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 think that it's fear. The musicians themselves don't seem to know enough about why they're in the positions they're in, so they're afraid to lose those positions. If you're 22 years old and you can't believe you're even in the position to have a career making music, the first thing you're going to think is: Maintain. Don't lose it. And that's precisely what causes you to lose everything.
When I look around the world and think why is everything working or not working, it's because it's entrenched ideology. You can't solve a problem if you're sitting down with people who say, "All these ideas are off the table because of what I believe."
I think about art a lot only in two contexts. One is narrative.The other thing that I'm interested in, which is tangential, but not unrelated... All art to me is about problem solving.
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.
Any time I think out loud, 'I can't believe this is my job,' and remember I am a very lucky duck. Whether marshalling hundreds of zombies, doing crazy stunts or shooting big music numbers, I just feel fortunate to have made my passion my vocation.
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.
When we look at what's going on in the world and we see the immense level of conflict that seems to always be happening - you can always trace it back to competing narratives.
My working life is me doing what I want to do. This is that. I've made movies that people don't go to see.
I'm always a little unnerved when I see a show that's set in the past that implies in any way that things were nicer then.
I don't have any kind of ideology that precludes me from moving in one direction or another. I just want creative autonomy and I want at least an opportunity that it's going to be seen.
You got to deal with reviews the same way you deal with your views, which I a long time ago stopped reading because the point is if you believe the good ones you have to believe the bad ones. It's kind of all or nothing.
Every time you make something that somebody likes, your impulse is to remind them that if you hadn't made some of these other things that they hated, you wouldn't have been able to make the thing that they liked.
Everything is the director's fault - you can quote me on that. There are no excuses.
The brief flashbacks are sun-kissed, summery and optimistic. It's the only place in the movie you will see red, yellow, orange, or any vibrant colors.