In 2013, Steven won 2 Emmy Awards for Outstanding Single-Camera Picture Editing for a Miniseries or a Movie and Outstanding Directing for a Miniseries, Movie or a Dramatic Special in his work on Behind the Candelabra.
Was offered the chance to direct Quiz Show(1994), with Tim Robbins in the role of Charles Van Doren.
He was member of the jury at the Cannes Film Festival in 2003.
He frequently casts Julia Roberts.
He often acts as his own director of photography using the name "Peter Andrews," which is the first and middle name of his father.
Together with friend George Clooney, who appeared in his movies Out of Sight, Ocean's Eleven, Solaris and Ocean's Twelve, owns the production company "Section Eight Productions", which produced Christopher Nolan's Insomnia, among other films.
He was ranked #39 in Premiere's 2003 annual Power 100 List. He ranked #35 in 2002.
He was elected lst Vice President of the Director's Guild of America in March of 2002.
He has a daughter named Sarah, who was born in the winter of 1990.
He became the youngest winner ever of the Palme d'Or at the 1989 Cannes Film Festival for Sex, Lies, and Videotape, his feature film directorial debut at the age of 26.
He's of Swedish descent.
He frequently casts Don Cheadle and Luis Guzmán.
He took some classes at Louisiana State University.
His father Peter Soderbergh, was a professor and dean of the College of Education at Louisiana State University.
Steven Soderbergh: One of things I didn't have in Schizopolis was certain resources to try out some visual abstractions, and Gray's Anatomy was a really great opportunity for Elliot Davis and I to sit down and do nothing but visual abstractions.
Steven Soderbergh: Name any big-title movie that's come out in the last four years. It has been available in all formats on the day of release. It's called piracy.
Steven Soderbergh: Making a film that's supposed to be fun to watch is really hard - that's the weird irony of it.
Steven Soderbergh:It's pretty clear to me that working as a director for hire agrees with me. I like it. The films that have come out of that, I personally like better than the ones that didn't.
Steven Soderbergh: In terms of directing, I think it's getting harder for me to come up with ideas that by my standards are interesting.
Steven Soderbergh: I'm very comfortable with failure. I'm very comfortable being the guy who disappoints people.
Steven Soderbergh: 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.
Steven Soderbergh: 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.
Steven Soderbergh: 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.
Steven Soderbergh: 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.
Steven Sodebergh:I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
Steven Soderbergh: 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.
Steven Soderbergh:Another thing that really excites me: I'd like to do multiple versions of the same film.
Steven Soderbergh: A movie that costs only $1.6 million doesn't have to be a cultural event to turn a profit.
Steven Soderbergh: I'm not a world-class cinematographer, but the momentum and the closeness to the actors ... I'm so close to them that I can just whisper to them while we're in the middle of a take.
Steven Soderbergh: If you're sitting around thinking what other people think about your work, you'll just become paralysed.
Steven Soderbergh: It was a very conscious decision on my part to try and climb my way out of the arthouse ghetto, which can be as much of a trap as making blockbuster films. And I was very aware that at that point in my career, half the business was off limits to me.(On his decision to direct Out of Sight-1998)
Steven Soderbergh:I learned from Richard Lester that as your career goes on, you learn more about how things can go wrong, but you never learn how things can go right. And it's really disorienting.
Steven Soderbergh: ...there've been a lot of questions about commercial films and non-commercial films, and I've never really made that separation in my mind. There's no question that when you read a piece of material, you have ideas about how it should be realised ... certainly when I read the script for Ocean's Eleven, I thought if this was realised the way it should, then it would appeal to a lot of people. Then you get involved in a film like Solaris and if you realise it the way it should be realised, then it won't appeal to a lot of people. But what are you going to do? You have to go at it...
Steven Soderbergh: There are certain directors - Spielberg, David Fincher, John McTiernan - who sort of see things in three dimensions, and I was watching their films and sort of breaking them down to see how they laid sequences out, and how they paid attention to things like lens length, where the eyelines were, when the camera moved, how they cut, how they led your eye from one part of the frame to another.
Steven Soderbergh:Well, I think a part of you has to be scared, it keeps you alert; otherwise you become complacent. So absolutely, I'm purposefully going after things and doing things that I'm not sure if it's going to come off or not. Certainly Full Frontal was one of those. That was pure experimentation, that's the kind of film that you make going in where you know that a lot of people are not going to like it because it's an exploration of the contract that exists between the film-maker and the audience and what happens when you violate that contract.
Steven Soderbergh: Would I, growing up, like to have had access to stuff on DVDs like this? Oh God, yeah! It's better than any film school, I think.(On DVD audio commentaries)