Steven Soderbergh
Steven Soderbergh
Steven Andrew Soderberghis an American film producer, director, screenwriter, cinematographer and editor. His indie drama Sex, Lies, and Videotapewon the Palme d'Or at the Cannes Film Festival, and became a worldwide commercial success, making the then-26-year-old Soderbergh the youngest director to win the festival's top award. Film critic Roger Ebert dubbed Soderbergh the "poster boy of the Sundance generation"...
NationalityAmerican
ProfessionDirector
Date of Birth14 January 1963
CountryUnited States of America
I like to make all kinds of movies. I'd do 'Ocean's Thirteen' with the right script.
I'm still very affected and moved by their music - maybe in a way that's different from someone who grew up around it.
I had more fun making Traffic than either of the Ocean's films.
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.
In the land of ideas, you are always renting.
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.
A Movie That Costs Only $1.6 Million Doesn't Have to Be a Cultural Event to Turn a Profit.
A movie is something you see, cinema is something that’s made.
Maybe I'll paint, do photography, just something else. I can see that.
Well, it's 15 years since Sex, Lies And Videotape, and if you hang around long enough you're having the same arguments with just a new set of people every few years and it gets boring.
When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.
In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.
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.
I'm sure some people will say, 'Why do this?' And my response is, 'Why wouldn't you?' The film business in general is using a model that is outdated and, worse than that, inefficient.