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People like Chris Nolan are shooting isolated sequences in IMAX. Those cameras are the size of a Volkswagen.
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
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Volkswagens
People
Sequences
Chris
Sequence
Isolated
Shooting
Cameras
Imax
Size
Volkswagen
More quotes by Steven Soderbergh
To me the director’s job is to leave it in better shape than you found it, literally.
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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.
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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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I'm a big believer that if there's something you really want to do, don't walk away because of the deal.
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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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I think that music is a very difficult art form in which to be avant-garde. When we sit down to listen to a piece of music, I think our implicit hope is that we're going to find it beautiful, or at least emotional, on some level.
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I grew up mostly in the South, and there's definitely something about the South that's different from the North. When people ask me where I'm from, I say Louisiana. I spent more years there than anywhere else.
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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 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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We [people] are a species that's wired to tell stories. We need stories. It's how we make sense of things. It's how we learn.
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Every time you make something that somebody likes, your impulse is to remind them that if you hadn't made some of these other things that they hated, you wouldn't have been able to make the thing that they liked.
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Your take on things is what is either going to make you somebody people talk about or no.
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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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It's a world in which people's motives are questionable and shadowy.
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All human interaction, you can break it down to incentives. All relationships, at some level, are transactional. They're fascinated with incentives.
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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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In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.
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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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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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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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