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My father, who was the one who really got me hooked on movies, liked all kinds of films, and I saw all kinds of films at a very young age.

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
Movies
Age
Father
Film
Hooked
Young
Liked
Kind
Kinds
Really
Films
Saws

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Castro, without question, is one of the smartest politicians that's ever walked.
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It's a world in which people's motives are questionable and shadowy.
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I know why we can't have a frank discussion with our policymakers - if you're in the government or in law enforcement you cannot acknowledge that drugs are anything but inherently evil and morally wrong.
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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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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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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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To me the director’s job is to leave it in better shape than you found it, literally.
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That's why my attitude, even on my larger-scale movies, is to make them cheap. The less these things cost, the better for everybody.
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Every time you make something that somebody likes, your impulse is to remind them that if you hadn't made some of these other things that they hated, you wouldn't have been able to make the thing that they liked.
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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 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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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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The traditional models for success are just also disappearing.
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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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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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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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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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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 want to thank anyone who spends part of their day creating...anybody who spends part of their day sharing their experience with us-I think this world would be unlivable without art and I thank you.
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