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But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.

Steven Soderbergh

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Steven Soderbergh
Age: 61
Born: 1963
Born: January 14
Actor
Camera Operator
Cinematographer
Executive Producer
Film Director
Film Editor
Film Producer
Screenwriter
Showrunner
Television Director
Atlanta
Georgia
Steven Andrew Soderbergh
Peter Andrews
Mary Ann Bernard
Talking
Business
Sense
Film
People
Dissimilar
Businesses
Travel

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I have a friend whose theory is that you're from wherever you went to high school. I think that's mostly true.
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The muscle memory of filtering away all the wrong versions of what you're doing improves the more time you're on a film set. I feel like my problem-solving algorithm got kicked up a notch.
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I think there are only two times that I've ever ended up paying somebody their quote. Like what they actually were worth in the marketplace.
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I'm not precious about anything. The effort it took to get something means nothing to me in post. It means nothing to the audience. I'll chop limbs off. I'll put an arm where a leg should be. I'll do anything.
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You should never assume anything coming from a critical standpoint. You should go into everything assuming you're going to get crushed.
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I stopped reading reviews about my own movies. I read stuff about other people's movies.
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In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.
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What's great about things like Kickstarter is that it enables me, finally, and without any bad feeling at all, when people come up to me now saying, I want to do this. I can just go, There are no excuses anymore.
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I'm not going to spend two years of my life on something that I'm not excited about.
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The key is, how do you feel with the one asshole? They cannot be talked to. That's why they are assholes.
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You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.
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Maybe I'll paint, do photography, just something else. I can see that.
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Whenever you experiment with something, it's very easy to take the emotion out of it. And going back and forth between wanting to be respected artistically and wanting to move people is its own challenge.
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I know why we can't have a frank discussion with our policymakers - if you're in the government or in law enforcement you cannot acknowledge that drugs are anything but inherently evil and morally wrong.
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Surprisingly, I don't throw away that much. I don't move forward with a lot of things unless they're going somewhere. You also have to remember that when you're working with other artists, you have to be really careful about how you deal with that stuff.
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We have to have a version of our own story that we keep telling ourselves that allows us to get up in the morning. This version of yourself is what you sell to yourself. I think it necessarily includes ... not looking at certain things. Everybody's got some blind spot.
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Once I had a potentially heart attack-inducing eight double espressos in one day. I think my assistant secretly swaps my coffees for decaf as she doesn't want me to die of caffeine overdose.
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Well, it's 15 years since Sex, Lies And Videotape, and if you hang around long enough you're having the same arguments with just a new set of people every few years and it gets boring.
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If you're a painter and you want people to know who you are and recognize your work, you've got to build some long-term value.
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A real explosion is not only much more fun to shoot, it also helps the actors and creates an energy on set and ultimately in the scene.
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