There is a persistent myth in the film industry that high art requires slow, agonizing execution. People often say that masterpieces demand years of development, months of shooting, and endless cycles of post-production. However, one filmmaker has spent the last thirty years dismantling this idea with surgical precision. Welcome to the Steven Soderbergh Film School, where speed is not just a logistical necessity—it is a rigorous aesthetic choice. Soderbergh does not just direct; he operates the camera under the pseudonym Peter Andrews and cuts the film as Mary Ann Bernard. Consequently, he has become a one-man studio system. He proves that total technical control leads to absolute artistic freedom. For modern filmmakers, adopting this mindset starts with the right screenplay and a fierce commitment to efficiency.
Furthermore, the Steven Soderbergh Film School offers a masterclass in removing friction. It challenges you to rethink how you approach your craft fundamentally. You must ask tough questions: Is this meeting necessary? Is this shot essential? Can we move faster? To replicate his legendary velocity, you don’t need a massive Hollywood budget. Instead, you need the right mindset and robust pre production software to centralize your vision. By integrating your writing, scheduling, and breaking down of scripts into one ecosystem, you effectively enroll yourself in this school of thought. You stop acting like a confused amateur and start operating like a precision machine.
The Myth of Peter Andrews and Mary Ann Bernard
If you watch the credits of Traffic, Ocean’s Eleven, or The Knick, you will notice the names Peter Andrews and Mary Ann Bernard listed as Cinematographer and Editor. These people do not exist. They are Soderbergh himself. By absorbing these roles, he eliminates the single most time-consuming variable of film production: the conversation. There is no need to explain the shot to the DP or debate the pacing with the editor when they are all the same person. This consolidation of power is not about ego; it is about pure, unadulterated speed.
In the Steven Soderbergh Film School philosophy, eliminating communication gaps is the key to velocity. When you separate these key creative roles, you inevitably introduce friction. Friction slows down decision-making. Friction kills momentum. By consolidating creative control, you ensure that the image captured on set is exactly what you need for the final cut. While you may not be able to do everything yourself, modern directors can achieve this same fluidity by using integrated tools. When your script breakdown automatically links to your budgeting and scheduling data, you eliminate the friction between departments. You stop waiting for answers and start making decisions.
Speed as a Creative Aesthetic
Critics often mistake Soderbergh’s speed for haste, but this is a fundamental misunderstanding of his process. In his workflow, momentum is a primary creative tool. Long, drawn-out productions often lose their specific energy. The initial spark of the idea fades under the weight of logistics, union rules, and parking permits. By moving fast, Soderbergh keeps the raw energy of the idea alive on screen. The audience feels the urgency because the production itself was urgent.
Consider his work on the TV series The Knick. He shot all 20 episodes like a massive 20-hour movie. He utilized a method called “cross-boarding,” where he shot all scenes at one location regardless of the episode number. This required a master-level understanding of film scheduling. He wasn’t just shooting isolated scenes; he was capturing pieces of a massive puzzle. He knew exactly where each piece fit because he was also the editor. This technique is a staple of efficient production. However, it requires a flawless film production calendar to track continuity, actor availability, and prop logic across multiple timelines. Without precise organization, speed becomes chaos. With it, speed becomes style.
The "Edit-While-You-Shoot" Methodology
Perhaps the most radical lesson from Soderbergh is the collapse of the wall between production and post-production. He is famous for editing the day’s footage on the ride home from the set. By the time he arrives at dinner, he knows exactly what he has. More importantly, he knows what he is missing. This immediate processing allows him to wrap his mind around the film as it evolves, rather than remembering it as it was written.
This creates a feedback loop that most productions lack. If a scene isn’t working in the edit, he knows before the sets are struck. He can reshoot or pivot immediately. Most directors wait weeks to see an assembly. By that time, the actors are gone, the locations are closed, and it is too expensive to go back. To adopt this methodology, you need to be intimate with your footage. You also need a dynamic shot list that evolves with your edit. If you know you nailed the scene in a wide master, you can cross off the coverage you no longer need. This saves hours of shooting time. This agile approach turns the shooting schedule into a living document rather than a rigid cage.
Efficiency Is the Ultimate Budget Hack
Independent filmmakers often complain about a lack of funds. Soderbergh argues that you actually lack efficiency. Every minute wasted on set is money burned. Every unnecessary setup, every miscommunicated instruction, and every delayed decision eats into your budget. When you waste time, you are literally throwing cash into a fire.
When you tighten your workflow, your budget stretches further. Unsane was shot on an iPhone not just for the unique look, but because it allowed for a remarkably small footprint. A smaller crew moves faster. Fewer lights mean less setup time. This is the practical application of the Steven Soderbergh Film School philosophy: strip away the excess to reveal the story. You can apply this by using digital call sheet tools to distribute information instantly. This ensures no one is asking “what time is lunch?” or “where is the red prop?” The more you automate the logistics, the more you can focus on the frame.
Collaborating with Your Cast and Crew
Despite his “one-man-band” reputation, Soderbergh is deeply collaborative. However, he respects his team’s time above all else. By knowing exactly what he wants, he liberates his actors to perform. They don’t spend hours waiting for lighting tweaks because the lighting is simple and decisive. They stay in the zone. They stay in character.
This respect for time creates a better environment for your cast and crew. When the director is organized, the crew trusts the vision. They know that if they work hard, they will make their day. In return, they give their best work. Soderbergh often wraps early, a rarity in this industry. This is only possible when every department is in sync. Using collaborative management software keeps everyone on the same page, turning a group of strangers into a cohesive unit. It builds morale, and high morale produces better movies.
Technology as an Extension of Creativity
Soderbergh famously embraces new tech before anyone else. He shot on the RED One when others mocked it. He shot on iPhones when others called it a gimmick. He understands that tools are just means to an end. The Steven Soderbergh Film School teaches us to stop fetishizing the gear and start mastering it.
Today, AI and cloud-based software are the new digital frontiers. Just as digital cameras democratized image capture, these tools democratize production management. You can now wield the logistical power of a studio from your laptop. You can simulate budgets, predict schedule conflicts, and visualize scenes before you step on set. This is not “cheating.” This is evolution. Embracing these tools allows you to focus on the human element of your story.
Conclusion: Simplicity Wins
Ultimately, Soderbergh’s career teaches us that complexity is the enemy of creativity. The more layers of bureaucracy you add, the diluted your vision becomes. His best work is often his leanest. He proves that a director involved in the granular details—from the color grade to the logistics—produces a more cohesive product.
You do not need to be a genius to adopt these habits. You simply need to value your time above all else. Start by organizing your project with the same rigor Soderbergh applies to his. Centralize your data. Visualize your edit before you shoot. And never, ever wait for permission to make your movie. The tools are here. The path is clear. Now, go shoot.
