Steven Soderbergh Quotes
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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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I try to use other songs or bands as reference points - it seems like the easiest way to get across what are really differences of taste or opinion. If you know what kind of music somebody loves, then you can kind of figure out why they do what they do.
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In the land of ideas, you are always renting.
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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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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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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 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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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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I'm a grinder. I'll beat you because I will not sleep.
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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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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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I tend to be drawn more to people than pure story ideas.
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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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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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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'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 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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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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A movie is something you see, cinema is something that’s made.
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I stopped reading reviews about my own movies. I read stuff about other people's movies.
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My first three movies, I didn't start editing until we were finished shooting. That's unthinkable to me now.
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When things go right it's hard to figure out why, but when things go wrong it's really easy.
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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 like a lot of different kinds of movies, I like a lot of different kinds of paintings.