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When we look at what's going on in the world and we see the immense level of conflict that seems to always be happening - you can always trace it back to competing narratives.
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
World
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Narratives
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Competing
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Narrative
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Always
Conflict
More quotes by Steven Soderbergh
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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I think there are only two times that I've ever ended up paying somebody their quote. Like what they actually were worth in the marketplace.
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There's a difference between failures and things that are bad.
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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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I make every movie like it's the last one. If this was the last movie, what decision would I make? That's how I make my decisions.
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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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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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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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I like a lot of different kinds of movies, I like a lot of different kinds of paintings.
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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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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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My working life is me doing what I want to do. This is that. I've made movies that people don't go to see.
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A Movie That Costs Only $1.6 Million Doesn't Have to Be a Cultural Event to Turn a Profit.
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Everybody, including me, has to submit to what it needs to be. The thing is at the top of the pyramid, the best version of the thing we all have to serve that. You forget that at your own risk. And I think movies are too long, in general.
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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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The traditional models for success are just also disappearing.
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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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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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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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