Steven Soderbergh Quotes
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I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
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I have a friend whose theory is that you're from wherever you went to high school. I think that's mostly true.
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What's great about things like Kickstarter is that it enables me, finally, and without any bad feeling at all, when people come up to me now saying, "I want to do this." I can just go, "There are no excuses anymore."
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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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It's become absolutely horrible the way the people with the money decide they can fart in the kitchen.
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I guess I didn't feel confident enough to be searching in a big public way. I was very content at the time to toil in obscurity on things that I thought might point me in certain directions or teach me certain things - not knowing what that would be.
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I look at other filmmakers and see skills in them that I wish I had but I know that I don't. I feel like I have to work really hard to keep myself afloat, doing what I do. But I find it pleasurable.
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I like a lot of different kinds of movies, I like a lot of different kinds of paintings.
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There's a technical reason why I think that frame rate is weird and it has to with your brain's ability to scan beyond a certain rate. The point is I find it looks weird.
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Once I had a potentially heart attack-inducing eight double espressos in one day. I think my assistant secretly swaps my coffees for decaf as she doesn't want me to die of caffeine overdose.
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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 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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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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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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We people are a species that's wired to tell stories. We need stories. It's how we make sense of things. It's how we learn.
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The best set was probably 'Bloody Sunday.' We had no money for extras and gambled on months of outreach to persuade the people of Derry to turn out and march for us on one single afternoon. And they did. In their tens of thousands. Seeing them march, their patience and their dignity and their commitment, I knew the movie would have a quality of truth.
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I think the feeling that we're going to work together again usually starts to come up before the first project's even done. The Black Keys and I have already talked about starting on something new.
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I can make a movie about Lee Harvey Oswald and make you feel what he feels and make you understand why he believes what he believes. That doesn't mean I think you should go out and shoot JFK.
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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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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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I had more fun making Traffic than either of the Ocean's films.
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I'm a grinder. I'll beat you because I will not sleep.
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I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
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I was thinking that people have to believe you're crazy in order to take you seriously as an artist. If you're wandering the streets, talking in gibberish, nobody ever asks you to change anything about your art because there's no context for people to look at what you do.