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The ought to be a worldwide cultural taskforce that just stops you when you have ideas like combining The Red Desert with an armored car heist movie.
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
Car
Heist
Ought
Combining
Movie
Worldwide
Ideas
Lipstick
Like
Stops
Cultural
Desert
Red
Armored
More quotes by Steven Soderbergh
I'm obviously really opinionated, but as a producer, you don't necessarily want the person you're working with to try to impress you - you want them to just be themselves.
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The art model of problem solving is incredibly efficient because ideology has no place there.There's only the thing and what the thing needs to be.
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My working life is me doing what I want to do. This is that. I've made movies that people don't go to see.
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A real litmus test for me is how people treat someone who is waiting on them. That's a dealbreaker for me.If I were on the verge of getting into a serious relationship and I saw that person be mean to a waiter... I'm out.
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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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Lying is like alcoholism. You are always recovering.
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When I look around the world and think why is everything working or not working, it's because it's entrenched ideology. You can't solve a problem if you're sitting down with people who say, All these ideas are off the table because of what I believe.
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You can't get good at anything unless you do it day in and day out, over and over.
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I actually didn't find out about a lot of music until I was older. Some people have been listening to the Beatles their whole lives I didn't discover them until I was 18 years old.
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I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
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I had more fun making Traffic than either of the Ocean's films.
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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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A meteor hits planet Earth - that's a story idea but that doesn't give me any indication of what the character is.
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It takes one asshole to ruin the whole thing. That's it. One. The problem with the world is one asshole comes up with a really bad idea and now we're all taking our shoes off at the airport.
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I was thinking that people have to believe you're crazy in order to take you seriously as an artist. If you're wandering the streets, talking in gibberish, nobody ever asks you to change anything about your art because there's no context for people to look at what you do.
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I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
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It's a world in which people's motives are questionable and shadowy.
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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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The traditional models for success are just also disappearing.
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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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