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
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.
The key is, how do you feel with the one asshole? They cannot be talked to. That's why they are assholes.
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.
I've begun to believe more and more that movies are all about transitions, that the key to making good movies is to pay attention to the transition between scenes. And not just how you get from one scene to the next, but where you leave a scene and where you come into a new scene. Those are some of the most important decisions that you make. It can be the difference between a movie that works and a movie that doesn't.
The key is, if youre not monkeying around with the script, then everything usually goes pretty well.
Is it inappropriate for the director of 'Ocean's Twelve' to go to Belpre, Ohio?
Reality shows are all the rage on TV at the moment ... but that's not reality, it's just another aesthetic form of fiction.
The technology is there. Consumers now want choice, and they should have it. At the very least, let's find out -- instead of speculating -- what it's going to mean in the long run and in the larger picture.
At the most basic level, it's a lot of free publicity.
I don't think we should be trying to control how people experience art. They can see it on a screen or on a T-shirt. If you've got something that's interesting, it just really doesn't matter how they're seeing it.
I was at the Laundromat every Sunday, the one over across the (Belpre) bridge. I'd go to the Laundromat and then I'd have the chicken club at Wendy's.
We had a big night over there, where I destroyed Misty Wilkins in a game of straight pool. She was talking trash and we went over there and I beat her senseless.
I wanted to be as site-specific as possible. I said to each actor, 'I want you to talk about things you know about.' There's a screenplay but the goal was to incorporate as much of them into the characters as possible.
That line doesn't exist, ... It's all exploitation. I mean, it is if you're honest about it. You pick up a camera and point it at someone, you are exploiting them. I don't care who you are. The issue to me is what is the agreement between you and the person you are exploiting? But I know the experience we had in Ohio and how people on both sides of the camera felt. And that is what matters to me.