Steven Soderbergh Quotes
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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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It's a world in which people's motives are questionable and shadowy.
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I've never been a snob. It movie is just about stories. And I've never felt just because it's a big screen and you plop down your eight bucks that gives it a special meaning. It's just "Are you good at telling a story?"
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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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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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Castro, without question, is one of the smartest politicians that's ever walked.
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A lot of people go to the movies wanting the movie to be about feelings, and it's really not about that. Or rather it's about feelings in the abstract.
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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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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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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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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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Whenever you experiment with something, it's very easy to take the emotion out of it. And going back and forth between wanting to be respected artistically and wanting to move people is its own challenge.
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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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I think '60s are appealing to creative people, because it seemed to be a time of endless possibilities, when the boundaries of what could be considered popular culture were being expanded almost by the week. It doesn't feel like that anymore. At times, I wish it were so. Radio is a perfect example; good God, I mean, back then the most interesting songs were also hits, and that's just not true anymore. It hasn't been true in a long time.
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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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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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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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People are sort of numb to watching violence, but sexual activity is still as strong as it ever was in terms of generating response.
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Anytime you've got something that can take you into the political realm then you've opened up the conversation a lot.
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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.
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I just find it annoying that in these sequences of the fight scenes, traditionally, there's music trying to pump you up. I don't like that, personally, as an audience member. This just reflects my taste.
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You got to deal with reviews the same way you deal with your views, which I a long time ago stopped reading because the point is if you believe the good ones you have to believe the bad ones. It's kind of all or nothing.
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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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You should never assume anything coming from a critical standpoint. You should go into everything assuming you're going to get crushed.