Steven Soderbergh Quotes
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Your take on things is what is either going to make you somebody people talk about or no.
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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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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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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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Another thing that really excites me: I'd like to do multiple versions of the same film.
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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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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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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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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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I don't consider myself to be particularly gifted in the way that other filmmakers are gifted.
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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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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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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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Castro, without question, is one of the smartest politicians that's ever walked.
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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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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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Ego is something that everybody, creative especially, has to grapple with. You need enough ego to keep going but not so much ego that you're deaf or blind, that you're making a mistake and can't fix the course.
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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'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 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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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 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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If you're a painter and you want people to know who you are and recognize your work, you've got to build some long-term value.
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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.