I guess, in my mind, those two things connected.Īnd, obviously, I also wanted someone who, in sexual situations, was going to feel in control and in command and comfortable. Again, it's not typical in the sex work industry for somebody to take a macro view of the business and use it very deliberately as a means to get somewhere else. They all talked about how much money they'd put away and what they planned to do with that money and how much longer they planned to do this. They all either had another business that they were working in, at the same time, or they had real good jobs that they were working, at the same time. The ones that we interviewed are similar, in the sense that they all had plans. There are similarities to escorts who work at this level. She said, "Here are my reasons for going into it, and this is how I want to work within it." She had a plan, and I'd never heard anybody in that business talk about having a plan. I'd never really heard anybody like her talk about the business that way. And, the way she talked about herself, her reasons for getting into the adult industry, and the way that she planned to navigate the adult industry didn't seem typical to me. Steven: I saw the article in Los Angeles Magazine about her, which was published in the summer of '06. Why did you choose to cast Sasha Grey in this film? Here, you're paying top-dollar to be able to make-out, and I think that's interesting. How do we ascribe value to certain things? And, in this case, why does kissing require an incredible surcharge, in the sex industry? What is that about? That's the thing that GFE's do that prostitutes don't. This was an opportunity to play with those ideas about value. Who was the first person to figure out that you could ascribe a value to something like a piece of zinc or gold or a diamond? Who was the first person to look at something and decide, "That has a value, and the way I'm going to ascribe value to it is to get somebody to do something for me, and then I'm going to give them that thing, and then they can use that thing to get somebody else to do something for them, or to purchase something"? That is a very weird idea to me, and I'm fascinated that somebody came up with it. That's always interesting.Īnd, the idea of money is really interesting to me, when you begin to think about how that started. In this case, I think it was just an opportunity to explore some ideas about how we define pleasure.
There must be some through-line to these things, but fortunately I don't have to figure out what it is.
It really is akin to asking, "Why do you like this person?" Mostly because I don't have any rules about what I'll make or what I won't make, and I try to be open to anything that will engage me.
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Steven: I should learn how to answer this better, in general, because it's a question that everybody wants to know, about every film.
Question: What compelled you to make The Girlfriend Experience? Throughout the low-budget indie, which explores the value we place on money and how we define pleasure, the filmmaker makes intriguing, unusual choices in his camera angles, lighting and scenery.Īt the film's press day, Soderbergh spoke about what compelled him to make The Girlfriend Experience, as well as yet another unusual filmmaking choice to animate a character in his next project, Moneyball (the story of Oakland A's general manager Billy Beane's successful attempt to put together a baseball club on a budget, by employing computer-generated analysis to draft his players), which he starts filming in June. Hiring non-actors and having their dialogue largely improvised, Soderbergh chose to cast popular, award-winning adult film star Sasha Grey in the lead role of Chelsea, a young woman who makes a living as a high-end prostitute, selling a "girlfriend experience" to her clientele. Since then, he has juggled box office successes, like Ocean's Eleven, Ocean's Twelve and Ocean's Thirteen, with more experimental films, such as Bubble and his latest, The Girlfriend Experience, which are part of his six-picture deal at 2929 Entertainment.
Director Steven Soderbergh won an Academy Award for Best Director for his 2000 ensemble drama Traffic, while also being nominated in the same category that year for Erin Brockovich.
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