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
A movie that costs only $1.6 million doesn't have to be a cultural event to turn a profit.
[I watch] Fincher, Spielberg, Cameron, McTiernan. Just people who are good at staging action. I like to know where I am. I don't like the kind of cutting where you don't know where you are.
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. So you're constantly calibrating to play to their strengths. And the key is to never ask them to do things that are beyond their abilities or are really far away from who they are at their core.
Men tend to define themselves by what they do, and so if you're dealing with a character who's trying to figure that out, or multiple characters, then there's something there for guys, too.
I make every movie like it's the last one. "If this was the last movie, what decision would I make?" That's how I make my decisions.
You should never assume anything coming from a critical standpoint. You should go into everything assuming you're going to get crushed.
It's a weird thing to say, but it would appear to me axiomatic that if you understood fully what I was doing and appreciated it, you would like it.
I stopped reading reviews about my own movies. I read stuff about other people's movies.
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.
I've tried to get better about weighing what I think the accessibility of an idea is against the cost of executing it. I've tried to be smarter about that, because if you're not smart about that, you're going to be unemployed. But I'm still mystified about what works for people. And I'm not talking about my movies, I'm talking in general. I'm mystified by the stuff that doesn't work. I'm mystified by what's going on in the critical side, too.
I always have a plan, but then I'm always ready to throw the plan out, and everyone's ready to make a radical left turn if necessary.
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.
My first three movies, I didn't start editing until we were finished shooting. That's unthinkable to me now.
People like Chris Nolan are shooting isolated sequences in IMAX. Those cameras are the size of a Volkswagen.