Quote

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.

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
Good
Substandard
Think
Ineffable
Thinking
Sadness
Watching
Happy
Enjoy
Someone
Something

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The key is, how do you feel with the one asshole? They cannot be talked to. That's why they are assholes.
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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'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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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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In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.
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I have a friend whose theory is that you're from wherever you went to high school. I think that's mostly true.
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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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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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Sometimes I might feel like [a movie] is kind of a weird idea and if I'm going to get enough money to execute it properly I've got to get somebody in it that is going to justify the expense.
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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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I have no shame in making music that maybe, if you listen to it long enough, you'll realize you've heard this or that part of it before. I'm still very excited by an amazingly written song, so that's really the thing that I work on when I make records with people.
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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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To me the director’s job is to leave it in better shape than you found it, literally.
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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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The muscle memory of filtering away all the wrong versions of what you're doing improves the more time you're on a film set. I feel like my problem-solving algorithm got kicked up a notch.
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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 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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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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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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