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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
Red
Armored
Car
Heist
Ought
Combining
Movie
Worldwide
Ideas
Lipstick
Like
Stops
Cultural
Desert

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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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There's a big difference between a movie about relationships and a movie in which people talk about relationships. It seems like a lot of people have confused the two.
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Castro, without question, is one of the smartest politicians that's ever walked.
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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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That's why my attitude, even on my larger-scale movies, is to make them cheap. The less these things cost, the better for everybody.
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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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Truth and facts have to trump partisanship. There has to be something that's true regardless of what your angle is on it.
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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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I just find it annoying that in these sequences [of the fight scenes], traditionally, there's music trying to pump you up. I don't like that, personally, as an audience member. This just reflects my taste.
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Everything had been done long before I started making movies. I mean, there's nothing that Godard hasn't already done. You can't do a single thing that Godard hasn't already thought of. And so you struggle to do something that is not predictable.
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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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I have no shame in making music that maybe, if you listen to it long enough, you'll realize you've heard this or that part of it before. I'm still very excited by an amazingly written song, so that's really the thing that I work on when I make records with people.
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