Steven Soderbergh
In receiving the Palme d'Or, Steven Soderbergh added one of international cinema's most prominent honors to a career already marked by work across multiple creative disciplines.
Born on January 14, 1963, in Atlanta, Soderbergh is a citizen of the United States who was educated at Louisiana State University Laboratory School. His professional activity has extended across an unusually wide range of roles: he works as a film director, film producer, screenwriter, cinematographer, television director, television producer, and actor. His output in the English language has encompassed both film and television, with each medium contributing to a body of work documented across multiple award categories.
Among the formal recognitions Soderbergh has received is the Academy Award for Best Director, along with the Dallas-Fort Worth Film Critics Association Award for Best Director. His work in television has brought parallel recognition: he received the Directors Guild of America Award for Outstanding Directing in a Television Film, as well as a Primetime Emmy Award for Outstanding Directing for a Limited Series, Movie, or Dramatic Special. The distribution of these honors across film and television award bodies reflects the documented range of his professional activity in both media.
One notable work associated with Soderbergh is K Street. The Primetime Emmy Award for Outstanding Directing for a Limited Series, Movie, or Dramatic Special stands as a concrete marker of the recognition his television work has received from within the broader professional community.
Quotes by Steven Soderbergh
Steven Soderbergh's insights on:
It's really easy to make a movie that five people understand. It's really hard to make something that a lot of people understand and yet is not obvious, still has subtlety and ambiguity, and leaves you with something to do as a viewer.
As vocal as some people have been about how emotionally attached they've been to celluloid, I've been equally emotional in my stance that nothing is more valuable than this. Than being able to see the result of your work quickly.
It would be nice if all people who saw movies had some sort of basic understanding of what they're looking at, but I don't think you can assume that.
If you talk to any filmmaker, and if you said to them, 'I guarantee you x amount of money per month for the rest of your life, and it's not a big amount of money, but I can also guarantee that you will work continually, you will get to make what you want to make,' any filmmaker on the planet will make that kind of deal. I would have made it.
You don't go make 'Schizopolis' if you're trying to protect some idea of yourself as a filmmaker.
When people say that moviegoing is dead, I go, 'OK, so the makers of 'Get Out' should've sold that movie to a platform? Then they don't have this insane, crazy success theatrically all over the world.'
I'm trying to develop an approach to putting out a movie in wide release that makes some kind of economic sense for the filmmakers and the people that have a participation in the movie.
A lot of people get very misty-eyed about celluloid. When I think of the time that's wasted in sending it back to the lab and having it developed and brought back, it would make me insane. I love getting my hands on the stuff immediately. That doesn't work for everybody. It just works for me.
'Logan Lucky' is an experiment. The problem that I think needs to be addressed is, what has happened to movies for grown-ups made by people who are still interested in the idea of cinema?