quote by Vincent Cassel

Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn't really like a typical Hollywood movie. These are true artists, and have a certain amount of freedom when they work, and they're more like independent filmmakers making their way through big studios. I still don't feel like I've been part of the stereotypical Hollywood system.

— Vincent Cassel

Seductive Soderbergh quotations

I can't do the same movies all my life.

I'm conscious of that. But it's a trade-off. 'Dear John' allowed me to do movies I've wanted to do. You learn to balance it out. I'm still learning. Only now am I getting to do the kinds of movies that I have wanted to do. So it's a steady climb. You don't jump into a Soderbergh film.

By the time May rolls around, I'm probably going to want to spend a month on an island. But if Steven Spielberg or Steven Soderbergh or any number of directors were to say 'Hey, there's this role, are you interested?' I'd be there in a flash.

I like Soderbergh, Spielberg, Lucas. There's a lot of talented guys out there obviously, and if you're a fan of films, you have to look at that stuff and learn from them.

He's Soderbergh, we're working for him.

It doesn't matter what he's doing; we'll see it at the premiere.


The Underneath was my first film. Steven Soderbergh. I remember that I thought, "Wow, this is such a highlight. Am I ever going to get back to this?" Loved working with Steven and in Austin, Texas, one of the rockin'-est towns in America. I'll always remember it, because I was really grateful that someone finally hired me for a movie.

Steven Soderbergh really likes Irréversible, that's about all I can tell you.

About the making, well, it was a very particular situation, because those people all know each other, and they're all big stars. I felt like the little French guy, really. And I was very flattered to be called on that, of course, but I felt like if I didn't find something to be a little original, different, particular in the movie, I would just disappear.

[Ocean's Thirteen] is a great group, and it was an opportunity to work with Steven Soderbergh. But mainly? It was shot in L.A. and I want to be next to my kids. So I've been doing everything that has to do with being next to them, close to them.

I was paying attention to where Steven Soderbergh had the camera and his shots. I was blown away.

When I was on set I tried not to bug Steven Soderbergh too much.

"Why did you put the camera there?" But he was very open to my questions and definitely being on his set was really thrilling because he's such a master.


Steven [Soderbergh] is so generous and when I sat down to meet him for "Logan Lucky" he answered so many questions about directing, so when I was on set I tried not to bug him too much.

Among today's directors I'm of course impressed by Steven Spielberg and Scorsese, and Coppola, even if he seems to have ceased making films, and Steven Soderbergh - they all have something to say, they're passionate, they have an idealistic attitude to the filmmaking process. Soderbergh's Traffic is amazing. Another great couple of examples of the strength of American cinema is American Beauty and Magnolia.

Oh, it's the first big thing I've really done.

My first job out of college was working with Steven Soderbergh. I was telling my acting teachers, "I did it, you guys!"

Directors like William Friedkin (Killer Joe), Steven Soderbergh (Magic Mike) and Lee Daniels (The Paperboy) got in touch with me and wanted me to be part of their films. That was a whole new chapter for me. I didn’t chase any of those films and it made me think that I was right to take a chance, say no to the kind of thing I had grown tired of doing, and wait until something good came around. And it did.

When someone like Steven Soderbergh asks you to do a film you know you're in good hands. You know it's going to be slick, and it's going to be intelligent, and it's going to have a kind of style to it, and I would probably have done anything to be really honest.


As a director, I do very few takes, because I feel like you hire the right actor and they'll do the job right. And the directors that I've worked with and had the best luck with - Jason and [ Steven] Soderbergh and the Coen brothers - all have been that kind of director.

My favorite movies growing up were things like 'The Wizard of Oz,' but as I got older, I really began to admire people like Steven Soderbergh.

I wish I could be the black woman Soderbergh, and put the camera on my shoulder and shoot beautifully while I directed.

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