|Date of Birth||14 January 1963 , Atlanta, Georgia, USA|
|Birth Name||Steven A. Soderbergh|
|Height||6' (1.83 m)|
Mini Bio (1)
His first major break was in 1986 when the rock group Yes assigned him to shoot a full-length concert film for the band, which eventually earned him a Grammy nomination for the video, Yes: 9012 Live (1985). Following this achievement, Soderbergh filmed Winston (1987), the short-subject film that he would later expand into Sex, Lies, and Videotape (1989), a film that earned him the Cannes Film Festival's Palme d'Or Award, the Independent Spirit Award for Best Director, and an Oscar nomination for Best Original Screenplay. Over the next six years, he was married to actress Betsy Brantley and had a daughter named Sarah Soderbergh, who was born in 1990.
Also during this time, he made such films as Kafka (1991), King of the Hill (1993), The Underneath (1995) and Gray's Anatomy (1996), which many believed to be disappointments. In 1998, Soderbergh made Out of Sight (1998), his most critically and commercially successful film since Sex, Lies, and Videotape (1989). Then, in 2000, Soderbergh directed two major motion pictures that are now his most successful films to date: Erin Brockovich (2000) and Traffic (2000). These films were both nominated for Best Picture Oscars at the 2001 Academy Awards and gave him the first twin director Oscar nomination in almost 60 years and the first ever win. He won the Oscar for Best Director for Traffic (2000) at the 2001 Oscars.
- IMDb Mini Biography By: Ray Roon <TrendEkiD@aol.com>
|Jules Asner||(10 May 2003 - present)|
|Betsy Brantley||(2 December 1989 - 1994) (divorced) (1 child)|
Trade Mark (5)
Personal Quotes (39)
So any discussion that omits this issue shows a palpable lack of experience in the actual making of films on the part of the scriptwriting teacher/author.
I wish movies mattered more. I wish they were more influential. I mean, they do influence things, but only things that are not that important, such as how people talk, how they dress. But in terms of having a real role in the ongoing debate about how everything should work, how lives should work, they're not influential. There was a period where I felt that the movies coming out were as good as any novel, as any form of serious art that you could look at, and I'm particularly frustrated by my inability to create something at that level. I watch older movies regularly, depending what I'm working on, for inspiration. But I'm just not that inspired right now.
Maybe since "Che," my interest in and appetite for "serious" movies, making them, has really dropped. I just feel like I want to have more fun as a filmmaker and I'd like to make things that are more fun for the audience. I don't need to be taken anymore seriously that I am. I don't have to prove my important-film bonafides anymore. And so, since "Che," I've been looking for stuff that's more fun. Even "Contagion" to me was a more "genre" movie. I mean, that's my version of a disaster-horror movie. It's how I would do it. The stuff I have coming up, since "Che," I haven't made what I would consider a serious movie by Academy standard. I have no interest in that.
The only two categories I have are good and bad. No other categories exist for me in terms of scale, content or intent. The only thing that matters to me is whether it's any good.
And look, there are times when that's hard. It's hard to root for assholes and sometimes it's harder still to see something bad made my somebody who's really great. I remember reading that unauthorized Led Zeppelin biography that came out in the '80s. I couldn't listen to their music for a year after I read that book. Seriously, it was so disturbing. I took me a year to go, look, I don't care.
If you're looking for fair, you're in the wrong universe.
I'm less prone to change things now that I would have been 10, 15 years ago. "Moneyball" is the perfect example of that. At the end of the day, part of my problem with that was my refusal to do something that didn't happen. I wanted the movie to be absolutely accurate in every particular.
... I think when you're dealing with a certain kind of material, yeah. That was the case here. Like I said, there were versions where there was just too much technical information, and we were expecting people to sort of assimilate and retain information that a journalist might not assimilate or retain, and we didn't know that. You just gotta show it to people who are not your friends to figure that out.