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The Art of the Heist: Steven Soderbergh’s ‘Logan Lucky’

"You put a team together, things go wrong, you come out the other end and hopefully you survive."

“I’ve always had an attraction to caper movies,” director Steven Soderbergh tells

Jordan Hoffman

, “and certainly there are analogies to making a film. You have to put the right crew together, and if you lose, you go to movie jail.”

“You’ve got a crazy idea,” he explains to 

Dave Itzkoff

. “Odds are, it’s not going to work out, or at least not going to go the way you think. You put a team together, things go wrong, you come out the other end and hopefully you survive.”

Soderbergh’s heist movie,

Logan Lucky

, “features a crew of loopy hillbillies and working-class losers, as well as a NASCAR race, says

Chris Lee

. “‘They have no money, they have no tech,’ says Soderbergh. “And because of their circumstances and plain bad luck, there was this soulful undercurrent that I liked a lot.”

“Soderbergh films the movie with swing, relishing the overlapping and intertwining strands of the complex plot, the brightly lit personalities of the characters it involves,” says 

Richard Brody

, “and the magnificently conceived, essential tiny details that go into the realization of a grand and risky enterprise. (Some of those details involve hand-painted cockroaches, a sip of dirty water, a bag of gummy bears, two pencil leads, some subtle automotive derring-do, and the fine print of phone bills.) What’s more, the film’s warm-hearted and good-humored ending delivers a devastatingly ironic sting with a delicate touch.”

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The Soderbergh Talks, Part 2: On Why Most Movies Don’t Matter

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Steven Soderbergh: “Filmmaking is Like Sex. If I Accidentally Give Someone Else Pleasure, That’s Fine.”

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