On one hand, an artist risks falling out of the culture by taking too much time. On the other, maybe we as audience members are getting too greedy.

Does it matter that Steven Soderbergh works fast and Jonathan Franzen works slowly?

Does it matter that Soderbergh has had three movies in theaters since September and that each film — the big-cast bio-thriller "Contagion," the unappreciated action oddity "Haywire" and now, opening Friday, "Magic Mike," a thoughtful and crowd-pleasing character sketch about a male stripper (played by Channing Tatum) — has been more interesting than the one before? Or does it matter more that Franzen has written only two novels in the past 12 years and that both, "The Corrections" (2001) and "Freedom" (2011), were critical and popular blockbusters, widely considered defining novels of our time?

Are being prolific and pounding out new work with dizzying frequency — Soderbergh has made 16 movies in the past 12 years, starting with "Erin Brockovich" and "Traffic" (both in 2000) — predictors of quality?

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