Steven Soderbergh Quotes
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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 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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To me the director’s job is to leave it in better shape than you found it, literally.
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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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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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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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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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In the land of ideas, you are always renting.
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My father, who was the one who really got me hooked on movies, liked all kinds of films, and I saw all kinds of films at a very young age.
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I tend to be drawn more to people than pure story ideas.
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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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Some filmmakers, you know, have their style and then they kind of go looking for the movie. I'm not like that. I don't have one style that I want to take from movie to movie.
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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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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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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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I feel I need to really think about whether there's a way to use what skill I have to address things that outrage me, like the 13 year old girl getting stoned to death. Because I don't think making a movie is going to help that, or change that.
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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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If I'm a director and I read a script and I say yeah I really want to do this, I would never walk away because the deal wasn't very good - that I wasn't getting paid very much or that the chances that I would see anything on the back end were remote because of the financial waterfall and the way it's structured. I would never use that as a reason not to do something.
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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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A real litmus test for me is how people treat someone who is waiting on them. That's a dealbreaker for me.If I were on the verge of getting into a serious relationship and I saw that person be mean to a waiter... I'm out.
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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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The art model of problem solving is incredibly efficient because ideology has no place there.There's only the thing and what the thing needs to be.
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I had more fun making Traffic than either of the Ocean's films.
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I like a lot of different kinds of movies, I like a lot of different kinds of paintings.