Steven Soderbergh Quotes
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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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In the land of ideas, you are always renting.
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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 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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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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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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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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I tend to be drawn more to people than pure story ideas.
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I'm a grinder. I'll beat you because I will not sleep.
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It takes one asshole to ruin the whole thing. That's it. One. The problem with the world is one asshole comes up with a really bad idea and now we're all taking our shoes off at the airport.
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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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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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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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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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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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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 movie is something you see, cinema is something that’s made.
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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.
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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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My first three movies, I didn't start editing until we were finished shooting. That's unthinkable to me now.
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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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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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When things go right it's hard to figure out why, but when things go wrong it's really easy.