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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.

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
Nicer
Things
Implies
Show
Shows
Past
Littles
Little
Way
Unnerved

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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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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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Never had a cup of coffee in my life. Dr Pepper is my caffeine delivery system of choice.
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I'm not precious about anything. The effort it took to get something means nothing to me in post.And it means nothing to the audience. I'll chop limbs off. I'll put an arm where a leg should be. I'll do anything.
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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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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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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 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 in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
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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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It's become absolutely horrible the way the people with the money decide they can fart in the kitchen.
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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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I'm not precious about anything. The effort it took to get something means nothing to me in post. It means nothing to the audience. I'll chop limbs off. I'll put an arm where a leg should be. I'll do anything.
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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 suppose I could try to be some avant-garde artist if I wanted to, but that doesn't interest me as much.
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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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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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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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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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