Video documentary short special thanks
Love Four1994Video acknowledgment: super duper extra special thanks to


X-Rated 2: The Greatest Adult Stars of All-Time2016DocumentaryHimself
The 67th Primetime Emmy Awards2015TV SpecialHimself - Nominated: Outstanding Directing for a Drama Series
Side by Side Extra: Volume One2014DocumentaryHimself
Are You in or Out?: The Making of 'Ocean's Eleven'2014Video documentaryHimself
Pros and Cons: Inside Ocean's Outfit2014Video documentaryHimself
Ready, Jet Set, Go: The Making of 'Ocean's Twelve'2014Video documentaryHimself
Third's a Charm: The Making of 'Ocean's Thirteen'2014Video documentaryHimself
Charlie Rose2000-2014TV SeriesHimself - Guest
Marvin Hamlisch: What He Did for Love2013DocumentaryHimself
The 65th Primetime Emmy Awards2013TV SpecialHimself - Winner: Outstanding Directing for a Miniseries, Movie or a Dramatic Special
2013 Primetime Creative Arts Emmy Awards2013TV SpecialHimself - Winner: Outstanding Single-Camera Picture Editing for a Miniseries or a Movie (uncredited)
Rencontres de cinéma2013TV SeriesHimself
Steven Soderbergh on the Underneath2013Documentary shortHimself
Steven Soderbergh on King of the Hill2013Documentary shortHimself
Cinema 32009-2013TV SeriesHimself
Stanley Kubrick in Focus2012ShortHimself
Días de cine2012TV SeriesHimself
Side by Side2012DocumentaryHimself
I Ain't Scared of You: A Tribute to Bernie Mac2011DocumentaryHimself
The Dr. Oz Show2011TV SeriesHimself - Guest
60 Minutes2009TV Series documentaryHimself - Vice President, Directors Guild of America (segment "The Movie Pirates")
At the Movies2009TV SeriesHimself
Porn: Business of Pleasure2009TV Movie documentaryHimself - Director, The Girlfriend Experience
Le grand journal de Canal+2008TV Series documentaryHimself
Erika Rabau: Puck of Berlin2008DocumentaryHimself
HBO First Look2001-2007TV Series documentaryHimself
20 heures le journal2007TV SeriesHimself
The 16th Annual Gotham Awards2006TV SpecialHimself - Presenter
The Work of Director Mark Romanek2005Video documentaryHimself - Interviewee
Five Directors on 'The Battle of Algiers'2004Video documentary shortHimself
'Solaris': Behind the Planet2003Video documentary shortHimself
Sen kväll med Luuk2003TV SeriesHimself
Intimate Portrait2003TV Series documentaryHimself
Day for Night: The Making of 'Insomnia'2002Video documentary shortHimself
Naqoyqatsi2002DocumentaryMan reflected in digital screens (3rd segment)
Full Frontal2002Himself (uncredited)
'Ocean's Eleven': The Look of the Con2002Video shortHimself
+ de cinéma2002TV Series documentary shortHimself
Gomorron2001-2002TV SeriesHimself - Regissör / Himself
The 73rd Annual Academy Awards2001TV SpecialHimself - Winner: Best Director
Lesley Ann Warren: A Cinderella Story2000TV Movie documentaryHimself
Inside Traffic: The Making of 'Traffic'2000TV Short documentaryHimself
Spotlight on Location: Erin Brockovich2000TV Short documentaryHimself
Independent's Day1998TV Movie documentaryHimself
Inside 'Out of Sight'1998Video documentary shortHimself - Director
Cinefile: Made in the USA1993TV Movie documentaryHimself

Archive Footage

Cleanflix2009DocumentaryHimself - Director, Traffic
Cinema mil2005TV SeriesHimself

Won Awards

2014EddieAmerican Cinema Editors, USABest Edited Miniseries or Motion Picture for TelevisionBehind the Candelabra (2013)
2014DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Movies for Television and Mini-SeriesBehind the Candelabra (2013)
2014Robert B. Aldrich Achievement AwardDirectors Guild of America, USA
2013Primetime EmmyPrimetime Emmy AwardsOutstanding Single-Camera Picture Editing for a Miniseries or a MovieBehind the Candelabra (2013)
2013Primetime EmmyPrimetime Emmy AwardsOutstanding Directing for a Miniseries, Movie or a Dramatic SpecialBehind the Candelabra (2013)
2013OFTA Television AwardOnline Film & Television AssociationBest Direction of a Motion Picture or MiniseriesBehind the Candelabra (2013)
2002Kinema Junpo AwardKinema Junpo AwardsBest Foreign Language FilmTraffic (2000)
2002Kinema Junpo AwardKinema Junpo AwardsBest Foreign Language Film DirectorTraffic (2000)
2001OscarAcademy Awards, USABest DirectorTraffic (2000)
2001Critics Choice AwardBroadcast Film Critics Association AwardsBest DirectorTraffic (2000)
2001CFCA AwardChicago Film Critics Association AwardsBest DirectorTraffic (2000)
2001DFWFCA AwardDallas-Fort Worth Film Critics Association AwardsBest DirectorTraffic (2000)
2001FFCC AwardFlorida Film Critics Circle AwardsBest DirectorErin Brockovich (2000)
2001NSFC AwardNational Society of Film Critics Awards, USABest DirectorTraffic (2000)
2001PFCS AwardPhoenix Film Critics Society AwardsBest DirectorTraffic (2000)
2001Golden Satellite AwardSatellite AwardsBest DirectorTraffic (2000)
2001SEFCA AwardSoutheastern Film Critics Association AwardsBest DirectorTraffic (2000)
2001VFCC AwardVancouver Film Critics CircleBest DirectorTraffic (2000)
2000KCFCC AwardKansas City Film Critics Circle AwardsBest DirectorTraffic (2000)
2000Sierra AwardLas Vegas Film Critics Society AwardsBest DirectorErin Brockovich (2000)
2000LAFCA AwardLos Angeles Film Critics Association AwardsBest DirectorErin Brockovich (2000)
2000NBR AwardNational Board of Review, USABest DirectorErin Brockovich (2000)
2000NYFCC AwardNew York Film Critics Circle AwardsBest DirectorErin Brockovich (2000)
2000TFCA AwardToronto Film Critics Association AwardsBest DirectorTraffic (2000)
1999NSFC AwardNational Society of Film Critics Awards, USABest DirectorOut of Sight (1998)
1990Independent Spirit AwardIndependent Spirit AwardsBest DirectorSex, Lies, and Videotape (1989)
1989Palme d'OrCannes Film FestivalSex, Lies, and Videotape (1989)
1989FIPRESCI PrizeCannes Film FestivalSex, Lies, and Videotape (1989)
1989Audience AwardSundance Film FestivalDramaticSex, Lies, and Videotape (1989)

Nominated Awards

2016Primetime EmmyPrimetime Emmy AwardsOutstanding Directing for a Drama SeriesThe Knick (2014)
2016EddieAmerican Cinema Editors, USABest Edited One-Hour Series for Non-Commercial TelevisionThe Knick (2014)
2016DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Dramatic SeriesThe Knick (2014)
2015Primetime EmmyPrimetime Emmy AwardsOutstanding Directing for a Drama SeriesThe Knick (2014)
2014CinEuphoriaCinEuphoria AwardsBest Cinematography - International CompetitionBehind the Candelabra (2013)
2013Primetime EmmyPrimetime Emmy AwardsOutstanding Cinematography for a Miniseries or MovieBehind the Candelabra (2013)
2013Golden Berlin BearBerlin International Film FestivalSide Effects (2013)
2013Palme d'OrCannes Film FestivalBehind the Candelabra (2013)
2013Queer PalmCannes Film FestivalBehind the Candelabra (2013)
2013DFCCDublin Film Critics Circle AwardsBest DirectorBehind the Candelabra (2013)
2013OFTA Television AwardOnline Film & Television AssociationBest Editing in a Non-SeriesBehind the Candelabra (2013)
2013OFTA Television AwardOnline Film & Television AssociationBest Cinematography in a Non-SeriesBehind the Candelabra (2013)
2011Primetime EmmyPrimetime Emmy AwardsOutstanding Nonfiction SpecialHis Way (2011)
2010CPH:DOX AwardCPH:DOXAnd Everything Is Going Fine (2010)
2009Primetime EmmyPrimetime Emmy AwardsOutstanding Nonfiction SpecialRoman Polanski: Wanted and Desired (2008)
2009OFCS AwardOnline Film Critics Society AwardsBest CinematographyChe: Part One (2008)
2009Sydney Film PrizeSydney Film FestivalBest FilmThe Girlfriend Experience (2009)
2008Palme d'OrCannes Film FestivalChe: Part One (2008)
2007Golden Berlin BearBerlin International Film FestivalThe Good German (2006)
2007Independent Spirit AwardIndependent Spirit AwardsBest DirectorBubble (2005)
2003Golden Berlin BearBerlin International Film FestivalSolaris (2002)
2003CésarCésar Awards, FranceBest Foreign Film (Meilleur film étranger)Ocean's Eleven (2001)
2003Empire AwardEmpire Awards, UKBest DirectorOcean's Eleven (2001)
2002BodilBodil AwardsBest American Film (Bedste amerikanske film)Traffic (2000)
2002CésarCésar Awards, FranceBest Foreign Film (Meilleur film étranger)Traffic (2000)
2002Empire AwardEmpire Awards, UKBest DirectorTraffic (2000)
2001OscarAcademy Awards, USABest DirectorErin Brockovich (2000)
2001Golden GlobeGolden Globes, USABest Director - Motion PictureErin Brockovich (2000)
2001Golden GlobeGolden Globes, USABest Director - Motion PictureTraffic (2000)
2001David Lean Award for DirectionBAFTA AwardsErin Brockovich (2000)
2001David Lean Award for DirectionBAFTA AwardsTraffic (2000)
2001AmandaAmanda Awards, NorwayBest Foreign Feature Film (Årets utenlandske spillefilm)Traffic (2000)
2001Golden Berlin BearBerlin International Film FestivalTraffic (2000)
2001Best Cinematography AwardBritish Society of CinematographersTraffic (2000)
2001CFCA AwardChicago Film Critics Association AwardsBest CinematographyTraffic (2000)
2001Chlotrudis AwardChlotrudis AwardsBest DirectorTraffic (2000)
2001DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesErin Brockovich (2000)
2001DGA AwardDirectors Guild of America, USAOutstanding Directorial Achievement in Motion PicturesTraffic (2000)
2001Silver RibbonItalian National Syndicate of Film JournalistsBest Foreign Director (Regista del Miglior Film Straniero)Traffic (2000)
2001ALFS AwardLondon Critics Circle Film AwardsDirector of the YearErin Brockovich (2000)
2001OFTA Film AwardOnline Film & Television AssociationBest DirectorErin Brockovich (2000)
2001OFTA Film AwardOnline Film & Television AssociationBest DirectorTraffic (2000)
2001OFTA Film AwardOnline Film & Television AssociationBest Film EditingTraffic (2000)
2001OFTA Film AwardOnline Film & Television AssociationBest CinematographyTraffic (2000)
2001OFCS AwardOnline Film Critics Society AwardsBest DirectorTraffic (2000)
2001OFCS AwardOnline Film Critics Society AwardsBest CinematographyTraffic (2000)
2001PFCS AwardPhoenix Film Critics Society AwardsBest CinematographyTraffic (2000)
2001Golden Satellite AwardSatellite AwardsBest DirectorErin Brockovich (2000)
2001Golden Satellite AwardSatellite AwardsBest CinematographyTraffic (2000)
2000AmandaAmanda Awards, NorwayBest Foreign Feature Film (Årets utenlandske kinofilm)Erin Brockovich (2000)
2000ACCAAwards Circuit Community AwardsBest DirectorTraffic (2000)
2000ACCAAwards Circuit Community AwardsBest CinematographyTraffic (2000)
2000Screen International AwardEuropean Film AwardsErin Brockovich (2000)
2000Independent Spirit AwardIndependent Spirit AwardsBest DirectorThe Limey (1999)
1999OFTA Film AwardOnline Film & Television AssociationBest Comedy/Musical PicturePleasantville (1998)
1999Golden Satellite AwardSatellite AwardsBest Motion Picture, Comedy or MusicalPleasantville (1998)
1998TFCA AwardToronto Film Critics Association AwardsBest DirectorOut of Sight (1998)
1995CableACECableACE AwardsDirecting a Dramatic Special or SeriesFallen Angels (1993)
1994CableACECableACE AwardsDirecting a Dramatic SeriesFallen Angels (1993)
1993Palme d'OrCannes Film FestivalKing of the Hill (1993)
1990OscarAcademy Awards, USABest Writing, Screenplay Written Directly for the ScreenSex, Lies, and Videotape (1989)
1990Golden GlobeGolden Globes, USABest Screenplay - Motion PictureSex, Lies, and Videotape (1989)
1990BAFTA Film AwardBAFTA AwardsBest Screenplay - OriginalSex, Lies, and Videotape (1989)
1990CFCA AwardChicago Film Critics Association AwardsBest DirectorSex, Lies, and Videotape (1989)
1990CésarCésar Awards, FranceBest Foreign Film (Meilleur film étranger)Sex, Lies, and Videotape (1989)
1990WGA Award (Screen)Writers Guild of America, USABest Screenplay Written Directly for the ScreenSex, Lies, and Videotape (1989)
1989Grand Jury PrizeSundance Film FestivalDramaticSex, Lies, and Videotape (1989)
1987GrammyGrammy AwardsBest Music Video, Long FormYes: 9012 Live (1985)

2nd Place Awards

2001NSFC AwardNational Society of Film Critics Awards, USABest CinematographyTraffic (2000)
2000LAFCA AwardLos Angeles Film Critics Association AwardsBest CinematographyTraffic (2000)
1999TFCA AwardToronto Film Critics Association AwardsBest DirectorThe Limey (1999)
1998BSFC AwardBoston Society of Film Critics AwardsBest DirectorOut of Sight (1998)
1990NSFC AwardNational Society of Film Critics Awards, USABest ScreenplaySex, Lies, and Videotape (1989)
1989NYFCC AwardNew York Film Critics Circle AwardsBest ScreenplaySex, Lies, and Videotape (1989)

3rd Place Awards

2000BSFC AwardBoston Society of Film Critics AwardsBest DirectorTraffic (2000)

Known for movies

IMDB Wikipedia

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