Steven Soderbergh Quotes
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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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Men tend to define themselves by what they do, and so if you're dealing with a character who's trying to figure that out, or multiple characters, then there's something there for guys, too.
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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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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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I want to form a political party that's based entirely on what music people listen to. To me, it's a much better barometer of what they think and feel than their political stance.
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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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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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It's a world in which people's motives are questionable and shadowy.
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I'm mystified by the stuff that doesn't work. I'm mystified by what's going on in the critical side, too. Stuff I like is getting trashed and stuff that is being praised I think is terrible. I don't really feel in sync with what's happening, but at the same time, what I think keeps me afloat is that I try not to be, and don't want to be, very indulgent. I try to make the films as lean as possible, and to not spend a lot of time crawling up my own ass creatively.
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A Movie That Costs Only $1.6 Million Doesn't Have to Be a Cultural Event to Turn a Profit.
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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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Truth and facts have to trump partisanship. There has to be something that's true regardless of what your angle is on it.
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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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Never done an explosion, but I have had explosive diarrhea, and that was very, very real. Good thing I have my trailer.
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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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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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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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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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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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The key is, if youre not monkeying around with the script, then everything usually goes pretty well.
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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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I guess I just look at talent as a very subjective thing. I mean, if you never tried playing an oboe, how do you know you're not the most talented oboe player ever? The point is that if you don't love it, then it doesn't matter.
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I don't have any kind of ideology that precludes me from moving in one direction or another. I just want creative autonomy and I want at least an opportunity that it's going to be seen.
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I was lucky that I was getting exposed to a lot of different kinds of films, and I was liking them all. So it seemed logical to me that you could - as in the style of the studio directors of the 30s and 40s - jump from one genre to the next, with the same satisfaction.