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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.

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
Relationships
Level
Levels
Break
Human
Transactional
Humans
Incentives
Interaction
Fascinated

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I have a friend whose theory is that you're from wherever you went to high school. I think that's mostly true.
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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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Maybe I'll paint, do photography, just something else. I can see that.
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I never leave the writer behind, because you rewrite the movie in post, or at least I do. I always do, and I feel like anybody who doesn't at least explore that possibility is short-changing themselves. Editing is the most fun and most exciting part of the process.
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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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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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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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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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To me the director’s job is to leave it in better shape than you found it, literally.
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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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Another thing that really excites me: I'd like to do multiple versions of the same film.
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There's a difference between failures and things that are bad.
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What's great about things like Kickstarter is that it enables me, finally, and without any bad feeling at all, when people come up to me now saying, I want to do this. I can just go, There are no excuses anymore.
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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 ought to be a worldwide cultural taskforce that just stops you when you have ideas like combining The Red Desert with an armored car heist movie.
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A movie is something you see, cinema is something that’s made.
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If you're a painter and you want people to know who you are and recognize your work, you've got to build some long-term value.
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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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It's become absolutely horrible the way the people with the money decide they can fart in the kitchen.
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Once I had a potentially heart attack-inducing eight double espressos in one day. I think my assistant secretly swaps my coffees for decaf as she doesn't want me to die of caffeine overdose.
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