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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.

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
Something
Good
Substandard
Think
Ineffable
Thinking
Sadness
Watching
Happy
Enjoy
Someone

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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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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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There's a difference between failures and things that are bad.
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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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Maybe I'll paint, do photography, just something else. I can see that.
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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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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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You can't get good at anything unless you do it day in and day out, over and over.
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Whenever you experiment with something, it's very easy to take the emotion out of it. And going back and forth between wanting to be respected artistically and wanting to move people is its own challenge.
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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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I come from a generation that was surrounded by popular music, but I don't know if anybody's ever going to move the ball forward as far and as fast as the Beatles did.
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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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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 stopped reading reviews about my own movies. I read stuff about other people's movies.
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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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Truth and facts have to trump partisanship. There has to be something that's true regardless of what your angle is on it.
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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 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 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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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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