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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.

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
Always
Necessary
Plans
Ready
Turn
Turns
Everyone
Radical
Left
Throw
Make
Plan

More quotes by Steven Soderbergh

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I recently decided that I'm not an originator. I'm a synthesist.
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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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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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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'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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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 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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Another thing that really excites me: I'd like to do multiple versions of the same film.
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I'm a grinder. I'll beat you because I will not sleep.
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I had more fun making Traffic than either of the Ocean's films.
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To me the director’s job is to leave it in better shape than you found it, literally.
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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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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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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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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.
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It's a world in which people's motives are questionable and shadowy.
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I'm always a little unnerved when I see a show that's set in the past that implies in any way that things were nicer then.
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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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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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