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In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.

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
Take
Mobility
Provides
Digital
Street
Advantage
Streets
Learned
Full
Frontal

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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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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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It's become absolutely horrible the way the people with the money decide they can fart in the kitchen.
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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 always have a plan, but then I'm always ready to throw the plan out, and everyone's ready to make a radical left turn if necessary.
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I never leave the writer behind, because you rewrite the movie in post, or at least I do. I always do, and I feel like anybody who doesn't at least explore that possibility is short-changing themselves. Editing is the most fun and most exciting part of the process.
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I tend to be drawn more to people than pure story ideas.
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If you're not smart enough to know what Fidel meant during the Cuban revolution, that - when they were on the Granma - Fidel was already a rock star in Cuba, and how important that was to the indigenous population, then you're not paying attention.
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Another thing that really excites me: I'd like to do multiple versions of the same film.
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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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In nature, if a cell gets too big, it divides. You can't come up with a set of rules that's going to work for 350 million people. You're just not.
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If you're not flying people around on wires, and you're only allowing them to do things that people can really do, it can't go on for very long, because eventually somebody gets the drop on the other person and then it's over.
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We're all standing on the shoulders of what other people have done. But you're supposed to take that and add your own sauce. It can be intimidating, believe me.
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There's a difference between failures and things that are bad.
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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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I just produced Criminal, this remake of Nine Queens, and one of the things that appealed to me about Nine Queens is that it was a performance piece, and that's the most fun.
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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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I make every movie like it's the last one. If this was the last movie, what decision would I make? That's how I make my decisions.
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I like a lot of different kinds of movies, I like a lot of different kinds of paintings.
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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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