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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.
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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Listen
Music
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Think
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Implicit
More quotes by Steven Soderbergh
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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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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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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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 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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In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.
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I'm not going to spend two years of my life on something that I'm not excited about.
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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're being mean to someone who's helping you. What is that? Everyone knows who the assholes are, and I avoid them.
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My experience over the years with working with people who are not actors or not trained actors is that you have to get to know them well enough to see what they have that's translatable onto the screen.
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A meteor hits planet Earth - that's a story idea but that doesn't give me any indication of what the character is.
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We're all standing on the shoulders of what other people have done. But you're supposed to take that and add your own sauce. It can be intimidating, believe me.
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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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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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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 come from a generation that was surrounded by popular music, but I don't know if anybody's ever going to move the ball forward as far and as fast as the Beatles did.
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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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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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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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The muscle memory of filtering away all the wrong versions of what you're doing improves the more time you're on a film set. I feel like my problem-solving algorithm got kicked up a notch.
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