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There are three major social issues that this country is struggling with: education, poverty, and drugs. Two of them we talk about, and one of them we don't.

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
Talk
Drugs
Social
Majors
Three
Major
Two
Drug
Country
Poverty
Struggle
Issues
Education
Struggling

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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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You can't change who you are, so I think that the only thing you can do is just never talk to people about stuff and then hope that maybe does something.
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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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When we look at what's going on in the world and we see the immense level of conflict that seems to always be happening - you can always trace it back to competing narratives.
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I want to thank anyone who spends part of their day creating...anybody who spends part of their day sharing their experience with us-I think this world would be unlivable without art and I thank you.
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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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Jude [Law] is really good at playing an obsessive. He has a very watchable quality when he's on a quest for something.
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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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Maybe I'll paint, do photography, just something else. I can see that.
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I stopped reading reviews about my own movies. I read stuff about other people's movies.
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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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In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.
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I'm not a snob. If I feel like there's a star that's the best person for that role, then that's who I get.
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There is sadness of when you're watching someone enjoy something that you think is substandard. The ineffable sadness when someone is happy and something is not as good as it should be.
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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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Some filmmakers, you know, have their style and then they kind of go looking for the movie. I'm not like that. I don't have one style that I want to take from movie to movie.
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You’re supposed to expand your mind to fit the art, you’re not supposed to chop the art down to fit your mind.
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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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A Movie That Costs Only $1.6 Million Doesn't Have to Be a Cultural Event to Turn a Profit.
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My father, who was the one who really got me hooked on movies, liked all kinds of films, and I saw all kinds of films at a very young age.
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