American - Director | January 14, 1963 -
A movie that costs only $1.6 million doesn't have to be a cultural event to turn a profit.
Steven Soderbergh
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Another thing that really excites me: I'd like to do multiple versions of the same film.
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But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.
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I don't consider myself to be particularly gifted in the way that other filmmakers are gifted.
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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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I just produced Criminal, this remake of Nine Queens, and one of the things that appealed to me about Nine Queens is that it was a performance piece, and that's the most fun.
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I know why we can't have a frank discussion with our policymakers - if you're in the government or in law enforcement you cannot acknowledge that drugs are anything but inherently evil and morally wrong.
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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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I love caper films.
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I think I'm good at amplifying an actor's strengths, and minimizing their weaknesses. And they all have strengths and weaknesses.
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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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In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.
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