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.'
Interpretation
The quote emphasizes the importance of traditional cinema experiences and their impact on a film's success.
Steven Soderbergh's quote defends the theatrical experience of moviegoing by highlighting the significant achievements of films like 'Get Out'. He suggests that when critics claim that the cinema industry is dying, they overlook the unprecedented success that films can achieve in theaters, asserting that such success would not be possible if they were sold solely to streaming platforms.
In practice
This quote can be used in a discussion about the future of cinema at a film festival.
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.
I want to thank anyone who spends part of their day creating...anybody who spends part of their day sharing their experience with us-I think this world would be unlivable without art and I thank you.
Cinema is not about format, and it's not about venue. Cinema is an approach. Cinema is a state of mind on the part of the filmmaker. I've seen commercials that have cinema in them, and I've seen Oscar-winning movies that don't. I'm fine with this.
Making a film that's supposed to be fun to watch is really hard - that's the weird irony of it.
A success, to me, is the ability to keep working. That's success. It has nothing to do with money; it's the ability to keep getting things made, period.
You don't go make 'Schizopolis' if you're trying to protect some idea of yourself as a filmmaker.
In the early days, Porter Wagoner would not exactly scold me, but he's say, 'You're writing too many damn verses. You're makin' these songs too damn long.' And I'd say, 'Yeah, but I'm tellin' a story. I have a story to tell.' And he'd say, 'Well, you're not going to get it on the radio.' If I start writing a song, I'm writing it for a reason. People would say that I had to have two verses, and a chorus, and a bridge. I tried to learn that formula.
Not what the mind sees, but what the mind imagines the eye must see.
I do write long, long character notes - family background, history, details of appearance - much more than will ever appear in the novel. I think this is what lifts a book from that early calculated, artificial stage.
My style says, 'Look at me, don't look at me.'
I look at my voice and my abilities as a gift. I don't feel that I can even take any credit for it, but it's such a huge presence in my life. It is my life. It's my identity, it's everything. And it's given me a great deal of joy and a sense of purpose - I can't imagine my life without it.
On a bike, being just slightly above pedestrian and car eye level, one gets a perfect view of the goings-on in one's own town.
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