We're very curious about this one (alongside the other S.S. film this year, Contagion). How does an academic-cerebral filmmaker like Soderbergh approach the dynamism of an action movie? (Sideline solutions seem to be giving supporting actors great hair: Paxton's mustache, Banderas' beard, McGregor's sinister pointy 'do.) Filmmaking as an activity can often be seen as persons coming together to solve specific problems, ones grouped under the general aegis of how to film a particular something. Action cinema, the most pragmatic and materialistic of genres, is one of the most obvious indicators of how problems are solved—the way space, movement, interaction, and dynamism are invoked and evoked. Viewing William Friedkin's The Brink's Job over the weekend had me pull up Dan Sallit's auteurist piece on Friedkin, about the filmmaker's 2003 film The Hunted, which similarly sees generic tropes and conventions (not to mention a mediocre screenplay) as fertile ground for figuring out how a director directs. I hope Haywire proves better than The Hunted, but in any event, it will certainly prove revealing about this recent, digital period of Soderbergh's career.