SEX, LIES AND VIDEOTAPE.

by Steven Soderbergh

One of a hand-picked selection of some of the most popular and cult-worthy titles on Faber and Faber's extensive list of film scripts.

Genres: Film, American, Nonfiction

250 pages, Hardcover

First published April 1, 1990

About the author

Steven Andrew Soderbergh is an American film director, producer, screenwriter, cinematographer and editor. A pioneer of modern independent cinema, Soderbergh is an acclaimed and prolific filmmaker.

Soderbergh's directorial-breakthrough indie drama Sex, Lies, and Videotape (1989) lifted him into the public spotlight as a notable presence in the film industry. At 26, Soderbergh became the youngest solo director to win the Palme d'Or at the Cannes Film Festival, and the film garnered worldwide commercial success, as well as numerous accolades. His breakthrough led to success in Hollywood, where he directed the crime comedy Out of Sight (1998), the biopic Erin Brockovich (2000) and the crime drama Traffic (2000). For Traffic, he won the Academy Award for Best Director.

He found further popular and critical success with the Ocean's trilogy and film franchise (2001–18); Che (2008); The Informant! (2009); Contagion (2011); Haywire (2011); Magic Mike (2012); Side Effects (2013); Logan Lucky (2017); Unsane (2018); Let Them All Talk (2020); No Sudden Move (2021); and Kimi (2022). His film career spans a multitude of genres, but his specialties are psychological, crime and heist films. His films have grossed over US$2.2 billion worldwide and garnered fourteen Academy Award nominations, winning five.

Soderbergh's films often revolve around familiar concepts which are regularly used for big-budget Hollywood movies, but he routinely employs an avant-garde arthouse approach. They center on themes of shifting personal identities, vengeance, sexuality, morality and the human condition. His feature films are often distinctive in the realm of cinematography as a result of his having been influenced by avant-garde cinema, coupled with his use of unconventional film and camera formats. He often takes cinematography credits on his feature films under the alias Peter Andrews, the given name of his father, and editing credits under Mary Ann Bernard, that of his mother. Many of Soderbergh's films are anchored by multi-dimensional storylines with plot twists, nonlinear storytelling, experimental sequencing, suspenseful soundscapes and third-person vantage points.

Reviews

[daniela]

Only read the screenplay not the production notes and annotations (I wish! And will be looking for them). Reading this because I love it and am using it for research. Brilliant. One of my favorite movies + scripts. Some of the scenes/lines here end up getting deleted or replaced and I can totally see why. Speaks to his talent as a writer/director.

Anywayssss a simple plot that surprises you in its ambiguity. It raises interesting points about intimacy and the lies we tell ourselves. Makes me emotional and it’s so funny too! I love when screenplays are fun to read. I haven’t enjoyed one this much since Midsommar.

[Quinky · Rating 5 out of 5]

Read this script along with watching the movie. I was surprised that a lot of parts were changed. I'm not a movie expert but thought that it's a taboo to change the script. But then again since Steven also directed the movie, I guess it's alright. The script is brilliant. But the impression I've got of the movie and the script is different. I guess when you read a story you always have a clearer idea in your head. I actually thought that James Spader for the role Graham was not strong enough. He should be more of a weird bad boy kind of feel with a tormented past and basically just doesn't want to get close to people. James left kind of a more goofy and timid kind of feel. Ann is alright for me, but I can't help myself picturing Nicole Kidman acting in it. I guess it's because Ann is supposed to be this super beautiful woman that people just stare if she passes by. The prim and proper Ann that lacks confidence. Cynthia in the movie and the script just matched perfectly. And well John is a jerk in the movie and the script so I guess they matched too. So as I said the script is brilliant. It has some very deep emotion in it and sentences that really makes you think about it. I noticed that in the movie they cut a lot of the long talking sentences that would help describe the character more. Is it because for a movie less is better? Direct to the point? Well no matter what, the script is great. Can't say that enough.

[Nick Adams · Rating 5 out of 5]

I love Soderbergh

[Rupert Wolfe-Murray · Rating 5 out of 5]

A sparkling, honest, down to earth story about how a young man made a great film and, to his surprise, won the top prize at Cannes.

[Greta Taylor · Rating 5 out of 5]

As deep in the trenches of the creative process, and the much weirder experience that comes after, as humanly possible. Mode: Visual

[Steven]

Great script. The production diary was a nice bonus.

[Joey Lewandowski · Rating 5 out of 5]

It's hard to find many debut films better than sex, lies and videotape. It's probably just as hard to find many books that chronicle the filmmaking process better than this.

[Tim · Rating 2 out of 5]

Steven Soderbergh is a big-time movie director. He has made a number of very successful and respected films, and yet this, his first, was probably his best. I remember that it made a big splash when it was first released - it even won the Palme d'Or at Cannes, an event he discusses here. But this book was nothing great, and it seems to have been made in response to public demand for some written material by this blossoming young genius. It consists of the screenplay, coupled with an inoffensive version of the filmmaker's diary from around the time he was beginning work on this film to the time it established him as a star. You do get to see some of his thoughts as he goes from being one of many would-be auteurs/film production employees to seeing his dreams come true, but he also leaves a lot out and makes sure not to offend any potential collaborators. For the most part he comes across as a regular, hard-working guy who loves what he does.

I would say see the movie instead. I bet that it still packs a punch, and is still a fresh, sexy, unique look at obessions and relationship troubles, with a dash of technology thrown in. Somebody should write another book and explain why Soderbergh never made another film as vital and affecting as this one.

[lisa g. french · Rating 5 out of 5]

back in the late 80s and early 1990s, i was obsessed with art house films, this one among them. i loved a particular line from this film (which is also sampled in a primal scream tune) and picked up a copy of this immediately. being a film fanatic at the time, i was interested in the production notes and even more curious about the process of making a film. i read it voraciously and often.

after relocating across the country a couple of times since, the book was passed on to a friend or possibly lost to the trash heap in chicago. completely forgot about this book for years until i had been in LA for a couple of years and i started thinking about the filmmaking process again and all that i had learned since buying that book in 1990. i found a used copy online and bought it, happy to have it again.

steven soderbergh did a q & a before a screening in 2011. i brought the book along, just in case i had the opportunity to have him sign it. he was tickled that i had it saying "this is out of print, you know." sex, lies, and videotape is still one of my all-time favorite films. this book is an enjoyable, enlightening read for independent artists. sometimes the best thing you can do for your own creativity is to read about another's process in making a great work.

[Nuveausapien · Rating 5 out of 5]

A classic film with an incredible ensemble that created some of the most riveting moments on screen. This screenplay features not only the original script replete with typos and changes but an intriguing production diary by the director/screenwriter/jack of all trades on his first feature. The diary gives you an insight into what it takes to move an independent film from idea to production to release in a highly competitive market and against unbelievable odds. I came away from this story understanding that in Hollywood: luck is nice, but friends are better.

[Ryan · Rating 5 out of 5]

I put off seeing this film for the longest time--I can't explain why--but when I finally committed to it (because it's Soderbergh) I immediately recognized it as his best work (in my humble opinion) and the writing is exceptional on every level: pace, voice-over technique, the subtlety of the motivation behind the characters' desires, conflict/resolution. Elements so sparsely exacting and tactfully implemented--I'm sure Allan Ball had more than one go on this script before he penned American Beauty. It's a gem.

[Tony · Rating 4 out of 5]

I’ve had this book awhile (apparently last read in 2009) and this helped me make Soderbergh September a truly multimedia experience. When I last read it, I don’t recall watching it in conjunction with the movie, so this read (which followed shortly after a viewing of the film) helped really see how adjustments were made in rehearsals, on-set, and in the edit. I especially enjoyed the diary entries, which were also a feature of his book, Getting Away with It, a book that helped create my admiration of Soderbergh.

[Glitter · Rating 4 out of 5]

I swallowed this play whole in a moment. It was nice: interesting, slightly unpredictable and rather fun. I found the ending a little bit banal but it was the ending the audience wanted: good triumphed evil and the people that were meant for each other ended up where they were meant to be.

I liked it, almost a little too much, because when I think back on it, I realise it could have been better. Still, a fascinating read. And I loved the refference to Anais Nin. Beautifully done!!

[Jared Busch · Rating 4 out of 5]

Contains the original screenplay (the actual printed pages, complete with typos), and Soderbergh's production diary. Awesome.

[Cathy · Rating 4 out of 5]

The script to one of my favorite movies of all time.

[Steven · Rating 3 out of 5]

Tense, creepy and disturbing screenplay.

[Adam · Rating 5 out of 5]

Between this and Spike Lee's very similar script/production diary combo for DO THE RIGHT THING (another great '89 movie), you'll get more valuable insights than a year of film school.

[Jeff Jackson · Rating 3 out of 5]

Worthwhile for the candid production diary.