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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
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Competing
More quotes by Steven Soderbergh
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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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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Lying is like alcoholism. You are always recovering.
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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 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 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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You can't get good at anything unless you do it day in and day out, over and over.
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I grew up mostly in the South, and there's definitely something about the South that's different from the North. When people ask me where I'm from, I say Louisiana. I spent more years there than anywhere else.
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The art model of problem solving is incredibly efficient because ideology has no place there.There's only the thing and what the thing needs to be.
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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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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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Everything had been done long before I started making movies. I mean, there's nothing that Godard hasn't already done. You can't do a single thing that Godard hasn't already thought of. And so you struggle to do something that is not predictable.
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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.
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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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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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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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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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There are three major social issues that this country is struggling with: education, poverty, and drugs. Two of them we talk about, and one of them we don't.
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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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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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