One of Soderbergh's high points is the trifecta of Traffic, Erin Brockovich, and Ocean's Eleven, three films whose major success made him better-known and sought-after than ever. After these, he did a great deal of producing and ran directly toward something more dangerous and less "safe" in Full Frontal.
The next installment of Soderberghopolis should be up in the morning. The director's three-movie run from 2000-2001 represents the period of greatest mainstream and financial success that he's had in his allegedly-soon-to-end career.
Traffic is a great example of Soderbergh's pseudonymous photography of his own movies as camera sage Peter Andrews, who generally receives "Photographed by" credits.
It'd be less than completist if I didn't do some sort of Appendix article about his cinematographic style, right?
