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If you're going to make a movie for ten thousand you can talk everybody into doing it for free. You could make a really good-looking movie right for ten grand, if you have an idea.

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
Right
Thousand
Going
Movie
Really
Everybody
Make
Looking
Good
Talk
Free
Idea
Grand
Ideas
Ten

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You're being mean to someone who's helping you. What is that? Everyone knows who the assholes are, and I avoid them.
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My experience over the years with working with people who are not actors or not trained actors is that you have to get to know them well enough to see what they have that's translatable onto the screen.
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If you're a painter and you want people to know who you are and recognize your work, you've got to build some long-term value.
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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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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 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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I stopped reading reviews about my own movies. I read stuff about other people's movies.
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A real litmus test for me is how people treat someone who is waiting on them. That's a dealbreaker for me.If I were on the verge of getting into a serious relationship and I saw that person be mean to a waiter... I'm out.
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But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.
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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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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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We all get outraged by things and there are things that make us angry and maybe for a while we get angry enough to actually go do something about it.
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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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I'm not going to spend two years of my life on something that I'm not excited about.
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I tend to be drawn more to people than pure story ideas.
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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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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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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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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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It's become absolutely horrible the way the people with the money decide they can fart in the kitchen.
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