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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.

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
Interest
Artist
Doesn
Wanted
Trying
Much
Garde
Avant
Suppose

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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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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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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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Jude [Law] is really good at playing an obsessive. He has a very watchable quality when he's on a quest for something.
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You should never assume anything coming from a critical standpoint. You should go into everything assuming you're going to get crushed.
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Castro, without question, is one of the smartest politicians that's ever walked.
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It's a weird thing to say, but it would appear to me axiomatic that if you understood fully what I was doing and appreciated it, you would like it.
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Lying is like alcoholism. You are always recovering.
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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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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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If you're not smart enough to know what Fidel meant during the Cuban revolution, that - when they were on the Granma - Fidel was already a rock star in Cuba, and how important that was to the indigenous population, then you're not paying attention.
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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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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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In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.
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You’re supposed to expand your mind to fit the art, you’re not supposed to chop the art down to fit your mind.
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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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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.
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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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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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