For many outside of Hollywood (which, let\u2019s face it, is most of us in this industry), the concepts of pseudonyms and guild regulations don\u2019t make a lot of sense. If you wrote, directed, or edited a movie, you should get credit for it. If you shot the movie yourself, you should be credited as the cinematographer. Seems pretty simple.<\/p>\n
However, as a young Steven Soderbergh<\/a> found out when he was breaking into the industry \u2014 first with the indie hit Sex, Lies, and Videotape<\/em><\/a>, and later with the critically and commercially acclaimed Traffic<\/em><\/a> \u2014 <\/i>you don\u2019t always get all the recognition you might want or deserve.<\/p>\n Due to issues with the Writer\u2019s Guild<\/a> early on in his career, Soderbergh was forced to come up with a pseudonym to receive credit for his cinematography work on his films. He chose the name \u201cPeter Andrews\u201d as a tribute to his father\u2019s first and middle names. (And, interestingly enough, he was also forced to come up with a pseudonym credit for his editing work, for which he chose \u201cMary Ann Bernard\u201d to honor his mother.)<\/p>\n Since this early decision, \u201cPeter Andrews\u201d has gone on to shoot almost all of Soderbergh\u2019s films, making him one of the most prolific working DPs out there, with blockbuster titles like Ocean’s Eleven<\/em><\/a>, Erin Brockovich<\/em><\/a>, Magic Mike<\/em><\/a>, Logan Lucky<\/em><\/a>, and many more.<\/p>\n But, what\u2019s going on behind the lens of this acclaimed cinematographer\/director, and how do these dual personalities work together to create such a fully-formed auteur filmmaker, entertaining audiences so visually over the years? Let\u2019s take a closer look.<\/p>\n
\nAuteur Cinematography<\/h3>\n