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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.
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
Problem
Airports
Ideas
Ruin
Whole
Ruins
Thing
Shoes
Really
Taking
World
Takes
Idea
Asshole
Comes
Airport
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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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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 Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.
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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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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 just produced Criminal, this remake of Nine Queens, and one of the things that appealed to me about Nine Queens is that it was a performance piece, and that's the most fun.
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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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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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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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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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It's a world in which people's motives are questionable and shadowy.
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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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I'm not a snob. If I feel like there's a star that's the best person for that role, then that's who I get.
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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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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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To me the director’s job is to leave it in better shape than you found it, literally.
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