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These are the user uploaded subtitles that are being translated: 1 00:00:29,834 --> 00:00:34,042 I started making movies when I was a young kid, 2 00:00:34,125 --> 00:00:38,709 but I remember the time I almost gave up my dream of being a movie director. 3 00:00:38,792 --> 00:00:41,083 I must have been 16. 4 00:00:48,542 --> 00:00:51,250 A movie came into town called "Lawrence of Arabia," 5 00:00:51,334 --> 00:00:53,626 and everybody was talking about it. 6 00:00:53,709 --> 00:00:56,417 I never sat in a fancy theater seat before. 7 00:00:56,500 --> 00:00:59,792 Premium ticket price, 70mm projection, 8 00:00:59,876 --> 00:01:01,167 stereophonic sound. 9 00:01:03,626 --> 00:01:04,918 And when the film was over, 10 00:01:05,000 --> 00:01:07,667 I wanted to not be a director anymore 11 00:01:07,751 --> 00:01:10,000 because the bar was too high. 12 00:01:12,834 --> 00:01:16,626 There was a scene where he looked at himself in that sword/knife, 13 00:01:16,709 --> 00:01:18,918 when he was first given the robes 14 00:01:19,000 --> 00:01:20,417 and he thought he was alone. 15 00:01:20,500 --> 00:01:22,125 And he walked around laughing 16 00:01:22,209 --> 00:01:25,209 and looking at his shadow where the diaphanous robe 17 00:01:25,292 --> 00:01:26,892 he was holding out was actually imprinted 18 00:01:26,918 --> 00:01:28,709 on the sand in shadow. 19 00:01:28,792 --> 00:01:30,500 It was a great moment. 20 00:01:30,584 --> 00:01:33,834 And then later, when they route the retreating Turks, 21 00:01:33,918 --> 00:01:36,500 you see him again covered in gore. 22 00:01:36,584 --> 00:01:39,667 And he's got the knife in the same position he had it 23 00:01:39,751 --> 00:01:42,500 in his pristine days, in his glory days. 24 00:01:42,584 --> 00:01:46,626 And he's looking at himself, who he's become. 25 00:01:46,709 --> 00:01:48,792 It was the first time, seeing a movie, 26 00:01:48,876 --> 00:01:52,459 I realized that there are themes that aren't narrative story themes. 27 00:01:52,542 --> 00:01:55,334 There are themes that are character themes, that are personal themes. 28 00:01:55,417 --> 00:01:57,918 That David Lean created a portraiture, 29 00:01:58,000 --> 00:02:00,459 surrounded the portrait with a mural 30 00:02:00,542 --> 00:02:02,375 of scope and epic action, 31 00:02:02,459 --> 00:02:06,709 but at the heart and core of "Lawrence of Arabia" 32 00:02:06,792 --> 00:02:09,292 is "Who am I"? 33 00:02:11,667 --> 00:02:17,459 I had such a profound reaction to the filmmaking, 34 00:02:17,542 --> 00:02:20,876 and I went back and saw the film a week later. 35 00:02:20,959 --> 00:02:23,125 I saw the film a week after that. 36 00:02:23,209 --> 00:02:25,125 And I saw the film a week after that. 37 00:02:25,209 --> 00:02:27,584 And I realized that there was no going back, 38 00:02:27,667 --> 00:02:30,292 that this was going to be what I was gonna do 39 00:02:30,375 --> 00:02:32,918 or I was gonna die trying. 40 00:02:33,000 --> 00:02:35,876 But this was going to be the rest of my life. 41 00:04:34,584 --> 00:04:37,209 And then trying to get... It felt lined up. 42 00:04:37,292 --> 00:04:39,652 - The camera just gotta go right. - Just a little bit lower. 43 00:04:39,709 --> 00:04:41,584 That's good right there. That's perfect. 44 00:04:41,667 --> 00:04:43,268 Yeah, camera has to go right a bit, please. 45 00:04:43,292 --> 00:04:44,792 Go right. 46 00:04:44,876 --> 00:04:46,643 - Right, right, right, right. - Can you get there? 47 00:04:46,667 --> 00:04:48,500 Right there would be good. 48 00:04:48,584 --> 00:04:51,125 Every time I start a new scene, I'm nervous. 49 00:04:51,209 --> 00:04:53,751 And it's like going to school, having to take a test. 50 00:04:53,834 --> 00:04:55,959 I never heard the lines spoken before. 51 00:04:56,042 --> 00:04:57,810 I don't know what I'm gonna think of hearing the lines, 52 00:04:57,834 --> 00:04:59,351 I don't know what I'm gonna tell the actors, 53 00:04:59,375 --> 00:05:01,095 I don't know where I'm gonna put the camera. 54 00:05:01,167 --> 00:05:03,667 And every single time, it's the same. 55 00:05:03,751 --> 00:05:05,518 But I tell you, it's the greatest feeling in the world. 56 00:05:05,542 --> 00:05:06,935 I'll tell you why it's a good feeling. 57 00:05:06,959 --> 00:05:09,083 The more I'm feeling confident 58 00:05:09,167 --> 00:05:11,459 and secure about something, 59 00:05:11,542 --> 00:05:13,542 the less I'm gonna put out. 60 00:05:13,626 --> 00:05:17,459 The more I'm feeling, "Uh-oh, this could be a major problem 61 00:05:17,542 --> 00:05:19,125 in getting the story told," 62 00:05:19,209 --> 00:05:21,042 I'm gonna work overtime to meet the challenge 63 00:05:21,125 --> 00:05:22,667 and get the job done. 64 00:05:22,751 --> 00:05:24,727 All right, that's done. I don't know if it's worth it. 65 00:05:24,751 --> 00:05:27,167 And so, I hate the feeling of being nervous, 66 00:05:27,250 --> 00:05:29,209 but I need to feel in this moment 67 00:05:29,292 --> 00:05:32,292 I'm really not sure what I'm doing. 68 00:05:32,375 --> 00:05:37,417 And when that verges on panic, I get great ideas. 69 00:05:37,500 --> 00:05:40,417 The more I feel backed into a corner, 70 00:05:40,500 --> 00:05:41,792 the more rewarding it becomes 71 00:05:41,876 --> 00:05:43,226 when I figure my way out of the corner. 72 00:05:43,250 --> 00:05:44,834 I love it. Next shot. 73 00:05:44,918 --> 00:05:46,250 Good. 74 00:06:07,709 --> 00:06:09,709 - Did you see that? - Yes. 75 00:06:17,584 --> 00:06:19,918 I remember when Steven was in production on "Jaws," 76 00:06:20,000 --> 00:06:22,375 the word around town and in the "LA Times" 77 00:06:22,459 --> 00:06:25,292 was that it was folly and that it was gonna be a disaster. 78 00:06:28,250 --> 00:06:31,292 "Jaws" started filming on May 2nd. 79 00:06:31,375 --> 00:06:33,584 I was hired, I think, on May 3rd, 80 00:06:33,667 --> 00:06:37,209 and they had no shark, no script, and no cast 81 00:06:37,292 --> 00:06:39,584 when they first started, so... 82 00:06:39,667 --> 00:06:41,417 The script was never locked. 83 00:06:41,500 --> 00:06:43,500 We were rewriting the script 84 00:06:43,584 --> 00:06:46,542 12 hours before we were shooting what we just wrote. 85 00:06:46,626 --> 00:06:48,834 You know, it's scary for a director to not know 86 00:06:48,918 --> 00:06:51,542 if he's gonna be able to hand pages to his cast the next morning. 87 00:06:51,626 --> 00:06:53,292 Guys, we can't shoot right now. 88 00:06:53,375 --> 00:06:54,876 - Hold on. - Hold on. 89 00:06:54,959 --> 00:06:57,083 This is my second day at sea 90 00:06:57,167 --> 00:07:00,375 and I have 54 more days to go. 91 00:07:00,459 --> 00:07:03,375 And if I survive this, 92 00:07:03,459 --> 00:07:06,500 I'll have learned a lot, because right now all I can tell you is 93 00:07:06,584 --> 00:07:10,125 it's twice as slow shooting at sea as it is shooting on land. 94 00:07:10,209 --> 00:07:14,125 Well, the studio had never shot a film on the ocean before. 95 00:07:14,209 --> 00:07:15,959 They would do it on the back lake. 96 00:07:16,042 --> 00:07:18,667 They would do it in a studio tank. 97 00:07:18,751 --> 00:07:20,167 They would make miniature boats. 98 00:07:20,250 --> 00:07:22,292 They would... Everything would be so easy 99 00:07:22,375 --> 00:07:24,918 that you would never get cold or wet. 100 00:07:25,000 --> 00:07:27,918 But Steven said, "I'm gonna shoot in the open ocean." 101 00:07:28,000 --> 00:07:29,626 Roll sound. 102 00:07:29,709 --> 00:07:31,751 This was supposed to be a thriller 103 00:07:31,834 --> 00:07:34,292 based on people like you and me that are out of our element 104 00:07:34,375 --> 00:07:37,959 and having to fight something we have no comprehension how to deal with. 105 00:07:38,042 --> 00:07:40,083 That needs a level of authenticity 106 00:07:40,167 --> 00:07:42,042 that I thought shooting it in the back lot 107 00:07:42,125 --> 00:07:44,626 at Universal in North Hollywood would not give it. 108 00:07:44,709 --> 00:07:47,209 So, to me, there was no going back. 109 00:07:47,292 --> 00:07:49,083 It had to be shot in the ocean. 110 00:07:56,626 --> 00:07:59,042 I thought it was gonna be a cakewalk, 111 00:07:59,125 --> 00:08:01,500 but I didn't know anything about tides or currents. 112 00:08:01,584 --> 00:08:03,667 I didn't know about how the wind affects the water, 113 00:08:03,751 --> 00:08:05,951 how the color of the sky changes the color of the water, 114 00:08:06,000 --> 00:08:08,000 or how you can't get anything to match. 115 00:08:08,083 --> 00:08:11,876 It was one nightmare, worst-case scenario after the other. 116 00:08:11,959 --> 00:08:13,626 I didn't think we'd ever finish. 117 00:08:13,709 --> 00:08:16,250 I had just assumed I'd be fired off the picture. 118 00:08:19,584 --> 00:08:22,918 We were isolated in the middle of the ocean, 12 miles offshore, 119 00:08:23,000 --> 00:08:28,542 and it was technology over art every single day. 120 00:08:28,626 --> 00:08:31,000 We'd get a shot, art was there, 121 00:08:31,083 --> 00:08:34,792 but you couldn't recognize the art from the effort. 122 00:08:34,876 --> 00:08:38,292 Just trying to hold a whole movie story in my head 123 00:08:38,375 --> 00:08:41,542 is a very lonely thing, because nobody can really help me with that. 124 00:08:41,626 --> 00:08:43,709 I have to see it before I film it. 125 00:08:43,792 --> 00:08:45,435 And that's why it was so scary on "Jaws"... 126 00:08:45,459 --> 00:08:47,542 When I couldn't see it until I finally did. 127 00:08:50,209 --> 00:08:53,542 Just before I went off to make "Jaws," I got to meet Henry Hathaway. 128 00:08:53,626 --> 00:08:55,834 He was kind of a tough-guy director, and he said, 129 00:08:55,918 --> 00:08:58,459 "There's gonna be moments where you're gonna get to the set 130 00:08:58,542 --> 00:09:00,709 and you're not gonna know what the hell you're doing. 131 00:09:00,792 --> 00:09:02,125 It happens to all of us. 132 00:09:02,209 --> 00:09:05,292 You've gotta guard that secret with your life. 133 00:09:05,375 --> 00:09:08,542 Let no one see when you're unsure of yourself. 134 00:09:08,626 --> 00:09:10,125 Hide that from everybody, 135 00:09:10,209 --> 00:09:12,542 or you'll lose the respect of everyone." 136 00:09:12,626 --> 00:09:14,584 Marker. 137 00:09:14,667 --> 00:09:16,167 - Good blood. - And... ready? 138 00:09:16,250 --> 00:09:18,792 - And action, Roy. - Slow ahead. 139 00:09:18,876 --> 00:09:20,500 I can go slow ahead. 140 00:09:20,584 --> 00:09:23,000 You ought to come down and ladle some of this shit. 141 00:09:28,083 --> 00:09:29,918 And down. 142 00:09:30,000 --> 00:09:33,000 Absolutely everything was falling apart. 143 00:09:33,083 --> 00:09:35,542 The first time we tested the shark, it sunk. 144 00:09:35,626 --> 00:09:37,375 It would come up out of the water and go... 145 00:09:37,459 --> 00:09:40,667 Like that. 146 00:09:40,751 --> 00:09:43,167 I knew that it's gonna take 147 00:09:43,250 --> 00:09:44,850 three or four weeks to rebuild the shark, 148 00:09:44,876 --> 00:09:47,000 and so we'd have to make up something else 149 00:09:47,083 --> 00:09:48,626 that didn't exactly show the shark 150 00:09:48,709 --> 00:09:50,918 but gave the sense the shark was near. 151 00:09:57,167 --> 00:09:58,459 Bring it around after him! 152 00:09:58,542 --> 00:10:01,167 The barrels were a godsend, 153 00:10:01,250 --> 00:10:06,125 because I didn't need to show the shark as long as those barrels were around. 154 00:10:06,209 --> 00:10:08,959 What you don't see is generally scarier than what you do see, 155 00:10:09,042 --> 00:10:11,792 and the script was filled with "shark." 156 00:10:11,876 --> 00:10:14,292 Shark here, shark there, shark everywhere. 157 00:10:14,375 --> 00:10:16,459 The movie doesn't have very much shark in it. 158 00:10:22,417 --> 00:10:25,000 If the shark had been available visually, 159 00:10:25,083 --> 00:10:27,667 it might have changed the whole psychology 160 00:10:27,751 --> 00:10:29,375 of the experience. 161 00:10:32,792 --> 00:10:35,125 When you hear, "boom-boom, boom-boom," 162 00:10:35,209 --> 00:10:38,167 you've already been conditioned to think that's when the shark is present. 163 00:10:38,250 --> 00:10:40,751 When the shark is far away, it's very faint. 164 00:10:40,834 --> 00:10:45,417 When the shark is just about to attack, it's very close and it's very loud. 165 00:10:52,709 --> 00:10:55,209 We can advertise the shark's presence or his attitude 166 00:10:55,292 --> 00:10:59,000 by how we manage these notes, 167 00:10:59,083 --> 00:11:00,918 just very few notes. 168 00:11:04,250 --> 00:11:09,918 You are in a state of anxiety without seeing a shark. 169 00:11:10,000 --> 00:11:12,125 It just scares the crap out of you. 170 00:11:13,584 --> 00:11:14,876 Charlie, take my word for it! 171 00:11:14,959 --> 00:11:16,667 Don't look back! Swim, Charlie! 172 00:11:16,751 --> 00:11:17,918 Swim! Come on, Charlie! 173 00:11:18,000 --> 00:11:21,918 Dun-dun. Dun-dun, dun-dun. 174 00:11:22,000 --> 00:11:25,751 Dun-dun, dun-dun, dun-dun, bom, bom, bom, bom, bom, bom. 175 00:11:25,834 --> 00:11:27,542 Come on, a little more, Charlie. Attaboy. 176 00:11:27,626 --> 00:11:29,751 Come here, Charlie. Attaboy. Attaboy. 177 00:11:29,834 --> 00:11:34,209 It is a perfect exercise in suspense 178 00:11:34,292 --> 00:11:37,584 with technique that any other filmmaker would kill for. 179 00:11:39,918 --> 00:11:43,209 I knew I was using an electric cattle prod on the audience 180 00:11:43,292 --> 00:11:47,125 every time there was some kind of a pop-up surprise. 181 00:11:47,209 --> 00:11:49,626 Like Hitchcock, he knows how to get you 182 00:11:49,709 --> 00:11:51,250 on the edge of your seat. 183 00:11:51,334 --> 00:11:54,375 He doesn't show you what you want to see, 184 00:11:54,459 --> 00:11:56,499 and then he delivers it when he wants to deliver it. 185 00:11:56,542 --> 00:12:00,834 He certainly likes torturing the audience. 186 00:12:02,042 --> 00:12:03,792 Has he ever been in analysis? 187 00:12:05,709 --> 00:12:08,500 1, 1,000;2, 1,000; 188 00:12:08,584 --> 00:12:11,292 3, 1,000;4, 1,000... 189 00:12:11,375 --> 00:12:13,334 Everything scared me when I was a kid. 190 00:12:13,417 --> 00:12:14,709 Everything. 191 00:12:17,375 --> 00:12:20,751 1, 1,000;2, 1,000;3, one... 192 00:12:20,834 --> 00:12:23,918 I had a tree out my window that was terrifying. 193 00:12:24,000 --> 00:12:25,792 It was just terrifying. 194 00:12:25,876 --> 00:12:27,417 1, 1,000;2, 1,000... 195 00:12:27,500 --> 00:12:29,584 I was filled with so much fear 196 00:12:29,667 --> 00:12:32,125 that I needed to exorcise some of that. 197 00:12:32,209 --> 00:12:36,500 And what better audience to exorcise myself of my demons 198 00:12:36,584 --> 00:12:37,834 than my three sisters. 199 00:12:40,667 --> 00:12:44,209 He would lock us in the closet with a skull, 200 00:12:44,292 --> 00:12:48,167 which he had dripped different colors of wax all over. 201 00:12:48,250 --> 00:12:49,334 It almost looked like blood. 202 00:12:49,417 --> 00:12:51,542 I'd blindfold them one at a time, 203 00:12:51,626 --> 00:12:53,125 bring them into the closet. 204 00:12:53,209 --> 00:12:55,500 I'd put my whole body weight against the door. 205 00:12:55,584 --> 00:12:57,125 They'd take their blindfold off, 206 00:12:57,209 --> 00:13:01,542 and I would just sit there listening to them screaming. 207 00:13:01,626 --> 00:13:05,459 I mean, telling this story now... 208 00:13:05,542 --> 00:13:07,125 I still think it was pretty cool. 209 00:13:07,209 --> 00:13:08,959 I was gonna say, "I hate myself for that." 210 00:13:09,042 --> 00:13:10,792 I don't hate myself for that. It was fun. 211 00:13:10,876 --> 00:13:12,876 At first, he just scared us. 212 00:13:13,000 --> 00:13:14,584 But through his movies, 213 00:13:14,667 --> 00:13:17,709 he gets to scare the shit out of everybody now. 214 00:13:22,542 --> 00:13:24,542 The blockbuster movie 215 00:13:24,626 --> 00:13:26,542 of the summer, of course, is "Jaws," 216 00:13:26,626 --> 00:13:29,167 a tale of a murderous white shark on the loose. 217 00:13:29,250 --> 00:13:31,250 And that movie's release was well timed 218 00:13:31,334 --> 00:13:33,584 for maximum impact during the vacation season, 219 00:13:33,667 --> 00:13:35,334 and some people who have seen it 220 00:13:35,417 --> 00:13:38,167 are now seeing phantom sharks every time they go near the water. 221 00:13:41,042 --> 00:13:43,000 - I remember the night. - "Jaws" opened. 222 00:13:43,083 --> 00:13:45,667 I was with Steven. He said, "Let's go and see the lines." 223 00:13:45,751 --> 00:13:48,542 And we were looking, going by all the lines in Westwood 224 00:13:48,626 --> 00:13:51,042 and places like that, and I said, "This is it. 225 00:13:51,125 --> 00:13:53,459 This is gonna be a major change." 226 00:13:53,542 --> 00:13:55,209 I was with him in the car 227 00:13:55,292 --> 00:13:59,042 and he was really, really nervous but excited. 228 00:13:59,125 --> 00:14:01,000 And the car went around the corner, 229 00:14:01,083 --> 00:14:03,167 and there was the line went around the corner, 230 00:14:03,250 --> 00:14:05,918 and then the car kept going, and the line kept going. 231 00:14:06,000 --> 00:14:08,000 And he was absolutely beside himself. 232 00:14:08,083 --> 00:14:10,250 You know, it was this instant breakthrough. 233 00:14:10,334 --> 00:14:13,250 It was like balloons were exploding inside of this car. 234 00:14:13,334 --> 00:14:17,042 And his whole life changed in that couple of minutes. 235 00:14:17,125 --> 00:14:18,959 And he was 25 years old or something. 236 00:14:22,167 --> 00:14:24,125 "Jaws" went triple its budget 237 00:14:24,209 --> 00:14:26,834 and it went about two and a half times its schedule. 238 00:14:26,918 --> 00:14:29,918 We wound up shooting the movie in 159 days. 239 00:14:30,000 --> 00:14:32,667 The film was originally scheduled for 55 days. 240 00:14:32,751 --> 00:14:34,459 But my hubris was I actually thought 241 00:14:34,542 --> 00:14:37,292 I could shoot the film in 55 days. 242 00:14:37,375 --> 00:14:41,667 Steven shook the very bones of Hollywood. 243 00:14:41,751 --> 00:14:43,542 "Jaws" made more money 244 00:14:43,626 --> 00:14:47,918 than any film had ever made up to that time. 245 00:14:48,000 --> 00:14:49,626 The success of that changed my life. 246 00:14:49,709 --> 00:14:51,167 You know, it gave me final cut. 247 00:14:51,250 --> 00:14:52,792 It gave me a chance to pick and choose 248 00:14:52,876 --> 00:14:55,292 the movies I directed from that moment on. 249 00:14:55,375 --> 00:14:59,209 So "Jaws" was a free pass into my future. 250 00:15:07,167 --> 00:15:09,626 I want you to meet a filmmaker now who has taken 251 00:15:09,709 --> 00:15:12,918 the movie-going public and shaken it to its very roots. 252 00:15:13,000 --> 00:15:14,334 - Oh, boy! - Aren't you excited? 253 00:15:14,417 --> 00:15:16,143 - And everybody loves it. - Have you seen it? 254 00:15:16,167 --> 00:15:19,042 - Please welcome. - Mr. Steven Spielberg. 255 00:15:24,334 --> 00:15:26,500 When did you first really get interested in movies? 256 00:15:26,584 --> 00:15:27,959 When I was a bad little kid. 257 00:15:28,042 --> 00:15:29,834 - Really? - About, yeah, 13 years old. 258 00:15:29,918 --> 00:15:32,167 - That was the whole thing? - Very early starter, yeah. 259 00:15:32,250 --> 00:15:33,876 Not... I didn't take it seriously. 260 00:15:33,959 --> 00:15:35,876 I did it... Like some people paint 261 00:15:35,959 --> 00:15:38,626 and some people like to, you know, drive little cars, 262 00:15:38,709 --> 00:15:40,125 and I liked to make little movies. 263 00:15:40,209 --> 00:15:43,375 I didn't realize there was 50 years of filmmaking before me. 264 00:15:43,459 --> 00:15:45,667 And I lived in Phoenix, Arizona, 265 00:15:45,751 --> 00:15:48,542 where you can listen to cactus grow if you have nothing better to do. 266 00:15:48,626 --> 00:15:50,626 - Yeah. - And I took a movie camera 267 00:15:50,709 --> 00:15:53,083 and I was learning sort of the ABCs as I went along, 268 00:15:53,167 --> 00:15:55,459 but it was just fun, it was something to do. 269 00:16:04,083 --> 00:16:05,876 I really wanted my childhood to be 270 00:16:05,959 --> 00:16:09,375 sort of the pie-in-the-sky, Norman Rockwell American Dream. 271 00:16:13,250 --> 00:16:16,250 My dad was this computer genius that was on the team that invented 272 00:16:16,334 --> 00:16:19,709 the first commercial data processing machine at RCA back in 1950, 273 00:16:19,792 --> 00:16:23,125 and so my dad was headhunted a lot and went from company to company. 274 00:16:23,209 --> 00:16:25,459 Like Army brats, we moved from place to place. 275 00:16:25,542 --> 00:16:29,083 But most of my formative years took place in Phoenix, Arizona. 276 00:16:29,167 --> 00:16:32,834 My father was the American man who worked very hard. 277 00:16:32,918 --> 00:16:35,500 Sometimes worked six days a week and he came home late at night. 278 00:16:35,584 --> 00:16:39,584 His career demanded a lot of time away from the family. 279 00:16:39,667 --> 00:16:42,083 And my mom was Peter Pan. 280 00:16:42,167 --> 00:16:44,500 She was a sibling, not a parent, 281 00:16:44,584 --> 00:16:46,667 because she was a best friend, 282 00:16:46,751 --> 00:16:50,500 not a primary caregiver. 283 00:16:50,584 --> 00:16:55,083 And she got into trouble like we got into trouble. 284 00:16:55,167 --> 00:16:58,000 Steve had a feeling that family should be 285 00:16:58,083 --> 00:17:00,459 like "Father Knows Best," 286 00:17:00,542 --> 00:17:02,751 but we were not the usual family. 287 00:17:02,834 --> 00:17:06,125 We just kind of were bohemians growing up in suburbia. 288 00:17:09,375 --> 00:17:13,375 I went to a pet store one day, and there was a monkey 289 00:17:13,459 --> 00:17:17,042 sitting in a cage like this, fetal position. 290 00:17:17,125 --> 00:17:20,375 And the shopkeeper said the monkey was dying. 291 00:17:20,459 --> 00:17:23,918 He had been taken away from his mother and he was depressed. 292 00:17:24,000 --> 00:17:26,209 So, I come home, driving my jeep 293 00:17:26,292 --> 00:17:31,459 with a big cage in the back and a monkey in the cage. 294 00:17:31,542 --> 00:17:34,083 And I remember the kids freaked out. 295 00:17:34,167 --> 00:17:36,250 They were so scared. 296 00:17:36,334 --> 00:17:40,125 Steve said, "You know, in a normal household, 297 00:17:40,209 --> 00:17:42,250 kids say, 'Can we have a monkey?' 298 00:17:42,334 --> 00:17:44,918 And the mother says, 'Are you crazy?'" 299 00:17:45,000 --> 00:17:47,792 You know, when I hear my stories about 300 00:17:47,876 --> 00:17:52,375 the things I've done, I think, "That's crazy." 301 00:17:52,459 --> 00:17:54,375 Did you think she was crazy? 302 00:17:54,459 --> 00:17:56,250 I liked the monkey. 303 00:18:00,834 --> 00:18:03,751 As a child, I spent a lot of my time watching television, 304 00:18:03,834 --> 00:18:05,375 or listening to soundtrack albums, 305 00:18:05,459 --> 00:18:08,167 or just sitting around, looking at the clouds. 306 00:18:08,250 --> 00:18:10,209 My dad was always on me for that. 307 00:18:10,292 --> 00:18:11,834 He did not like me getting Cs, 308 00:18:11,918 --> 00:18:15,167 but school was not a place I was really drawn to. 309 00:18:15,250 --> 00:18:18,959 Steve was a kid that was sort of watchful and tentative 310 00:18:19,042 --> 00:18:20,918 and in some ways hesitant. 311 00:18:21,000 --> 00:18:23,876 You know, he wasn't like the normal kids in the neighborhood. 312 00:18:23,959 --> 00:18:25,959 He wasn't the muscle guy. 313 00:18:26,042 --> 00:18:28,500 You know, he got bullied a lot. 314 00:18:28,584 --> 00:18:29,918 That was tough. 315 00:18:31,584 --> 00:18:35,209 Most of my demons were self-inflicted wounds. 316 00:18:35,292 --> 00:18:37,125 They were things inside myself. 317 00:18:37,209 --> 00:18:38,751 The way I saw myself. 318 00:18:38,834 --> 00:18:42,959 I didn't have a lot of high esteem for myself, 319 00:18:43,042 --> 00:18:46,334 you know, growing up. 320 00:18:47,500 --> 00:18:49,876 I just was a lonely guy. 321 00:18:49,959 --> 00:18:51,667 I think that explained a lot 322 00:18:51,751 --> 00:18:55,250 of why and how he was compelled to make movies. 323 00:18:55,334 --> 00:18:57,250 It was not just a means of expression, 324 00:18:57,334 --> 00:18:58,834 but it was a means of escape, 325 00:18:58,918 --> 00:19:03,792 and it was a means of sometimes making friends with people 326 00:19:03,876 --> 00:19:06,250 that you couldn't otherwise, or getting to hang out 327 00:19:06,334 --> 00:19:08,185 with girls that you might not be able to otherwise, 328 00:19:08,209 --> 00:19:11,584 or just finding a way to have meaning. 329 00:19:11,667 --> 00:19:13,250 The camera was my pen. 330 00:19:13,334 --> 00:19:14,959 I wrote my stories through the lens. 331 00:19:15,042 --> 00:19:18,042 And when I was able to say "action" and "cut," 332 00:19:18,125 --> 00:19:20,292 I wrested control of my life. 333 00:19:32,167 --> 00:19:34,626 I love films like the "Sands of two Jima," 334 00:19:34,709 --> 00:19:36,500 the "Flying Tigers," "Battleground," 335 00:19:36,584 --> 00:19:38,500 films that I'd see on television. 336 00:19:38,584 --> 00:19:42,250 And I would watch these things over and over and over again. 337 00:19:42,334 --> 00:19:44,042 I was really influenced by all that stuff, 338 00:19:44,125 --> 00:19:45,542 and so my first couple of movies 339 00:19:45,626 --> 00:19:48,626 were stories about World War II. 340 00:19:48,709 --> 00:19:51,375 There was an airport with a bunch of World War II airplanes 341 00:19:51,459 --> 00:19:53,417 just sitting out there on the tarmac. 342 00:19:56,292 --> 00:19:59,459 I would take a shot of my friend with his finger on the stick 343 00:19:59,542 --> 00:20:02,334 and intercut actual 8mm combat footage. 344 00:20:02,417 --> 00:20:04,375 A lot of it shot by John Ford, by the way. 345 00:20:04,459 --> 00:20:06,209 And made a movie that looked like 346 00:20:06,292 --> 00:20:08,292 the production value was off the charts 347 00:20:08,375 --> 00:20:10,185 because the production value was off the charts. 348 00:20:10,209 --> 00:20:11,459 It was the real thing. 349 00:20:14,792 --> 00:20:16,417 You can just look at those movies, 350 00:20:16,500 --> 00:20:20,959 and you see the ability to tell a story without words. 351 00:20:21,042 --> 00:20:24,500 His use of primitive special effects was spectacular. 352 00:20:24,584 --> 00:20:26,334 You know, he'd have big bullet hits, 353 00:20:26,417 --> 00:20:27,834 he'd put little see-saws of dirt, 354 00:20:27,918 --> 00:20:29,375 so that when his actors were running, 355 00:20:29,459 --> 00:20:31,083 they'd step on one piece, 356 00:20:31,167 --> 00:20:32,976 and it would sort of catapult the dirt up in the air 357 00:20:33,000 --> 00:20:35,292 as if they were being shot as they were running. 358 00:20:35,375 --> 00:20:37,643 There were things that he did that just made complete sense. 359 00:20:37,667 --> 00:20:39,167 You saw the trajectory. 360 00:20:39,250 --> 00:20:41,167 There was something in the DNA of it that, 361 00:20:41,250 --> 00:20:43,000 despite it being shot on 8mm film, 362 00:20:43,083 --> 00:20:45,792 was the voice of that same filmmaker. 363 00:20:45,876 --> 00:20:47,876 But I didn't know anything about whether 364 00:20:47,959 --> 00:20:50,709 I was gonna have a career or where this was gonna go. 365 00:20:50,792 --> 00:20:52,685 I just knew that it filled up the time and it gave me 366 00:20:52,709 --> 00:20:55,209 a tremendous amount of satisfaction. 367 00:20:55,292 --> 00:20:57,792 And the second I finished a movie, I wanted to start a new one 368 00:20:57,876 --> 00:21:01,918 because I felt good about myself when I was making a film. 369 00:21:02,000 --> 00:21:03,834 But when I had too much time to think, 370 00:21:03,918 --> 00:21:09,167 all those scary whispers would start... start up. 371 00:21:09,250 --> 00:21:13,667 It was not fun to be me in between ideas or projects. 372 00:21:23,876 --> 00:21:26,500 The lore has it that as a young man, 373 00:21:26,584 --> 00:21:29,626 Steven was sort of the Phantom of the Opera, 374 00:21:29,709 --> 00:21:33,250 haunting the lot of Universal Studios. 375 00:21:33,334 --> 00:21:37,334 He would literally get on the lot 376 00:21:37,417 --> 00:21:39,417 one way or another. 377 00:21:39,500 --> 00:21:41,375 I got on the studio tour bus, 378 00:21:41,459 --> 00:21:43,209 took a jaunt around the back lot. 379 00:21:43,292 --> 00:21:46,000 And then at one point they give you a bathroom break, 380 00:21:46,083 --> 00:21:47,751 and I never came out of the bathroom. 381 00:21:47,834 --> 00:21:51,709 I waited till I could hear a pin drop, and then came out. 382 00:21:51,792 --> 00:21:53,918 The bus was gone and I was on the lot. 383 00:21:54,000 --> 00:21:56,876 Word was that he went upstairs 384 00:21:56,959 --> 00:21:59,500 in the tower and took an office on the sixth floor, 385 00:21:59,584 --> 00:22:01,751 and nobody bothered him for six months. 386 00:22:06,542 --> 00:22:09,584 The story was he requisitioned an office, 387 00:22:09,667 --> 00:22:12,334 telephone, put his name on the door. 388 00:22:12,417 --> 00:22:14,626 Eh, I don't believe it, but you know what they said 389 00:22:14,709 --> 00:22:16,751 in "The Man Who Shot Liberty Valance"... 390 00:22:16,834 --> 00:22:19,876 When the legend is bigger than the facts, print the legend. 391 00:22:19,959 --> 00:22:23,542 One time he sneaked onto Alfred Hitchcock's set 392 00:22:23,626 --> 00:22:25,417 and watched him direct a little bit 393 00:22:25,500 --> 00:22:28,959 until he got caught and was asked to leave. 394 00:22:29,042 --> 00:22:31,417 Steve was constantly learning, 395 00:22:31,500 --> 00:22:34,167 constantly looking, constantly asking questions 396 00:22:34,250 --> 00:22:36,584 from all of the tradespeople... 397 00:22:36,667 --> 00:22:39,709 Cinematographer, lighting, editors. 398 00:22:39,792 --> 00:22:45,042 It was like Spielberg 101 in overdrive. 399 00:22:45,125 --> 00:22:48,000 I tried very hard to get into USC Film School, 400 00:22:48,083 --> 00:22:49,768 and I just didn't have the grades to get in. 401 00:22:49,792 --> 00:22:51,472 And I even had a personal interview at USC, 402 00:22:51,500 --> 00:22:53,250 and they turned me down even in person. 403 00:22:53,334 --> 00:22:55,500 So, Universal became my film school. 404 00:23:00,000 --> 00:23:03,000 Steven was laser focused. 405 00:23:03,083 --> 00:23:07,959 He never lost sight of the fact that the audience early on, for him, 406 00:23:08,042 --> 00:23:09,792 wasn't the audience in the theater. 407 00:23:09,876 --> 00:23:13,292 The audience were the studio executives. 408 00:23:13,375 --> 00:23:16,417 And he figured out how to make a film 409 00:23:16,500 --> 00:23:19,542 that will convince the studio executives that, 410 00:23:19,626 --> 00:23:22,083 "Yes, I have the talent to be a director. 411 00:23:22,167 --> 00:23:23,959 This is what I can do." 412 00:23:28,459 --> 00:23:31,918 I looked at this film, and I was very taken with it. 413 00:23:32,000 --> 00:23:34,667 I had a very strong feeling 414 00:23:34,751 --> 00:23:38,584 that this was not your average young filmmaker. 415 00:23:38,667 --> 00:23:42,834 Sid Sheinberg, who was President of Universal Television at the time, 416 00:23:42,918 --> 00:23:45,584 he said, "So, sir, I saw your film. 417 00:23:45,667 --> 00:23:47,125 Very well made. 418 00:23:47,209 --> 00:23:49,626 I'd like to offer you a seven-year contract 419 00:23:49,709 --> 00:23:52,125 to come to Universal to direct television." 420 00:23:52,209 --> 00:23:55,667 He said, "If you sign with us, 421 00:23:55,751 --> 00:24:00,209 I will support you as strongly in failure 422 00:24:00,292 --> 00:24:02,792 as I will in success." 423 00:24:02,876 --> 00:24:05,083 And he was true to his word. 424 00:24:05,167 --> 00:24:09,751 And that was the beginning of the most important relationship 425 00:24:09,834 --> 00:24:12,125 I could ever imagine having in this business. 426 00:24:12,209 --> 00:24:15,459 Steven was known as the uncrowned prince. 427 00:24:15,542 --> 00:24:17,334 He was the guy who was gonna make it. 428 00:24:17,417 --> 00:24:20,292 I mean, he was directing Joan Crawford 429 00:24:20,375 --> 00:24:22,918 when he was 20. 430 00:24:23,000 --> 00:24:25,542 That'll teach you a lot of things. 431 00:24:25,626 --> 00:24:28,876 Joan Crawford is the first professional SAG member 432 00:24:28,959 --> 00:24:31,876 I ever directed in my life! 433 00:24:31,959 --> 00:24:34,959 I want to see something! 434 00:24:35,042 --> 00:24:40,417 Trees, concrete, buildings, grass, airplanes, color! 435 00:24:40,500 --> 00:24:43,375 It was Cassavetes who said, "If you want to be a real filmmaker, 436 00:24:43,459 --> 00:24:45,500 you can't be afraid of anything or anybody." 437 00:24:45,584 --> 00:24:47,292 And Steven's not. 438 00:24:47,375 --> 00:24:49,393 He's there with Joan Crawford who wants him out every day. 439 00:24:49,417 --> 00:24:53,417 And he's gotta shoot and be on schedule and be good, 440 00:24:53,500 --> 00:24:55,667 meaning that it has to have a vision. 441 00:24:55,751 --> 00:24:57,667 The shots have to have a point of view. 442 00:24:57,751 --> 00:24:59,918 But after "Night Gallery" came out, 443 00:25:00,000 --> 00:25:03,334 there was a lot of criticism on the fact that I was a novelty item. 444 00:25:03,417 --> 00:25:06,083 The youngest term director ever put under contract in history. 445 00:25:06,167 --> 00:25:09,542 And the producers who were doing the hiring wouldn't hire me. 446 00:25:09,626 --> 00:25:11,250 There was a lot of hostility, 447 00:25:11,334 --> 00:25:13,626 and I had to prove myself to everybody. 448 00:25:13,709 --> 00:25:16,918 You know, they looked at me as sort of Sheinberg's folly. 449 00:25:17,000 --> 00:25:20,250 He underwrote me. Let him find me work. 450 00:25:24,918 --> 00:25:27,000 I had wanted to direct, 451 00:25:27,083 --> 00:25:30,083 and Steven walks in, and he's a kid! 452 00:25:30,167 --> 00:25:32,334 And I'm envious as hell right away. 453 00:25:34,250 --> 00:25:36,292 Steven's able to walk into a room, 454 00:25:36,375 --> 00:25:38,792 look for a second or two, say, "Here. Here. 455 00:25:38,876 --> 00:25:41,959 Move that here. Give me a 25mm here. 456 00:25:42,042 --> 00:25:43,876 Put it this way. Face forward. 457 00:25:44,000 --> 00:25:45,959 Move it. Silhouette here. 458 00:25:46,042 --> 00:25:47,602 Two takes, three takes. That's enough. Thanks. 459 00:25:47,626 --> 00:25:49,292 Let's move on." It was amazing. 460 00:25:49,375 --> 00:25:51,918 Steven had a gear in his brain 461 00:25:52,000 --> 00:25:56,125 that automatically translated words into pictures 462 00:25:56,209 --> 00:26:00,000 almost without it being a conscious process for him. 463 00:26:00,083 --> 00:26:03,667 There was a unique visual voice there 464 00:26:03,751 --> 00:26:06,667 that you had to not only pay attention to, 465 00:26:06,751 --> 00:26:11,250 but you had to give somewhat of a free rein to. 466 00:26:32,250 --> 00:26:35,792 My early themes always had the underdog being pursued 467 00:26:35,876 --> 00:26:38,000 by indomitable forces 468 00:26:38,083 --> 00:26:41,500 of both nature and natural enemies, 469 00:26:41,584 --> 00:26:45,417 and that person has to rise to the occasion to survive. 470 00:26:45,500 --> 00:26:47,292 And a lot of that comes just from 471 00:26:47,375 --> 00:26:49,500 the insecurities I felt as a kid 472 00:26:49,584 --> 00:26:52,626 and how that bled over into the work. 473 00:26:52,709 --> 00:26:56,334 I was always the kid with the big bully, 474 00:26:56,417 --> 00:26:59,250 and "Duel" was my life in the schoolyard. 475 00:26:59,334 --> 00:27:02,834 The truck was the bully, and the car was me. 476 00:27:07,000 --> 00:27:08,959 I was over at Francis Coppola's, 477 00:27:09,042 --> 00:27:11,250 and "Duel" was gonna be shown that night, 478 00:27:11,334 --> 00:27:14,083 so I sort of snuck away from the party 479 00:27:14,167 --> 00:27:16,560 and said, "I wanna see this film. I wanna see what this kid did." 480 00:27:16,584 --> 00:27:18,876 I was sort of on the fence about Steven. 481 00:27:18,959 --> 00:27:20,626 I said, "Knows what he's doing, 482 00:27:20,709 --> 00:27:23,209 nice, but a little too Hollywoody for my taste." 483 00:27:23,292 --> 00:27:25,292 I saw "Amblin'," and I thought "Amblin'" was nice, 484 00:27:25,375 --> 00:27:28,834 but it wasn't... you know, it was very, very flashy. 485 00:27:28,918 --> 00:27:30,876 It was very, very professional. 486 00:27:30,959 --> 00:27:33,000 And for the rest of us, we were all rough-edged, 487 00:27:33,083 --> 00:27:35,751 crazy guys that were doing much more dirty work. 488 00:27:35,834 --> 00:27:37,643 So, I thought, "Well, I'll watch the first half hour 489 00:27:37,667 --> 00:27:40,542 and just see what he's up to." 490 00:27:40,626 --> 00:27:42,334 And I ended up watching the whole thing. 491 00:27:42,417 --> 00:27:46,167 And I came down to Francis, I said, "This guy's amazing. 492 00:27:46,250 --> 00:27:47,918 You really gotta look at this film." 493 00:27:54,751 --> 00:27:57,209 Right off the bat, it was clear 494 00:27:57,292 --> 00:28:02,709 that no one moved the camera like Steven Spielberg. 495 00:28:05,209 --> 00:28:09,417 Other directors had a fantastic sense of space. 496 00:28:09,500 --> 00:28:11,709 Orson Welles, you name it, 497 00:28:11,792 --> 00:28:14,375 people who understood composition. 498 00:28:17,375 --> 00:28:19,959 But the way that Spielberg's camera 499 00:28:20,042 --> 00:28:22,167 moved through a shot 500 00:28:22,250 --> 00:28:25,167 and then ended up somewhere that completely shifted 501 00:28:25,250 --> 00:28:27,542 or intensified the emotion of the scene, 502 00:28:27,626 --> 00:28:30,375 that was just a natural gift he had. 503 00:28:30,459 --> 00:28:32,709 Who knows where that came from. 504 00:28:32,792 --> 00:28:35,667 Who... but it was his own technique. 505 00:28:35,751 --> 00:28:37,626 "Duel" was a composition 506 00:28:37,709 --> 00:28:40,500 that had a very elusive and interesting theme. 507 00:28:40,584 --> 00:28:42,792 You know, this unknown menace. 508 00:28:42,876 --> 00:28:46,500 Everyone's been on a road and some idiot has crossed in front of you, 509 00:28:46,584 --> 00:28:50,792 and, you know, you're tempted to rev up fast 510 00:28:50,876 --> 00:28:52,417 and go do something nasty to him. 511 00:28:52,500 --> 00:28:56,209 And here he took this and made it into a parable. 512 00:29:08,626 --> 00:29:10,083 When ABC saw "Duel," 513 00:29:10,167 --> 00:29:12,709 they were very excited by what they were seeing. 514 00:29:12,792 --> 00:29:15,834 But at the very, very end when the truck did not explode 515 00:29:15,918 --> 00:29:18,000 in a pyrotechnics display, 516 00:29:18,083 --> 00:29:19,667 George Eckstein called me and said, 517 00:29:19,751 --> 00:29:23,000 "Network's really upset that the truck didn't blow up, 518 00:29:23,083 --> 00:29:26,334 so they're ordering us to go back to that cliff 519 00:29:26,417 --> 00:29:28,000 and blow the truck up." 520 00:29:28,083 --> 00:29:29,667 And I said, "I'm not gonna do it." 521 00:29:31,959 --> 00:29:33,876 The death of the truck is so agonizing. 522 00:29:33,959 --> 00:29:36,959 I said, "I made that truck die slowly." 523 00:29:37,042 --> 00:29:40,334 The oil, like blood, dripping off the steering wheel. 524 00:29:40,417 --> 00:29:43,167 The wheel slowly rolling to a stop. 525 00:29:43,250 --> 00:29:46,584 The fan still going, but the truck's dying. 526 00:29:46,667 --> 00:29:48,209 I mean, it's the death of the truck. 527 00:29:48,292 --> 00:29:50,542 That's what the audience wants to see. 528 00:29:50,626 --> 00:29:53,125 This criminal element paying... 529 00:29:53,209 --> 00:29:56,209 You know, paying the price for what it did to this man. 530 00:29:56,292 --> 00:30:00,209 I wouldn't do it. I wouldn't blow up the truck. 531 00:30:00,292 --> 00:30:03,959 For Steven, the little screen was an interesting canvas, 532 00:30:04,042 --> 00:30:07,042 and obviously he painted on it very well, 533 00:30:07,125 --> 00:30:09,334 but he knew that this screen 534 00:30:09,417 --> 00:30:13,250 simply wasn't a large enough canvas. 535 00:30:21,751 --> 00:30:23,542 He's a director who know 536 00:30:23,626 --> 00:30:25,751 how important cinematography is, 537 00:30:25,834 --> 00:30:30,125 and the way Steven directed "Sugarland Express" was so fresh, 538 00:30:30,209 --> 00:30:32,375 you know, because everything was on location. 539 00:30:32,459 --> 00:30:36,709 And half of the movie was inside of a police car. 540 00:30:36,792 --> 00:30:39,542 And that was difficult thing to... 541 00:30:39,626 --> 00:30:41,417 To keep that alive all the time. 542 00:30:41,500 --> 00:30:43,500 You know, the angles and all that. 543 00:30:45,500 --> 00:30:47,125 I see lights, a whole bunch. 544 00:30:47,209 --> 00:30:49,042 For me, directing is camerawork, 545 00:30:49,125 --> 00:30:51,209 and so I'm very on the front line of that. 546 00:30:51,292 --> 00:30:53,792 I've gotta set up the shot, I've gotta block the actors, 547 00:30:53,876 --> 00:30:55,792 choreograph the movement of the scene, 548 00:30:55,876 --> 00:30:57,459 bring the camera into the choreography, 549 00:30:57,542 --> 00:30:59,310 figure out when the camera stops, how it moves, 550 00:30:59,334 --> 00:31:01,167 how far it moves, what the composition is, 551 00:31:01,250 --> 00:31:03,610 so I've always got my eye on the lens, and that's what I do. 552 00:31:03,667 --> 00:31:05,375 I even pick the lens I want. 553 00:31:12,167 --> 00:31:14,125 His strength is really the ability 554 00:31:14,209 --> 00:31:17,792 to be able to tell a story in pictures instinctively. 555 00:31:17,876 --> 00:31:21,918 I sometimes watch his pictures on TV without the sound 556 00:31:22,000 --> 00:31:24,667 just to see the pictures. 557 00:31:29,125 --> 00:31:33,959 Pauline Kael, one of the most influential film critics of all time, 558 00:31:34,042 --> 00:31:36,626 wrote in "The New Yorker" that Steven Spielberg had made 559 00:31:36,709 --> 00:31:40,751 one of the most phenomenal debuts in the history of film. 560 00:31:40,834 --> 00:31:42,209 She compared him to Howard Hawks 561 00:31:42,292 --> 00:31:47,250 in terms of how natural his feel for the medium was. 562 00:31:47,334 --> 00:31:48,918 What Kael saw in Spielberg 563 00:31:49,000 --> 00:31:52,334 was someone with a real movie sense, 564 00:31:52,417 --> 00:31:54,584 but she also said she wasn't necessarily sure 565 00:31:54,667 --> 00:31:56,918 there was great depth to go with it. 566 00:31:57,000 --> 00:32:00,792 She didn't see a sign of an emerging film artist 567 00:32:00,876 --> 00:32:02,334 like Martin Scorsese. 568 00:32:02,417 --> 00:32:05,375 What she saw instead was the birth 569 00:32:05,459 --> 00:32:08,959 of a new generation Hollywood hand. 570 00:32:11,667 --> 00:32:14,876 Martin Scorsese, filmmaker of "Mean Streets." 571 00:32:14,959 --> 00:32:17,250 This is Brian De Palma, loud as ever. 572 00:32:20,792 --> 00:32:23,792 - George and Marcia Lucas. - Hi! 573 00:32:23,876 --> 00:32:25,459 And this is Steven. 574 00:32:25,542 --> 00:32:27,417 Get the camera arranged. Great. 575 00:32:33,167 --> 00:32:36,500 In the mid to late '60s, there was a major change 576 00:32:36,584 --> 00:32:38,209 in the Hollywood studio system. 577 00:32:38,292 --> 00:32:40,172 It was a very different world they had to serve, 578 00:32:40,209 --> 00:32:42,375 and there was a new freedom, too. 579 00:32:42,459 --> 00:32:45,626 So, suddenly the doors were open for young directors 580 00:32:45,709 --> 00:32:49,542 with very crazy, seemingly original ideas. 581 00:32:49,626 --> 00:32:52,626 It's almost like, you know, crashing a party. 582 00:32:54,959 --> 00:32:58,000 Yeah, people were on the way out, and we were going in. 583 00:32:58,083 --> 00:33:00,042 We were absolutely obsessed with movies, 584 00:33:00,125 --> 00:33:02,375 but we certainly didn't look at it as a career. 585 00:33:02,459 --> 00:33:04,393 We didn't think we were ever gonna make any money at it. 586 00:33:04,417 --> 00:33:06,834 There was George and Francis, 587 00:33:06,918 --> 00:33:09,459 and then there was Marty and me, 588 00:33:09,542 --> 00:33:12,042 and then there was Steven. 589 00:33:12,125 --> 00:33:13,834 We came from different places, 590 00:33:13,918 --> 00:33:18,292 but needless to say, we were always very happy to be together. 591 00:33:18,375 --> 00:33:21,876 When we got together, it was like a fraternity of directors. 592 00:33:21,959 --> 00:33:25,584 George, put the camera on the table, on... 593 00:33:25,667 --> 00:33:27,083 I'm gonna hit a ball into the lens, 594 00:33:27,167 --> 00:33:31,083 and you pick the camera up at the last moment. 595 00:33:31,167 --> 00:33:33,542 When I got into the group of the Movie Brats, 596 00:33:33,626 --> 00:33:35,626 as somebody once called us, 597 00:33:35,709 --> 00:33:38,000 I never... it was the first time I felt like an insider. 598 00:33:44,959 --> 00:33:48,083 We were very, very fortunate to be part of that time. 599 00:33:48,167 --> 00:33:49,834 The culture was converging. 600 00:33:49,918 --> 00:33:51,083 That's Albert. 601 00:33:51,167 --> 00:33:53,375 It was filmmakers, it was artists, 602 00:33:53,459 --> 00:33:55,292 musicians, performers. 603 00:33:55,375 --> 00:33:58,167 It was an incredible, fertile time. 604 00:33:58,250 --> 00:34:00,292 And here we have Amy Irving in the car. 605 00:34:00,375 --> 00:34:02,602 Brian De Palma introduced us when she was making "Carrie." 606 00:34:02,626 --> 00:34:05,626 - That's how we first met. - Then they started - to go out together. 607 00:34:05,709 --> 00:34:08,000 They were together and then they were apart, 608 00:34:08,083 --> 00:34:09,959 and then they got back together again. 609 00:34:10,042 --> 00:34:12,542 - Amy half dressed. - As usual, sewing. 610 00:34:12,626 --> 00:34:15,584 Yes, sewing Steven's pants to get him ready 611 00:34:15,667 --> 00:34:17,918 for the big day that's coming very soon. 612 00:34:18,000 --> 00:34:20,000 Noogies, noogies. 613 00:34:20,083 --> 00:34:21,375 Steven was a nerd. 614 00:34:21,459 --> 00:34:23,959 Master of the world! 615 00:34:24,042 --> 00:34:26,042 A loveable nerd, but he was a nerd. 616 00:34:26,125 --> 00:34:31,584 He was not into sports or drugs or rock 'n' roll, 617 00:34:31,667 --> 00:34:34,792 but he was passionate and he was so enthusiastic. 618 00:34:34,876 --> 00:34:36,751 He used to love to talk about film, 619 00:34:36,834 --> 00:34:39,042 and it was infectious, his enthusiasm. 620 00:34:39,125 --> 00:34:41,500 Steven had the first car phone. 621 00:34:41,584 --> 00:34:42,751 It's ringing. 622 00:34:42,834 --> 00:34:46,083 So, Steven and I used to go around 623 00:34:46,167 --> 00:34:50,500 and call up a girl and say, "Well, let's get together," and she'd say, "Fine." 624 00:34:50,584 --> 00:34:53,542 And then of course we'd be parked right outside her house. 625 00:34:53,626 --> 00:34:56,792 That was like... I would say... 626 00:34:56,876 --> 00:34:59,209 It may seem extremely silly now, 627 00:34:59,292 --> 00:35:01,626 but in those days it was like a miracle. 628 00:35:01,709 --> 00:35:04,250 He was fun. He was fun to be around. 629 00:35:04,334 --> 00:35:06,792 I'm Julia Child, the French chef. 630 00:35:08,459 --> 00:35:12,542 Today we are carving... turkey for Thanksgiving! 631 00:35:12,626 --> 00:35:14,792 We were all struggling 632 00:35:14,876 --> 00:35:17,125 with our first very unsuccessful attempts 633 00:35:17,209 --> 00:35:20,000 to penetrate the Hollywood establishment, 634 00:35:20,083 --> 00:35:22,459 but Steven was working all the time. 635 00:35:22,542 --> 00:35:25,834 Steven always was a creature of the studio, 636 00:35:25,918 --> 00:35:30,667 and his thinking and his methodology went that direction, 637 00:35:30,751 --> 00:35:32,459 and he became a master of it. 638 00:35:32,542 --> 00:35:35,459 He was very fortunate that the kind of movie 639 00:35:35,542 --> 00:35:39,042 he really had a sense for was also the kind of movie 640 00:35:39,125 --> 00:35:40,667 that the audience had a sense for. 641 00:35:40,751 --> 00:35:42,111 We are now in the Scorsese kitchen. 642 00:35:42,167 --> 00:35:45,542 We are going to show "Hell's Angels." 643 00:35:45,626 --> 00:35:47,584 We all gravitated towards each other. 644 00:35:47,667 --> 00:35:50,667 We had that one thing that kept us all together, the one element. 645 00:35:50,751 --> 00:35:55,584 The one kind of a madness and an obsession with movies. 646 00:35:55,667 --> 00:35:57,375 We were consulting with each other, 647 00:35:57,459 --> 00:36:00,667 and unabashedly giving opinions about each other's works. 648 00:36:00,751 --> 00:36:02,500 It was very much that way, 649 00:36:02,584 --> 00:36:04,417 but we were still competitive. 650 00:36:04,500 --> 00:36:06,167 "Come and see my movie. 651 00:36:06,250 --> 00:36:08,375 Sit down... sit here. The sound's best here." 652 00:36:08,459 --> 00:36:10,250 And blow the other guy away. 653 00:36:10,334 --> 00:36:13,292 Everybody was sort of forced to do a better job 654 00:36:13,375 --> 00:36:14,584 to impress everybody, 655 00:36:14,667 --> 00:36:16,584 because Marty had done this movie, 656 00:36:16,667 --> 00:36:18,334 or Francis had done that movie. 657 00:36:18,417 --> 00:36:20,209 They became like the acid test. 658 00:36:20,292 --> 00:36:24,667 You get some real grounding and you hope an honesty... 659 00:36:24,751 --> 00:36:26,334 Maybe not too honest. 660 00:36:29,709 --> 00:36:31,042 George showed a bunch of us. 661 00:36:31,125 --> 00:36:32,542 "Star Wars" for the first time, 662 00:36:32,626 --> 00:36:34,209 and there were no effects in yet. 663 00:36:34,292 --> 00:36:36,876 It was just World War II, black-and-white stock footage 664 00:36:36,959 --> 00:36:40,209 intercut with blue screen production color footage, 665 00:36:40,292 --> 00:36:41,572 and then showed that movie to us, 666 00:36:41,626 --> 00:36:43,542 expecting us to be able to see the movie. 667 00:36:43,626 --> 00:36:45,250 It was basically a children's film. 668 00:36:45,334 --> 00:36:47,059 You know, it wasn't what the other friends of mine 669 00:36:47,083 --> 00:36:49,334 would think of as something really worthwhile. 670 00:36:49,417 --> 00:36:52,125 Steven was the one person who was really enthusiastic about it 671 00:36:52,209 --> 00:36:54,250 and said, "This is gonna be a huge smash." 672 00:36:54,334 --> 00:36:56,101 But George said, "I think it's gonna be a disaster." 673 00:36:56,125 --> 00:36:57,792 He was very depressed, and we all went 674 00:36:57,876 --> 00:37:00,209 to a Chinese restaurant after the film was over, 675 00:37:00,292 --> 00:37:04,042 and Brian stood up and started to geschrei about, 676 00:37:04,125 --> 00:37:07,500 "What's going on around here? I don't understand the story. 677 00:37:07,584 --> 00:37:09,626 Who are these people? Who's the hairy guy? 678 00:37:09,709 --> 00:37:12,834 Where do they come from? Where's the context? 679 00:37:12,918 --> 00:37:15,000 Where's the backstory? It's driving me crazy." 680 00:37:15,083 --> 00:37:16,584 Brian went off on George. 681 00:37:16,667 --> 00:37:18,584 And George just sat there. He turned red. 682 00:37:18,667 --> 00:37:20,709 George, I think, wanted to kill him. 683 00:37:20,792 --> 00:37:23,083 But out of all that, something great came. 684 00:37:23,167 --> 00:37:26,375 Brian basically said, "You need, like, an old-fashioned movie 685 00:37:26,459 --> 00:37:28,542 to start the picture with a foreword, 686 00:37:28,626 --> 00:37:31,292 and all these words come on the screen, and they travel up, 687 00:37:31,375 --> 00:37:34,000 and the foreword tells you what the hell you're looking at 688 00:37:34,083 --> 00:37:37,083 and why you're in the theater and what the mythology is. 689 00:37:37,167 --> 00:37:38,918 Tell us what this world is, 690 00:37:39,000 --> 00:37:40,751 and then we can enjoy the picture." 691 00:37:40,834 --> 00:37:43,334 And that was the birth of the famous prologue. 692 00:37:43,417 --> 00:37:46,667 Steven came to visit me when I was shooting "Scarface," 693 00:37:46,751 --> 00:37:48,334 and I gave him one of the units 694 00:37:48,417 --> 00:37:52,417 to shoot the Colombians coming up the staircase. 695 00:37:52,500 --> 00:37:55,167 Say hello to my little friend. 696 00:37:55,250 --> 00:37:57,459 So, we were just shooting people getting shot 697 00:37:57,542 --> 00:37:59,626 for a couple of weeks. 698 00:37:59,709 --> 00:38:02,209 We all had great respect for each other's work, 699 00:38:02,292 --> 00:38:04,417 and we were just trying to help each other out 700 00:38:04,500 --> 00:38:07,751 when we would see things that we thought could be improved. 701 00:38:07,834 --> 00:38:09,459 All right, now I am turning the... 702 00:38:09,542 --> 00:38:11,417 The camera over to our new director... 703 00:38:11,500 --> 00:38:15,584 That's the worst swish pan I've ever seen. 704 00:38:15,667 --> 00:38:17,500 The worst swish pan I've ever seen. 705 00:38:17,584 --> 00:38:19,375 He's shooting me. I'm totally in darkness. 706 00:38:19,459 --> 00:38:21,250 How do you expect to see anything? 707 00:38:21,334 --> 00:38:23,792 It's kind of like what happened in Paris in the '20s. 708 00:38:23,876 --> 00:38:26,709 You know, you get a group of people, they're all crazy people, 709 00:38:26,792 --> 00:38:30,292 and they're controversial and doing the same struggle, 710 00:38:30,375 --> 00:38:32,101 but you sort of look at it later and you say, 711 00:38:32,125 --> 00:38:33,405 "How could that whole group..." 712 00:38:33,459 --> 00:38:36,334 The whole group became successful 713 00:38:36,417 --> 00:38:39,167 and dominated the film business. 714 00:38:39,250 --> 00:38:40,500 It's like, how could that be? 715 00:38:40,584 --> 00:38:42,542 We were just a bunch of crazy kids. 716 00:38:42,626 --> 00:38:45,000 But, you know, I think a lot of it was really love of film 717 00:38:45,083 --> 00:38:48,792 and all desperate to make film any way we could. 718 00:39:09,709 --> 00:39:11,125 Oh, my God. 719 00:39:14,334 --> 00:39:16,584 - When you're watching. - Steven's movies, 720 00:39:16,667 --> 00:39:19,876 you feel like you're in the presence of something mysterious 721 00:39:19,959 --> 00:39:23,542 and inexpressible and poetic. 722 00:39:23,626 --> 00:39:25,459 Enjoying very simple pleasures... 723 00:39:25,542 --> 00:39:28,918 Being scared, being amused, being dazzled. 724 00:39:43,209 --> 00:39:44,876 I had been very influenced 725 00:39:44,959 --> 00:39:47,709 by how far Stanley Kubrick took "2001: A Space Odyssey" 726 00:39:47,792 --> 00:39:50,667 into the world of, really, expressionist art, 727 00:39:50,751 --> 00:39:54,459 and I wanted to take "Close Encounters" even further. 728 00:39:56,417 --> 00:39:58,792 I really wanted the audience to look at the screen and say, 729 00:39:58,876 --> 00:40:00,751 "I'm having a sighting," 730 00:40:00,834 --> 00:40:03,292 but I wasn't sure any of this was gonna work. 731 00:40:04,626 --> 00:40:06,375 It was very risky. 732 00:40:06,459 --> 00:40:07,918 The effects for "Close Encounters" 733 00:40:08,000 --> 00:40:09,959 basically had never been done before. 734 00:40:10,042 --> 00:40:13,500 He shot the people with a motion control camera, 735 00:40:13,584 --> 00:40:15,667 making the camera move, pan, tilt, 736 00:40:15,751 --> 00:40:17,334 whatever he want to do. 737 00:40:17,417 --> 00:40:20,292 And then that's recorded, actually, on a tape, 738 00:40:20,375 --> 00:40:23,417 and then when Doug Trumbull, the special effects supervisor, 739 00:40:23,500 --> 00:40:26,417 goes back to the post production facilities, 740 00:40:26,500 --> 00:40:29,667 he can actually duplicate exactly that camera move. 741 00:40:29,751 --> 00:40:32,709 So, when you married the two images, they were perfect, 742 00:40:32,792 --> 00:40:36,000 and you could have, for really about the first time, 743 00:40:36,083 --> 00:40:37,500 moving special effects. 744 00:40:37,584 --> 00:40:39,624 Always before, you had to kind of sit there quietly, 745 00:40:39,667 --> 00:40:41,792 because if you moved, it would destroy everything. 746 00:40:41,876 --> 00:40:43,334 Everybody is doing that today. 747 00:40:43,417 --> 00:40:46,042 They could not be doing those effect movies 748 00:40:46,125 --> 00:40:50,667 unless Steven and Doug didn't try all these things already. 749 00:40:53,542 --> 00:40:57,125 The stakes were so high for Steven on "Close Encounters." 750 00:40:57,209 --> 00:41:00,125 Columbia Pictures was literally on the verge of bankruptcy, 751 00:41:00,209 --> 00:41:03,375 and they bet the farm on this movie. 752 00:41:03,459 --> 00:41:06,751 He had bankers and Hollywood breathing down his neck 753 00:41:06,834 --> 00:41:09,792 to prove to the world that "Jaws" wasn't a fluke. 754 00:41:09,876 --> 00:41:14,375 So, Steven had a giant responsibility on his shoulders, 755 00:41:14,459 --> 00:41:17,709 but he had to stay true to what worked for him, 756 00:41:17,792 --> 00:41:19,459 or it wasn't gonna be a good film. 757 00:41:19,542 --> 00:41:21,375 And he did. 758 00:41:21,459 --> 00:41:24,584 Win or lose, he made the movie that he had dreamed of making. 759 00:41:27,918 --> 00:41:29,667 When I was a kid, my dad took me to watch 760 00:41:29,751 --> 00:41:32,834 the Perseid meteor shower and introduced me to the sky 761 00:41:32,918 --> 00:41:35,167 as a place of unspeakable wonders. 762 00:41:35,250 --> 00:41:38,542 And because it was such a beautiful experience for me, 763 00:41:38,626 --> 00:41:41,459 the heavens promised if there was ever gonna be, 764 00:41:41,542 --> 00:41:44,375 you know, a first meeting 765 00:41:44,459 --> 00:41:47,209 between an extraterrestrial civilization and our own, 766 00:41:47,292 --> 00:41:50,876 it would only be benign and constructive. 767 00:41:50,959 --> 00:41:52,417 It would be a conversation. 768 00:42:01,834 --> 00:42:03,667 When these extraterrestrials are coming here, 769 00:42:03,751 --> 00:42:05,292 we don't know what they can speak, 770 00:42:05,375 --> 00:42:07,059 what they understand, or even what they see, 771 00:42:07,083 --> 00:42:09,292 so Steven had this idea that communication 772 00:42:09,375 --> 00:42:13,375 should be a combination of sound and light. 773 00:42:24,042 --> 00:42:26,250 I had first thought mathematics would be 774 00:42:26,334 --> 00:42:28,709 the common language between intergalactic species, 775 00:42:28,792 --> 00:42:31,334 but I thought it would be much more emotional 776 00:42:31,417 --> 00:42:34,792 if music was how we spoke to one another. 777 00:42:39,542 --> 00:42:41,709 I don't search for films consciously 778 00:42:41,792 --> 00:42:44,292 that have a spiritual core. 779 00:42:44,375 --> 00:42:46,459 There's a spiritual part of myself that happens 780 00:42:46,542 --> 00:42:50,083 to bleed over into the work, and so I subconsciously, 781 00:42:50,167 --> 00:42:52,542 which is the only choice that's important, 782 00:42:52,626 --> 00:42:56,834 will find things that inherently have something of a belief system 783 00:42:56,918 --> 00:42:59,542 that's beyond our understanding, that's a little bit out there. 784 00:42:59,626 --> 00:43:03,375 "Close Encounters" was much more a personal statement 785 00:43:03,459 --> 00:43:05,709 than his previous two movies had been. 786 00:43:05,792 --> 00:43:08,000 I mean, he wrote the script. 787 00:43:08,083 --> 00:43:10,500 It really meant a huge amount to Steven. 788 00:43:10,584 --> 00:43:12,626 Its genesis was from a film 789 00:43:12,709 --> 00:43:15,042 I had actually written and directed when I was 17. 790 00:43:18,417 --> 00:43:21,876 It was the story of man's first contact with UFOs. 791 00:43:23,876 --> 00:43:28,834 And there were actually UFOs in "Firelight" that I created. 792 00:43:28,918 --> 00:43:31,792 I saw a lot of movies, and I had a whole card catalogue in my brain 793 00:43:31,876 --> 00:43:33,667 of the things I had seen. 794 00:43:33,751 --> 00:43:36,250 And just by watching movies with special effects in them, 795 00:43:36,334 --> 00:43:39,459 I could figure most everything out. 796 00:43:39,542 --> 00:43:41,792 In a way, he had lived with "Close Encounters" 797 00:43:41,876 --> 00:43:44,500 since he was a child. 798 00:43:44,584 --> 00:43:48,042 And he had a vision in a real palpable sense 799 00:43:48,125 --> 00:43:50,167 of what this movie should feel like 800 00:43:50,250 --> 00:43:51,709 when you experience the movie. 801 00:43:53,375 --> 00:43:56,334 Steven doesn't want to make little personal movies. 802 00:43:56,417 --> 00:43:59,292 He wants to make big personal movies. 803 00:43:59,375 --> 00:44:01,542 That's not right. That's not right. 804 00:44:04,959 --> 00:44:06,417 That's not right. 805 00:44:08,626 --> 00:44:10,209 That's not right. 806 00:44:13,709 --> 00:44:15,667 I identified with this obsession 807 00:44:15,751 --> 00:44:18,042 that Richard Dreyfuss was struggling with. 808 00:44:18,125 --> 00:44:19,792 I was Neary in that movie. 809 00:44:21,584 --> 00:44:24,292 Something opens up his imagination 810 00:44:24,375 --> 00:44:26,000 to go for something that he thinks 811 00:44:26,083 --> 00:44:29,459 is going to provide some cathartic answer. 812 00:44:29,542 --> 00:44:32,000 He had to go through chaos 813 00:44:32,083 --> 00:44:34,417 to reach some kind of clarity. 814 00:44:34,500 --> 00:44:36,417 He was an artist trying to plumb 815 00:44:36,500 --> 00:44:39,167 the depths of his imagination. 816 00:44:39,250 --> 00:44:40,751 And so I think in a sense. 817 00:44:40,834 --> 00:44:42,542 "Close Encounters" is maybe the most, 818 00:44:42,626 --> 00:44:44,626 at least certainly the most personal film 819 00:44:44,709 --> 00:44:47,417 I had made up to that point, 820 00:44:47,500 --> 00:44:50,584 because it was also about the dissolution of a family. 821 00:45:08,042 --> 00:45:11,083 I remember when we moved to Northern California from Arizona. 822 00:45:11,167 --> 00:45:14,751 I had sensed that things weren't going well with my parents. 823 00:45:14,834 --> 00:45:16,584 And one day, my dad just broke down, 824 00:45:16,667 --> 00:45:18,626 and I never had seen my dad cry before. 825 00:45:18,709 --> 00:45:20,375 And I just stood there in the kitchen, 826 00:45:20,459 --> 00:45:22,959 outraged that my father was not a man. 827 00:45:23,042 --> 00:45:25,542 He was crying like a little boy. 828 00:45:25,626 --> 00:45:29,000 And I started screaming "crybaby" at him as loud as I could. 829 00:45:29,083 --> 00:45:31,751 Just started screaming, "Crybaby, you crybaby, you crybaby," 830 00:45:31,834 --> 00:45:33,310 until they pushed me out of the kitchen. 831 00:45:33,334 --> 00:45:36,083 Roy, promise me that you'll go! Please! 832 00:45:36,167 --> 00:45:39,876 You crybaby! You crybaby! You crybaby! 833 00:45:39,959 --> 00:45:42,751 - You crybaby! Crybaby! - Get out of here! Get out! 834 00:45:42,834 --> 00:45:44,334 Come on, you guys. 835 00:45:44,417 --> 00:45:45,417 - Crybaby! - Come on. 836 00:45:45,459 --> 00:45:46,918 You crybaby! 837 00:45:47,000 --> 00:45:48,918 - Be quiet! - Stop it! 838 00:45:49,000 --> 00:45:53,083 My mom went from being completely joyful 839 00:45:53,167 --> 00:45:56,209 and celebrative about life itself 840 00:45:56,292 --> 00:46:01,959 to being full of despair and palpable sadness. 841 00:46:09,834 --> 00:46:11,876 I would see my mom going into the living room 842 00:46:11,959 --> 00:46:15,500 and playing some Schumann and crying. 843 00:46:15,584 --> 00:46:18,459 Crying to the point she couldn't see the notes on the paper. 844 00:46:20,459 --> 00:46:23,209 I'd sit with her and hold her hand, talk to her. 845 00:46:23,292 --> 00:46:26,375 She just said, "I'm so lonely here. I'm so sad here." 846 00:46:26,459 --> 00:46:28,250 I was going through the same thing. 847 00:46:28,334 --> 00:46:29,792 And all I knew was that my dad 848 00:46:29,876 --> 00:46:32,000 was fulfilled up there, and we weren't. 849 00:46:32,083 --> 00:46:34,417 So, when it was announced by my mom 850 00:46:34,500 --> 00:46:37,542 that my mom and my dad were splitting up, 851 00:46:37,626 --> 00:46:39,000 I didn't know any of the details. 852 00:46:39,083 --> 00:46:41,500 I didn't know why they were splitting up, 853 00:46:41,584 --> 00:46:42,685 and I didn't for a long time. 854 00:46:42,709 --> 00:46:43,876 I didn't want to know. 855 00:46:43,959 --> 00:46:46,584 I fell in love with somebody else. 856 00:46:46,667 --> 00:46:50,959 I was madly in love with Bernie Adler. 857 00:46:51,042 --> 00:46:54,459 I look back, I think, "How dare I do that?" 858 00:46:54,542 --> 00:46:56,459 But I really didn't care at that point. 859 00:46:56,542 --> 00:46:59,334 It was all about me and my unhappiness. 860 00:46:59,417 --> 00:47:02,250 Bernie had been my father's best friend, 861 00:47:02,334 --> 00:47:03,834 and he was a fixture. 862 00:47:03,918 --> 00:47:05,000 It was like having an uncle. 863 00:47:07,751 --> 00:47:10,876 I never would tell the kids that she divorced me. 864 00:47:10,959 --> 00:47:13,250 Instead, I let them think I divorced her. 865 00:47:13,334 --> 00:47:14,500 Why did you do that? 866 00:47:14,584 --> 00:47:16,542 Protecting her 'cause she's fragile. 867 00:47:18,000 --> 00:47:19,667 And she still is. 868 00:47:19,751 --> 00:47:24,083 And so, I figured I could be hurt less than she. 869 00:47:24,167 --> 00:47:26,042 I still loved her. 870 00:47:26,125 --> 00:47:28,584 My dad and my stepfather were best friends. 871 00:47:28,667 --> 00:47:30,876 My mom married Dad's best friend. 872 00:47:30,959 --> 00:47:32,476 You look at the big picture, that's shit. 873 00:47:32,500 --> 00:47:34,626 That's really bad. 874 00:47:34,709 --> 00:47:36,167 It didn't hit me till I got older 875 00:47:36,250 --> 00:47:38,292 that that was a really tough thing for Dad, 876 00:47:38,375 --> 00:47:41,042 and I... My heart bled for him. 877 00:47:41,125 --> 00:47:44,375 Steve really thought my dad left us. 878 00:47:44,459 --> 00:47:48,876 So, during a number of years, we blocked him out. 879 00:47:48,959 --> 00:47:51,292 And Steve, I know, blamed him 880 00:47:51,375 --> 00:47:55,375 for the relationship going bad. 881 00:47:55,459 --> 00:47:57,000 It was literally the worst period 882 00:47:57,083 --> 00:47:58,500 of my entire life. 883 00:48:00,709 --> 00:48:02,959 I never told my dad I was mad at him. 884 00:48:03,042 --> 00:48:04,667 We never had angry words, 885 00:48:04,751 --> 00:48:06,626 but it was an estrangement 886 00:48:06,709 --> 00:48:08,292 that I created, not from my dad. 887 00:48:08,375 --> 00:48:10,626 He was seeking a relationship with me. 888 00:48:10,709 --> 00:48:13,125 I just went off and got lost in my work, 889 00:48:13,209 --> 00:48:14,959 the way I saw my dad get lost in his 890 00:48:15,042 --> 00:48:16,959 all those years of coming home late 891 00:48:17,042 --> 00:48:19,417 and working weekends back in Phoenix and all of that. 892 00:48:19,500 --> 00:48:22,083 I became my father. I became a workaholic. 893 00:48:22,167 --> 00:48:26,334 And I just lost the contact with him. 894 00:48:26,417 --> 00:48:30,125 It went on for... 15 years. 895 00:48:32,751 --> 00:48:34,209 You know, I read about you today. 896 00:48:34,292 --> 00:48:36,042 You've done four pictures. That's all. 897 00:48:36,125 --> 00:48:38,209 Four movies that I can count. 898 00:48:38,292 --> 00:48:40,250 You're not Alfred Hitchcock who's done over 50. 899 00:48:40,334 --> 00:48:41,542 You're not John Ford. 900 00:48:41,626 --> 00:48:43,026 Can you believe that you've directed 901 00:48:43,083 --> 00:48:44,683 four pictures and you're a famous person? 902 00:48:44,751 --> 00:48:47,959 - Can you believe that? - Can I believe that? 903 00:48:49,918 --> 00:48:51,459 Yes, I can, as a matter of fact. 904 00:48:51,542 --> 00:48:53,626 I can believe that I've directed four pictures, 905 00:48:53,709 --> 00:48:56,459 although it seems like I've been directing much longer. 906 00:48:56,542 --> 00:48:59,792 He arrived on the scene in such a huge manner. 907 00:48:59,876 --> 00:49:01,459 You know, the way "Jaws" entered 908 00:49:01,542 --> 00:49:04,375 into the consciousness of the world was huge. 909 00:49:04,459 --> 00:49:06,751 "Close Encounters" was 10 times as huge. 910 00:49:06,834 --> 00:49:09,417 But Steven was in the process of inventing himself. 911 00:49:09,500 --> 00:49:11,918 I don't think he himself knew 912 00:49:12,000 --> 00:49:14,125 where this road was gonna take him. 913 00:49:14,209 --> 00:49:16,459 I'm sure, like everybody else at that age, 914 00:49:16,542 --> 00:49:19,500 he was wondering was he really as good as he thought he was. 915 00:49:19,584 --> 00:49:22,000 And turned out he was. 916 00:49:22,083 --> 00:49:23,709 Once you do "Jaws" 917 00:49:23,792 --> 00:49:26,292 and then "Close Encounters," well, where do you go? 918 00:49:26,375 --> 00:49:28,834 The bar, as they say, is set a certain level. 919 00:49:28,918 --> 00:49:30,083 And what do you do? 920 00:49:30,167 --> 00:49:31,417 You get yourself into shape 921 00:49:31,500 --> 00:49:33,459 and you jump over the bar again. 922 00:49:56,000 --> 00:49:58,209 Originally, my idea for "E.T." 923 00:49:58,292 --> 00:50:01,334 Didn't include an extraterrestrial. 924 00:50:01,417 --> 00:50:05,667 It was gonna be about how a divorce affects childhood 925 00:50:05,751 --> 00:50:09,042 and how it really kind of traumatizes children. 926 00:50:13,125 --> 00:50:17,042 - Dad's shirt. - Yeah. 927 00:50:17,125 --> 00:50:21,751 Remember when he used to take us out to the ball games 928 00:50:21,834 --> 00:50:23,626 and take us to the movies, 929 00:50:23,709 --> 00:50:25,959 and we'd have popcorn fights? 930 00:50:26,042 --> 00:50:29,792 So, the overriding theme was gonna be about 931 00:50:29,876 --> 00:50:32,209 how do you fill the heart of a lonely child? 932 00:50:32,292 --> 00:50:36,542 Me, human. Boy. 933 00:50:36,626 --> 00:50:40,375 - Elliott. - And what - extraordinary event 934 00:50:40,459 --> 00:50:42,375 would it take to fill Elliott's heart 935 00:50:42,459 --> 00:50:44,709 after losing his dad? 936 00:50:44,792 --> 00:50:47,626 It would take something as extraordinary 937 00:50:47,709 --> 00:50:49,584 as an extraterrestrial coming into his life. 938 00:51:03,209 --> 00:51:04,959 Steven, as a filmmaker, 939 00:51:05,042 --> 00:51:10,042 can create otherworldly, almost impossible scenarios, 940 00:51:10,125 --> 00:51:12,751 but do it in a suburban setting 941 00:51:12,834 --> 00:51:15,584 and with real families and real people, 942 00:51:15,667 --> 00:51:20,167 and so, you are able to go outer worldly, outer space, 943 00:51:20,250 --> 00:51:23,709 extraterrestrial, implausible scenario, 944 00:51:23,792 --> 00:51:27,334 because it's grounded in human beings 945 00:51:27,417 --> 00:51:29,167 and human stories. 946 00:51:29,250 --> 00:51:31,834 Okay, he's a man from outer space 947 00:51:31,918 --> 00:51:34,375 and we're taking him to his spaceship. 948 00:51:34,459 --> 00:51:39,250 - Well, can't he just beam up? - This is reality, Greg. 949 00:51:39,334 --> 00:51:42,542 - "E.T." was a suburban. - American story, 950 00:51:42,626 --> 00:51:44,709 and suburbia was all I knew growing up. 951 00:51:44,792 --> 00:51:47,834 So, the movies I made in the '70s, the '80s, 952 00:51:47,918 --> 00:51:50,292 were a reflection of what I knew. 953 00:51:50,375 --> 00:51:52,083 My main religion was suburbia. 954 00:51:52,167 --> 00:51:54,125 You know, the families all getting together, 955 00:51:54,209 --> 00:51:57,125 nobody gets divorced, nobody's unhappy with each other. 956 00:51:57,209 --> 00:51:58,542 'Course, it's all false. 957 00:51:58,626 --> 00:52:00,792 Maybe you just probably imagined it... 958 00:52:00,876 --> 00:52:04,500 - I couldn't have imagined it. - Maybe it was a pervert or deformed kid or something. 959 00:52:04,584 --> 00:52:06,292 A deformed kid. 960 00:52:06,375 --> 00:52:09,000 Maybe an elf or a leprechaun. 961 00:52:09,083 --> 00:52:11,209 It was nothing like that, penis breath! 962 00:52:11,292 --> 00:52:13,459 Elliott! 963 00:52:13,542 --> 00:52:14,751 Sit down. 964 00:52:17,125 --> 00:52:20,417 Dad would believe me. 965 00:52:25,500 --> 00:52:29,125 Maybe you ought to call your father and tell him about it. 966 00:52:29,209 --> 00:52:31,667 I can't. He's in Mexico with Sally. 967 00:52:39,500 --> 00:52:42,167 Where's Mexico? 968 00:52:42,250 --> 00:52:44,667 I saw my childhood through this family 969 00:52:44,751 --> 00:52:48,209 and those young, wonderful actors. 970 00:52:48,292 --> 00:52:50,334 When Steven works with children, 971 00:52:50,417 --> 00:52:53,667 he brings a kind of "let's play" feeling. 972 00:52:53,751 --> 00:52:56,417 He'd have to pull you back. Grab on to this, right here. 973 00:52:56,500 --> 00:52:59,792 It's not like somebody talking baby talk to kids. 974 00:52:59,876 --> 00:53:02,709 It's just he's really communicating to them. 975 00:53:02,792 --> 00:53:06,417 And it's sort of like direct transmission. 976 00:53:06,500 --> 00:53:11,000 Now he suddenly turns to you, his eyes come open. 977 00:53:17,042 --> 00:53:19,375 Do that to E.T. Give that joyful scream to E.T. 978 00:53:19,459 --> 00:53:22,375 Do the line again, really excited about "Are they coming?" 979 00:53:22,459 --> 00:53:24,518 Breathing, breathing, breathing, breathing, breathing. 980 00:53:24,542 --> 00:53:26,143 - Work yourself up. - Does this mean they're coming? 981 00:53:26,167 --> 00:53:28,087 No, work yourself up even more. Work yourself up. 982 00:53:28,125 --> 00:53:30,876 Does this mean they're coming? 983 00:53:30,959 --> 00:53:32,839 Bigger, bigger. "Does this mean they're coming?" 984 00:53:32,876 --> 00:53:35,042 Does this mean they're coming? 985 00:53:35,125 --> 00:53:37,125 Yes! 986 00:53:37,209 --> 00:53:40,584 He had to be a bit of a father, a bit of a pal, 987 00:53:40,667 --> 00:53:44,584 but he was, more than anything, an observer of them, 988 00:53:44,667 --> 00:53:46,500 and I think that was a lot of fun for him. 989 00:53:46,584 --> 00:53:48,976 - All of the kids were fun for him. - You gotta take me seriously. 990 00:53:49,000 --> 00:53:51,959 - This is Halloween, folks. Hello, my love. - Hi, Granny. 991 00:53:52,042 --> 00:53:54,876 Wait a sec. Drew, this is for you, my darling. 992 00:53:54,959 --> 00:53:59,083 - Your apple. - I wanted to shoot - "E.T." in continuity. 993 00:53:59,167 --> 00:54:02,167 It gives the kids a context for the work they're doing that day, 994 00:54:02,250 --> 00:54:05,417 'cause they know that tomorrow will be tomorrow in the script 995 00:54:05,500 --> 00:54:08,083 and yesterday was yesterday in the script. 996 00:54:08,167 --> 00:54:09,834 So, for young kids, 997 00:54:09,918 --> 00:54:13,250 it gives them a real confidence that they're living a life 998 00:54:13,334 --> 00:54:15,375 and they're living a story's life. 999 00:54:15,459 --> 00:54:17,876 Now they put the machine on his chest, 1000 00:54:17,959 --> 00:54:21,250 and they're gonna give him a shock to try to make him come back. 1001 00:54:21,334 --> 00:54:23,500 And when they give him the shock, 1002 00:54:23,584 --> 00:54:27,334 it's very loud and it makes you jump and cry even more. 1003 00:54:27,417 --> 00:54:29,000 They're putting it on his chest now, 1004 00:54:29,083 --> 00:54:32,334 and he presses the button, and it goes, "Pow!" 1005 00:54:32,417 --> 00:54:34,292 Are you okay, honey? 1006 00:54:34,375 --> 00:54:36,584 Huh? Are you okay? 1007 00:54:36,667 --> 00:54:39,500 Let's see. Wipe your doll's face, too. 1008 00:54:39,584 --> 00:54:41,792 Thank you. Thank you. 1009 00:54:41,876 --> 00:54:44,542 Okay. Oh. 1010 00:54:44,626 --> 00:54:49,042 For many years I wondered about the universal appeal of this movie, 1011 00:54:49,125 --> 00:54:51,417 and one day, it hit me. 1012 00:54:51,500 --> 00:54:54,042 There are no two humans on Earth 1013 00:54:54,125 --> 00:54:56,375 that are father apart 1014 00:54:56,459 --> 00:54:59,667 than those humans and that alien creature. 1015 00:54:59,751 --> 00:55:01,250 Come. 1016 00:55:05,500 --> 00:55:07,042 Stay. 1017 00:55:09,876 --> 00:55:11,959 And if Elliott, 1018 00:55:12,042 --> 00:55:14,542 and the mother, and the little girl, 1019 00:55:14,626 --> 00:55:20,542 and the scientist, could all love and empathize 1020 00:55:20,626 --> 00:55:22,918 and make a rapprochement 1021 00:55:23,000 --> 00:55:26,083 and a rapport with this creature, 1022 00:55:26,167 --> 00:55:29,626 so, too, can any two humans on Earth, 1023 00:55:29,709 --> 00:55:34,542 and I think that was a subtext that bubbled up through the film 1024 00:55:34,626 --> 00:55:36,334 and must have touched something, 1025 00:55:36,417 --> 00:55:38,417 because you don't get many films 1026 00:55:38,500 --> 00:55:41,626 that are universally loved and appreciated 1027 00:55:41,709 --> 00:55:43,542 40 years later. 1028 00:55:44,751 --> 00:55:46,792 And it spoke to something. 1029 00:55:46,876 --> 00:55:50,626 Some desire to be able to reach across boundaries 1030 00:55:50,709 --> 00:55:52,667 and touch other people. 1031 00:55:54,584 --> 00:56:00,167 I'll be right here. 1032 00:56:09,792 --> 00:56:12,459 Bye. 1033 00:56:12,542 --> 00:56:15,417 It's a very difficult balance as a director 1034 00:56:15,500 --> 00:56:19,542 to push a young child to do a dramatic sequence, 1035 00:56:19,626 --> 00:56:23,250 because you're obviously manipulating them to some capacity. 1036 00:56:26,667 --> 00:56:29,918 But Steven knew how to take them as a director 1037 00:56:30,000 --> 00:56:33,042 into some of these darker places 1038 00:56:33,125 --> 00:56:36,083 while handling them with kid gloves. 1039 00:56:45,334 --> 00:56:47,751 The children in Spielberg's world 1040 00:56:47,834 --> 00:56:50,000 may be vulnerable, may be unhappy, 1041 00:56:50,083 --> 00:56:53,083 but they're also very... They're very powerful 1042 00:56:53,167 --> 00:56:54,584 and they're heroic. 1043 00:57:00,375 --> 00:57:02,459 I think all of my movies that have dealt 1044 00:57:02,542 --> 00:57:04,167 with young people and their stories 1045 00:57:04,250 --> 00:57:07,542 are about the importance of empowering these children 1046 00:57:07,626 --> 00:57:09,792 to take control of the story, 1047 00:57:09,876 --> 00:57:11,542 at least take control of their lives. 1048 00:57:16,792 --> 00:57:19,918 Steven intuitively looks at the world 1049 00:57:20,000 --> 00:57:22,000 through a lens of innocence, 1050 00:57:22,083 --> 00:57:24,542 and children do that naturally. 1051 00:57:24,626 --> 00:57:27,959 So, it became the kind of go-to lens 1052 00:57:28,042 --> 00:57:31,584 that he wanted to use for his storytelling. 1053 00:57:31,667 --> 00:57:33,852 One of the most interesting things that I've read about you 1054 00:57:33,876 --> 00:57:36,626 was a headline which said, "Steven Spielberg is making 1055 00:57:36,709 --> 00:57:40,584 movies and a fortune while he's still growing up. 1056 00:57:40,667 --> 00:57:42,334 He's really just a big kid." 1057 00:57:42,417 --> 00:57:44,792 Is that how you see yourself? Is that a reasonable comment? 1058 00:57:44,876 --> 00:57:48,834 I think it's reasonable. You have to understand... how do you define a big kid? 1059 00:57:48,918 --> 00:57:51,751 A responsible big kid, or just an irresponsible big kid? 1060 00:57:51,834 --> 00:57:54,375 Because I think you have to be responsible, 1061 00:57:54,459 --> 00:57:56,834 but you don't want to lose the child in you, 1062 00:57:56,918 --> 00:57:58,792 because that's what keeps you young, 1063 00:57:58,876 --> 00:58:00,834 and that's what keeps you in touch, 1064 00:58:00,918 --> 00:58:03,751 and keeps a smile on your face. 1065 00:58:03,834 --> 00:58:05,500 I don't quite know 1066 00:58:05,584 --> 00:58:08,167 what it would be like to become an adult. 1067 00:58:10,417 --> 00:58:12,042 - Oh... - My... 1068 00:58:12,125 --> 00:58:13,125 God! 1069 00:58:16,751 --> 00:58:18,417 I was feeling my oats 1070 00:58:18,500 --> 00:58:20,667 after both "Jaws" and "Close Encounters." 1071 00:58:20,751 --> 00:58:23,500 And so I thought, "I can do a comedy." Why not? 1072 00:58:23,584 --> 00:58:26,751 If I did those two movies, why can't I do anything? 1073 00:58:26,834 --> 00:58:28,167 And I have a sense of humor. 1074 00:58:28,250 --> 00:58:30,167 I go to movies and I laugh when they're funny. 1075 00:58:30,250 --> 00:58:32,209 Why not tackle a comedy? 1076 00:58:32,292 --> 00:58:35,250 I felt pretty invulnerable at that time. 1077 00:58:35,334 --> 00:58:37,042 I can assure you 1078 00:58:37,125 --> 00:58:39,792 there will be no bombs dropped here. 1079 00:58:39,876 --> 00:58:41,556 Bob Zemeckis and Bob Gale wrote the script, 1080 00:58:41,626 --> 00:58:42,959 and it was lean and mean. 1081 00:58:43,042 --> 00:58:44,918 I'm the one that stretched the humor 1082 00:58:45,000 --> 00:58:48,542 and the budget to its breaking point. 1083 00:58:48,626 --> 00:58:52,375 To me, it was an excuse to just blow a bunch of shit up 1084 00:58:52,459 --> 00:58:55,584 and try to get an audience to laugh. 1085 00:58:55,667 --> 00:58:59,334 But it was like I committed a war crime by making "1941." 1086 00:58:59,417 --> 00:59:01,500 Everyone was eviscerating it. 1087 00:59:01,584 --> 00:59:04,542 I was really devastated. 1088 00:59:04,626 --> 00:59:08,500 Just that feeling of failure, that cold emptiness, 1089 00:59:08,584 --> 00:59:10,459 where every reminder of the movie, 1090 00:59:10,542 --> 00:59:12,685 you get that sick feeling in the center of your stomach, 1091 00:59:12,709 --> 00:59:15,959 and you just want to go dig a hole and stick your head in it. 1092 00:59:16,042 --> 00:59:19,959 I mean, for the next year, I put my head in a lot of holes. 1093 00:59:20,042 --> 00:59:23,125 And my friend George Lucas came to the rescue. 1094 00:59:32,626 --> 00:59:34,751 George said, "What are you doing next?" 1095 00:59:34,834 --> 00:59:38,000 And Steven said that he really wanted to do a James Bond film. 1096 00:59:38,083 --> 00:59:40,518 And George said, "I have something much better than James Bond." 1097 00:59:40,542 --> 00:59:42,209 It's about an archeologist 1098 00:59:42,292 --> 00:59:44,334 and he goes hunting for supernatural artifacts. 1099 00:59:44,417 --> 00:59:46,375 And Steven said, "I love it. 1100 00:59:46,459 --> 00:59:48,042 Let's do it." 1101 00:59:48,125 --> 00:59:51,167 He's not a stock, standard hero. 1102 00:59:51,250 --> 00:59:53,375 He's not one of these "just add water" 1103 00:59:53,459 --> 00:59:55,667 and he'll grow into the hero of your dreams. 1104 00:59:55,751 --> 00:59:57,709 There's a human being under all of that. 1105 00:59:57,792 --> 01:00:00,918 That's what made Indiana Jones accessible to audiences. 1106 01:00:01,000 --> 01:00:04,334 - I think they're trying to kill us. - I know, Dad! 1107 01:00:04,417 --> 01:00:06,709 Well, it's a new experience for me. 1108 01:00:06,792 --> 01:00:09,542 Happens to me all the time. 1109 01:00:25,417 --> 01:00:28,667 It's an action-adventure movie where every reel is a cliffhanger. 1110 01:00:28,751 --> 01:00:31,792 Just pure escapist entertainment. 1111 01:00:34,042 --> 01:00:36,542 It was gonna be an all-out "B" movie, 1112 01:00:36,626 --> 01:00:40,209 and "B" movies are fun because they don't take themselves that seriously. 1113 01:00:40,292 --> 01:00:41,732 You do them quick. You do them dirty. 1114 01:00:41,792 --> 01:00:43,542 You cheat on everything you possibly can 1115 01:00:43,626 --> 01:00:45,185 to save as much money as you possibly can, 1116 01:00:45,209 --> 01:00:46,751 and you don't worry about the fact 1117 01:00:46,834 --> 01:00:48,709 that it's not gonna be "Lawrence of Arabia." 1118 01:00:59,375 --> 01:01:01,876 We took it to the studios, and what I didn't realize 1119 01:01:01,959 --> 01:01:04,834 was that Steven didn't have that great a reputation, 1120 01:01:04,918 --> 01:01:07,626 because he was always going over budget and over schedule. 1121 01:01:07,709 --> 01:01:10,667 So, every studio said no. 1122 01:01:10,751 --> 01:01:13,476 And some of them even said, "You know, if you can get a different director, 1123 01:01:13,500 --> 01:01:17,209 we'll do it, but Steven can't make that film for $20 million." 1124 01:01:17,292 --> 01:01:20,792 So, Steven said, "I promise you, I will not betray you. 1125 01:01:20,876 --> 01:01:23,167 If it's $20 million, we will make it for $20 million." 1126 01:01:23,250 --> 01:01:25,751 My experience on three cost overruns, 1127 01:01:25,834 --> 01:01:27,417 "Jaws," "Close Encounters," "'41," 1128 01:01:27,500 --> 01:01:29,209 taught me how to be more economical 1129 01:01:29,292 --> 01:01:31,792 and benefited "Raiders" immeasurably. 1130 01:01:31,876 --> 01:01:34,918 He had something to prove, but he also didn't wanna let me down, his friend. 1131 01:01:35,000 --> 01:01:38,167 You know, it's like, it wasn't a studio, it was us. 1132 01:01:38,250 --> 01:01:41,500 Friday night. If we don't get this, we don't get the shot. 1133 01:01:41,584 --> 01:01:44,542 If we don't get the shot, we don't get the movie. 1134 01:01:44,626 --> 01:01:47,417 If they don't get the movie, we're all up the creek. 1135 01:01:47,500 --> 01:01:49,209 George said, "Look, if you direct this, 1136 01:01:49,292 --> 01:01:50,976 you have to shake my hand right now and promise 1137 01:01:51,000 --> 01:01:53,584 if it's a big hit, you gotta direct two more." 1138 01:01:53,667 --> 01:01:55,792 And it was a great collaboration. 1139 01:01:55,876 --> 01:01:57,375 Dad! 1140 01:01:57,459 --> 01:01:58,751 - What? What? - Dad! 1141 01:01:58,834 --> 01:02:00,042 - Dad! - What? 1142 01:02:00,125 --> 01:02:02,167 - Head for the fireplace. - Oh. 1143 01:02:02,250 --> 01:02:05,959 The "Indiana Jones" movies were always more about movies 1144 01:02:06,042 --> 01:02:07,792 than they were about anything else. 1145 01:02:07,876 --> 01:02:10,667 They followed certain film formulas, 1146 01:02:10,751 --> 01:02:13,626 which freed them to do silly stuff. 1147 01:02:21,834 --> 01:02:24,250 There was something which I simply adored 1148 01:02:24,334 --> 01:02:25,834 in "Indiana Jones." 1149 01:02:25,918 --> 01:02:28,000 When Harrison had fallen over a cliff 1150 01:02:28,083 --> 01:02:31,459 and his friends thought he was dead and they were peering down, 1151 01:02:31,542 --> 01:02:34,125 and Harrison had come up without his hat, 1152 01:02:34,209 --> 01:02:37,584 because he'd fallen over a cliff, for heaven's sake, 1153 01:02:37,667 --> 01:02:42,000 and a mysterious breeze blows the hat into frame. 1154 01:02:42,083 --> 01:02:45,584 These movies are clearly made for an audience. 1155 01:02:45,667 --> 01:02:47,626 They're made for the filmgoer. 1156 01:02:47,709 --> 01:02:50,709 They're meant for the pure joy of entertainment. 1157 01:02:50,792 --> 01:02:53,792 Which doesn't mean that they can't be emotionally involving, 1158 01:02:53,876 --> 01:02:57,209 which doesn't mean they can't be smart from time to time. 1159 01:03:04,167 --> 01:03:08,918 But they have to be satisfying entertainment. 1160 01:03:09,000 --> 01:03:11,167 And Steven and George have figured out 1161 01:03:11,250 --> 01:03:14,792 how to use the engine of filmmaking 1162 01:03:14,876 --> 01:03:17,209 to satisfy an audience in a way 1163 01:03:17,292 --> 01:03:20,709 not so many directors or producers have. 1164 01:03:22,792 --> 01:03:25,000 In the century-long history of motion pictures, 1165 01:03:25,083 --> 01:03:27,500 there has been one director, just one, 1166 01:03:27,584 --> 01:03:30,876 whose movies have earned a total of a billion dollars... 1167 01:03:30,959 --> 01:03:32,876 Steven Spielberg. 1168 01:03:32,959 --> 01:03:35,042 Steven is arguably the most commercial director 1169 01:03:35,125 --> 01:03:36,792 in the history of motion pictures, 1170 01:03:36,876 --> 01:03:39,209 and I think it's because he has a deep understanding 1171 01:03:39,292 --> 01:03:41,083 of how the language of cinema 1172 01:03:41,167 --> 01:03:43,542 elicits an emotional reaction in an audience. 1173 01:03:43,626 --> 01:03:48,334 And there's no question that the idea of making movies that became phenomenons 1174 01:03:48,417 --> 01:03:50,667 was extremely exciting for Steven. 1175 01:03:50,751 --> 01:03:52,626 But it brought a lot of mixed results. 1176 01:03:52,709 --> 01:03:54,125 There were people that hated him, 1177 01:03:54,209 --> 01:03:56,459 people that blamed him for ruining the movies. 1178 01:03:56,542 --> 01:03:59,083 William Goldman had written specifically 1179 01:03:59,167 --> 01:04:00,751 that the blockbuster and Steven 1180 01:04:00,834 --> 01:04:03,083 and George Lucas had destroyed Hollywood. 1181 01:04:03,167 --> 01:04:06,042 Some people saw Spielberg as a repressive force, 1182 01:04:06,125 --> 01:04:09,751 that he was bringing in a kind of empty escapism 1183 01:04:09,834 --> 01:04:12,500 that was going to take film in another direction. 1184 01:04:12,584 --> 01:04:14,751 And certainly with the marketing executives 1185 01:04:14,834 --> 01:04:17,209 who moved into the studios 1186 01:04:17,292 --> 01:04:19,417 in the late '70s and the early '80s, 1187 01:04:19,500 --> 01:04:22,792 it was clear that what they saw were dollar signs. 1188 01:04:22,876 --> 01:04:24,959 But I wouldn't blame Spielberg for that. 1189 01:04:25,042 --> 01:04:27,459 Go back to the first review by Pauline Kael. 1190 01:04:27,542 --> 01:04:30,209 She said he was a great popular entertainer, 1191 01:04:30,292 --> 01:04:33,626 that he had a feel for what audiences wanted to see. 1192 01:04:33,709 --> 01:04:35,834 Why should anybody apologize for that? 1193 01:04:35,918 --> 01:04:37,310 Let me get you to react to something 1194 01:04:37,334 --> 01:04:39,584 that one of your peers said, another director. 1195 01:04:39,667 --> 01:04:41,375 "Steven Spielberg can't be compared 1196 01:04:41,459 --> 01:04:44,083 with people like Mike Nichols and Barry Levinson. 1197 01:04:44,167 --> 01:04:46,667 There is a place for mass entertainment, 1198 01:04:46,751 --> 01:04:48,542 but it shouldn't be confused 1199 01:04:48,626 --> 01:04:53,083 with art or quality, award-winning filmmaking." 1200 01:04:53,167 --> 01:04:55,709 Sometimes I think that statements like that 1201 01:04:55,792 --> 01:04:57,667 are pretentious in themselves, 1202 01:04:57,751 --> 01:05:00,250 because it sort of says that, you know, 1203 01:05:00,334 --> 01:05:03,876 art is serious and art can't be... can't move you. 1204 01:05:03,959 --> 01:05:08,709 Art can't be on a bicycle with E.T. and fly across the moon, 1205 01:05:08,792 --> 01:05:10,459 that that can't be art. 1206 01:05:10,542 --> 01:05:12,918 If you're making the kinds of movies 1207 01:05:13,000 --> 01:05:15,375 that make the kinds of money that his movies do, 1208 01:05:15,459 --> 01:05:17,876 and if you're making franchise entertainment 1209 01:05:17,959 --> 01:05:20,584 or just something that appeals to a lot of people 1210 01:05:20,667 --> 01:05:23,834 and is unapologetically mainstream entertainment, 1211 01:05:23,918 --> 01:05:28,083 then there's a little bit of, I think, suspicion. 1212 01:05:28,167 --> 01:05:31,667 You know, how can we take you seriously as an artist? 1213 01:05:31,751 --> 01:05:34,500 Come on, girl, 'cause I'm waiting for you. 1214 01:05:39,876 --> 01:05:42,834 You cut me and I'll kill you. 1215 01:05:42,918 --> 01:05:47,042 I was looking for a different perception of myself. 1216 01:05:47,125 --> 01:05:48,876 And if I didn't want to consciously 1217 01:05:48,959 --> 01:05:51,042 make a departure and prove something, 1218 01:05:51,125 --> 01:05:53,417 not just to myself but to everyone else, 1219 01:05:53,500 --> 01:05:56,292 I might not have chosen "Color Purple" as my next movie. 1220 01:05:56,375 --> 01:05:58,709 But it was my first really mature film, 1221 01:05:58,792 --> 01:06:03,209 which took on, you know, substantive, humanistic subject matter. 1222 01:06:03,292 --> 01:06:07,375 I was turning 40 and I was looking at life perhaps less optimistically. 1223 01:06:07,459 --> 01:06:09,876 And so, I knew this was gonna be a very sobering journey, 1224 01:06:09,959 --> 01:06:11,667 and I was willing to take it on. 1225 01:06:11,751 --> 01:06:14,709 All my life I had to fight. 1226 01:06:14,792 --> 01:06:18,709 I had to fight my daddy, I had to fight my uncles, 1227 01:06:18,792 --> 01:06:21,292 I had to fight my brothers. 1228 01:06:21,375 --> 01:06:24,334 A girl child ain't safe in a family of mens, 1229 01:06:24,417 --> 01:06:28,375 but I ain't never thought I had to fight in my own house! 1230 01:06:29,834 --> 01:06:32,375 I loves Harpo. 1231 01:06:32,459 --> 01:06:35,459 God knows I do, 1232 01:06:35,542 --> 01:06:40,209 but I'll kill him dead before I let him beat me. 1233 01:06:40,292 --> 01:06:43,417 For Steven to even take on this material 1234 01:06:43,500 --> 01:06:45,375 was a really big deal, 1235 01:06:45,459 --> 01:06:47,417 because you're messing in some territory 1236 01:06:47,500 --> 01:06:50,500 where if you get it wrong, then you get a lot of people upset. 1237 01:06:50,584 --> 01:06:54,375 He wanted to create not only an African-American worldview, 1238 01:06:54,459 --> 01:06:57,334 but a matriarchal world 1239 01:06:57,417 --> 01:07:02,417 in the presence of patriarchal repression and violence. 1240 01:07:02,500 --> 01:07:04,751 And I truly believe that he wanted 1241 01:07:04,834 --> 01:07:07,918 to stretch himself in a way that he never had before. 1242 01:07:08,000 --> 01:07:10,250 And he does push himself, 1243 01:07:10,334 --> 01:07:13,209 but he's not gonna push himself too far in advance... 1244 01:07:13,292 --> 01:07:16,459 The audience or maybe his own, 1245 01:07:16,542 --> 01:07:18,459 you know, core inclination. 1246 01:07:18,542 --> 01:07:20,542 He don't ever ask me how I feel. 1247 01:07:20,626 --> 01:07:24,083 Just never asked me nothing about myself. 1248 01:07:24,167 --> 01:07:27,125 Just climb on top of me, do his business. 1249 01:07:27,209 --> 01:07:30,209 "Do his business"? Do his bu... 1250 01:07:30,292 --> 01:07:32,042 Why, Miss Celie, you sound like 1251 01:07:32,125 --> 01:07:35,751 he going to the toilet on you. 1252 01:07:35,834 --> 01:07:37,584 That's what it feel like. 1253 01:07:37,667 --> 01:07:39,792 I got in trouble with several critics 1254 01:07:39,876 --> 01:07:42,000 who didn't like that I shied away 1255 01:07:42,083 --> 01:07:44,375 from the love story between Shug and Celie. 1256 01:07:44,459 --> 01:07:49,083 And the scene where Shug Avery shows Celie, with a mirror, her vagina, 1257 01:07:49,167 --> 01:07:52,334 that that did not go into the movie, 1258 01:07:52,417 --> 01:07:54,209 which would've really changed 1259 01:07:54,292 --> 01:07:58,459 the entire nature and tone of the film. 1260 01:07:58,542 --> 01:08:02,042 I just didn't go for the full monty the way the book did. 1261 01:08:02,125 --> 01:08:06,375 I might've done that had I made the movie 10 years later. 1262 01:08:06,459 --> 01:08:09,250 I was just timid. I was just a little embarrassed. 1263 01:08:09,334 --> 01:08:11,417 I just wasn't the right guy to do that. 1264 01:08:13,584 --> 01:08:17,042 Steven was telling the story that Alice wrote, 1265 01:08:17,125 --> 01:08:20,167 and he was trying to access that 1266 01:08:20,250 --> 01:08:23,459 from his personal point of view. 1267 01:08:23,542 --> 01:08:27,542 He could never go where Alice went with that book. 1268 01:08:41,375 --> 01:08:45,542 That book was appreciated for its grit and its realism, 1269 01:08:45,626 --> 01:08:49,584 and neither of those were qualities that he was known for. 1270 01:08:49,667 --> 01:08:54,042 He was just asking for it by even going anywhere near that. 1271 01:08:54,125 --> 01:08:56,584 - Nobody really wanted. - Steven Spielberg 1272 01:08:56,667 --> 01:08:58,375 to be a gritty filmmaker. 1273 01:08:58,459 --> 01:09:00,209 That wasn't his sensibility. 1274 01:09:00,292 --> 01:09:03,334 But with "The Color Purple," colors are exact, 1275 01:09:03,417 --> 01:09:05,709 the settings have been built from the ground up 1276 01:09:05,792 --> 01:09:07,834 according to his specifications. 1277 01:09:07,918 --> 01:09:13,626 There's something so false and so Disney storyboard-like 1278 01:09:13,709 --> 01:09:15,542 about that movie. 1279 01:09:15,626 --> 01:09:17,834 You know, he wanted to make a prettier picture 1280 01:09:17,918 --> 01:09:19,959 than was intended in the text. 1281 01:09:20,042 --> 01:09:21,167 That's Steven. 1282 01:09:21,250 --> 01:09:23,334 He wants to make everything like that. 1283 01:09:23,417 --> 01:09:25,584 He wants to make life like that. 1284 01:09:30,626 --> 01:09:32,083 I have a baby on the way, 1285 01:09:32,167 --> 01:09:34,751 and the child is going to change my life. 1286 01:09:34,834 --> 01:09:37,918 - It already has, in a way. - Are you nervous - about it or what? 1287 01:09:38,000 --> 01:09:39,542 I'm not nervous about it at all, no. 1288 01:09:39,626 --> 01:09:41,334 I just think it's the best thing 1289 01:09:41,417 --> 01:09:44,083 that's ever happened to me and to Amy. 1290 01:09:44,167 --> 01:09:45,792 We really can't wait for this. 1291 01:09:49,292 --> 01:09:51,417 I think the destiny of Amy and I 1292 01:09:51,500 --> 01:09:53,459 was to bring Max into the world, 1293 01:09:53,542 --> 01:09:57,250 which was such a beautiful thing. 1294 01:09:57,334 --> 01:10:01,542 Before that, I'm not sure I knew what a personal life was. 1295 01:10:01,626 --> 01:10:04,375 I thought life began 1296 01:10:04,459 --> 01:10:07,876 with, you know, "Action!" 1297 01:10:07,959 --> 01:10:09,125 And then, "Cut!" 1298 01:10:11,125 --> 01:10:12,792 After my mom and dad broke up, 1299 01:10:12,876 --> 01:10:15,083 I always thought that I would do my best 1300 01:10:15,167 --> 01:10:17,250 that if I ever decided someday to get married, 1301 01:10:17,334 --> 01:10:18,792 I wouldn't get divorced. 1302 01:10:18,876 --> 01:10:20,292 And then, of course, I did. 1303 01:10:25,584 --> 01:10:28,959 Divorce in any situation is painful. 1304 01:10:29,042 --> 01:10:31,918 And it's especially painful for me 1305 01:10:32,000 --> 01:10:35,250 because I am a child of divorce 1306 01:10:35,334 --> 01:10:36,918 and I know what it felt like. 1307 01:10:37,000 --> 01:10:40,083 And so, you know, I felt terrible for Max, 1308 01:10:40,167 --> 01:10:42,709 that he had to endure that. 1309 01:10:48,125 --> 01:10:51,667 - My plane. - Jamie! Jamie! 1310 01:10:55,542 --> 01:10:56,709 Mom? 1311 01:10:58,876 --> 01:11:00,667 - Mom? - "Empire of the Sun" 1312 01:11:00,751 --> 01:11:03,334 was about this young boy growing up in Shanghai 1313 01:11:03,417 --> 01:11:05,334 who gets separated from his parents 1314 01:11:05,417 --> 01:11:07,500 during the Japanese invasion. 1315 01:11:07,584 --> 01:11:09,083 Mommy! 1316 01:11:09,167 --> 01:11:11,292 - Jamie! - Mommy! 1317 01:11:11,375 --> 01:11:14,542 And he goes through a tremendous transformation 1318 01:11:14,626 --> 01:11:17,959 and growing-up process. 1319 01:11:18,042 --> 01:11:20,459 It was playing on what I knew were my strengths, 1320 01:11:20,542 --> 01:11:24,000 being able to take the dark, grim reality of war 1321 01:11:24,083 --> 01:11:26,167 and put it with a child's approach 1322 01:11:26,250 --> 01:11:29,417 in the way this particular special child saw that war. 1323 01:11:38,042 --> 01:11:39,626 It was based on the experiences 1324 01:11:39,709 --> 01:11:41,042 that J.G. Ballard had 1325 01:11:41,125 --> 01:11:43,584 in a Japanese internment camp. 1326 01:11:46,792 --> 01:11:49,542 Jim was a lost boy trying to figure out 1327 01:11:49,626 --> 01:11:51,584 where he belongs in this world. 1328 01:11:53,792 --> 01:11:56,125 It's a movie about growing up too quickly 1329 01:11:56,209 --> 01:11:58,918 and abandoning everything that you once used 1330 01:11:59,000 --> 01:12:00,626 to keep yourself safe. 1331 01:12:04,292 --> 01:12:06,918 When you have nothing to keep yourself safe, 1332 01:12:07,000 --> 01:12:09,000 you become a survivor like all the rest, 1333 01:12:09,083 --> 01:12:10,959 and you grow up awfully quickly. 1334 01:12:12,667 --> 01:12:14,250 It's an extraordinary story 1335 01:12:14,334 --> 01:12:16,667 of the resilience of children, 1336 01:12:16,751 --> 01:12:18,751 this incredible survivor 1337 01:12:18,834 --> 01:12:21,542 who manages to have more fortitude to him 1338 01:12:21,626 --> 01:12:25,542 than, really, any of the adults around him. 1339 01:12:30,626 --> 01:12:34,417 It's in the great tradition of epic filmmaking. 1340 01:12:34,500 --> 01:12:38,083 That sports stadium at the end when all the goods, 1341 01:12:38,167 --> 01:12:40,209 all the stuff that had been stolen is there, 1342 01:12:40,292 --> 01:12:42,959 the surrealism of that 1343 01:12:43,042 --> 01:12:47,876 and what it makes you feel at that time and place, 1344 01:12:47,959 --> 01:12:49,310 the sense of what the world was like, 1345 01:12:49,334 --> 01:12:52,751 how it had fallen apart, all of civilization. 1346 01:13:09,500 --> 01:13:13,918 And then, something even more disturbingly beautiful, 1347 01:13:14,000 --> 01:13:17,083 and that is the glow from the atom bomb. 1348 01:13:21,959 --> 01:13:25,375 It's like a soul transcending into another life. 1349 01:13:26,751 --> 01:13:29,375 Mrs. Victor. 1350 01:13:29,459 --> 01:13:34,876 This is very poetic and... mystical. 1351 01:13:45,417 --> 01:13:47,000 This was war 1352 01:13:47,083 --> 01:13:51,292 and it was death and real horror. 1353 01:13:51,375 --> 01:13:53,667 And it was like an end of innocence 1354 01:13:53,751 --> 01:13:56,000 for the Spielberg child. 1355 01:13:58,417 --> 01:14:00,834 I think it was a truly great film, 1356 01:14:00,918 --> 01:14:03,167 but, for me, it ultimately shaded 1357 01:14:03,250 --> 01:14:08,334 into an unnecessary softness or sentimentality. 1358 01:14:08,417 --> 01:14:10,209 I don't know where it comes from, 1359 01:14:10,292 --> 01:14:13,209 but he likes and enjoys sentiment. 1360 01:14:13,292 --> 01:14:14,709 It's part of him. 1361 01:14:24,459 --> 01:14:26,876 At the time, he was not dismissed, exactly, 1362 01:14:26,959 --> 01:14:29,500 by a lot of critics, but sort of looked at a little skeptically. 1363 01:14:29,584 --> 01:14:30,876 "Oh, he wants to be serious now. 1364 01:14:30,959 --> 01:14:32,542 Oh, he's trying to make serious movies. 1365 01:14:32,626 --> 01:14:34,834 Oh, now he wants it"... Which, I mean... 1366 01:14:34,918 --> 01:14:38,417 It's such a kind of nasty thing 1367 01:14:38,500 --> 01:14:40,083 to say about any artist. 1368 01:14:40,167 --> 01:14:42,459 It definitely hurt his feelings. 1369 01:14:42,542 --> 01:14:44,083 I don't think anybody as an artist 1370 01:14:44,167 --> 01:14:46,667 wants to feel like they're being pigeonholed 1371 01:14:46,751 --> 01:14:50,500 in a way that other people are determining who they are. 1372 01:14:50,584 --> 01:14:52,918 And when Steven began to explore 1373 01:14:53,000 --> 01:14:55,417 other kinds of more serious stories, 1374 01:14:55,500 --> 01:14:58,292 they were very reluctant to let him do that. 1375 01:14:58,375 --> 01:15:00,792 That was like, "How dare you, Steven Spielberg? 1376 01:15:00,876 --> 01:15:03,334 We've determined that you make these kind of movies, 1377 01:15:03,417 --> 01:15:06,459 so why are you suddenly trying to make this?" 1378 01:15:06,542 --> 01:15:08,667 He doesn't over-intellectualize, 1379 01:15:08,751 --> 01:15:12,751 but maybe as a filmmaker, Steven was using those movies 1380 01:15:12,834 --> 01:15:15,292 as stepping stones along the way. 1381 01:15:15,375 --> 01:15:17,834 He didn't know where he was headed, 1382 01:15:17,918 --> 01:15:21,250 but I think he was exercising those muscles, in a way, 1383 01:15:21,334 --> 01:15:24,042 to recognize he could go there, 1384 01:15:24,125 --> 01:15:26,083 that it was okay. 1385 01:15:38,626 --> 01:15:41,417 - My very first memory... - I was in a stroller. 1386 01:15:41,500 --> 01:15:43,125 I just remember being wheeled somewhere, 1387 01:15:43,209 --> 01:15:46,626 and my grandmother and grandfather were with me. 1388 01:15:49,375 --> 01:15:52,792 We went into this underground space. 1389 01:15:52,876 --> 01:15:56,417 There was a red light over a set of doors. 1390 01:15:59,459 --> 01:16:01,219 And I just remember getting closer and closer 1391 01:16:01,292 --> 01:16:03,918 to this red light where all these old men... 1392 01:16:04,000 --> 01:16:08,709 Just men were all chanting something. 1393 01:16:08,792 --> 01:16:11,667 And the red light was the Eternal Light, the Ner Tamid, 1394 01:16:11,751 --> 01:16:14,542 and that's my very first memory. 1395 01:16:17,417 --> 01:16:20,500 - Do you believe in God? - Yes. 1396 01:16:20,584 --> 01:16:22,584 Tell me about that. Where where does...? 1397 01:16:22,667 --> 01:16:24,959 It comes from my... 1398 01:16:25,042 --> 01:16:28,667 You know, my spiritual... Not even spiritual, 1399 01:16:28,751 --> 01:16:31,667 my religious roots and family. 1400 01:16:34,959 --> 01:16:38,584 All my grandparents had a very strong influence over me. 1401 01:16:38,667 --> 01:16:40,959 My grandfather, Fievel, played guitar 1402 01:16:41,042 --> 01:16:43,292 and he sang all Yiddish Russian songs. 1403 01:16:43,375 --> 01:16:45,167 And my grandmother, Jennie, 1404 01:16:45,250 --> 01:16:48,167 taught English to Hungarian Holocaust survivors. 1405 01:16:52,542 --> 01:16:55,500 We were Orthodox. I was raised Orthodox. 1406 01:16:55,584 --> 01:16:58,584 And tradition has been a huge part of my family, 1407 01:16:58,667 --> 01:17:00,542 and religious studies, and Hebrew school, 1408 01:17:00,626 --> 01:17:04,792 and bar mitzvahs, and bat mitzvahs for my sisters. 1409 01:17:04,876 --> 01:17:07,792 But we always lived in neighborhoods where there were no Jews. 1410 01:17:07,876 --> 01:17:11,584 And there was a real cultural divide in those days 1411 01:17:11,667 --> 01:17:13,834 between Jewish people and Gentiles, 1412 01:17:13,918 --> 01:17:16,000 a real cultural divide. 1413 01:17:16,083 --> 01:17:17,626 I remember that at one point, 1414 01:17:17,709 --> 01:17:21,209 kids were standing outside and chanting 1415 01:17:21,292 --> 01:17:23,667 "the Spielbergs are dirty Jews." 1416 01:17:23,751 --> 01:17:26,959 I certainly experienced being excluded 1417 01:17:27,042 --> 01:17:30,042 and being picked on and discriminated against. 1418 01:17:30,125 --> 01:17:31,876 All I wanted to do was fit in. 1419 01:17:31,959 --> 01:17:35,500 And by being Jewish, there was no way I could fit into anything. 1420 01:17:35,584 --> 01:17:38,167 My grandfather would come over to spend a week with us, 1421 01:17:38,250 --> 01:17:40,876 and I'd be playing in the front yard seven houses down, 1422 01:17:40,959 --> 01:17:42,727 and my grandfather would stand on our front porch 1423 01:17:42,751 --> 01:17:44,918 and yell my Hebrew name, "Shmuel!" 1424 01:17:45,000 --> 01:17:46,918 As loud as he could, "Shmuel!" 1425 01:17:47,000 --> 01:17:51,042 And all my friends would say, "Is he talking to you? That's your house." 1426 01:17:51,125 --> 01:17:53,792 And I immediately denied that that was me. 1427 01:17:53,876 --> 01:17:56,626 "No, he must be calling somebody else." 1428 01:17:56,709 --> 01:17:58,459 "Is your name Shmuel?" 1429 01:17:58,542 --> 01:18:00,000 And all my friends started laughing. 1430 01:18:00,083 --> 01:18:01,751 "Shmuel? What's Shmuel?" 1431 01:18:01,834 --> 01:18:03,059 And meanwhile, in the background, 1432 01:18:03,083 --> 01:18:04,834 you can hear my grandfather yelling 1433 01:18:04,918 --> 01:18:07,167 with a Russian accent, "Shmuel!" 1434 01:18:07,250 --> 01:18:09,000 Steve did not want to be Jewish. 1435 01:18:09,083 --> 01:18:11,042 He didn't want to be Jewish because it made us 1436 01:18:11,125 --> 01:18:12,751 too different from everybody. 1437 01:18:12,834 --> 01:18:15,459 And the "Father Knows Best" family 1438 01:18:15,542 --> 01:18:17,667 is an assimilated family. 1439 01:18:17,751 --> 01:18:20,292 And I think he really yearned for that. 1440 01:18:20,375 --> 01:18:25,042 I began to deny my Jewishness, 1441 01:18:25,125 --> 01:18:27,167 you know, began to deny 1442 01:18:27,250 --> 01:18:29,876 everything that I had accepted as a child 1443 01:18:29,959 --> 01:18:31,417 and was not willing to accept 1444 01:18:31,500 --> 01:18:33,876 if it was going to make me a pariah. 1445 01:18:34,000 --> 01:18:35,709 I was ashamed of myself. 1446 01:18:35,792 --> 01:18:38,959 I still feel ashamed of myself 1447 01:18:39,042 --> 01:18:43,667 even remembering that long stretch of my life 1448 01:18:43,751 --> 01:18:47,167 where I didn't want to be Jewish anymore. 1449 01:18:51,209 --> 01:18:53,083 When I first met Kate, 1450 01:18:53,167 --> 01:18:55,417 something that only happens in the movies 1451 01:18:55,500 --> 01:18:56,709 happened to me. 1452 01:18:56,792 --> 01:19:01,751 It's a terrible cliché, but bells began ringing. 1453 01:19:01,834 --> 01:19:04,751 It was love at first sight. It really was. 1454 01:19:04,834 --> 01:19:06,417 There was something that was 1455 01:19:06,500 --> 01:19:09,000 so both self-assured about Katie 1456 01:19:09,083 --> 01:19:11,375 and reassuring for me. 1457 01:19:11,459 --> 01:19:14,083 There was a kind of in-syncness. 1458 01:19:14,167 --> 01:19:16,250 We could talk about anything, 1459 01:19:16,334 --> 01:19:18,542 and I couldn't get her off my mind. 1460 01:19:28,083 --> 01:19:31,042 Kate came into my world, in my life, 1461 01:19:31,125 --> 01:19:33,334 with a deep fascination with the traditions 1462 01:19:33,417 --> 01:19:35,751 and the depth of the history of Judaism. 1463 01:19:35,834 --> 01:19:38,292 And she really wanted to marry me as a Jew. 1464 01:19:38,375 --> 01:19:41,542 So, she converted to Judaism just before we got married. 1465 01:19:41,626 --> 01:19:43,959 She said she always felt like she was coming home. 1466 01:19:44,042 --> 01:19:46,459 She always felt this was where she was meant to be. 1467 01:19:46,542 --> 01:19:49,209 And so, as she studied Judaism and got into it, 1468 01:19:49,292 --> 01:19:52,375 it brought Steve back around to appreciating it. 1469 01:19:52,459 --> 01:19:54,375 Kate brought something to Steven 1470 01:19:54,459 --> 01:19:57,667 that I don't think Steven believed he could ever have. 1471 01:19:57,751 --> 01:20:01,542 She is so dedicated to the idea of family 1472 01:20:01,626 --> 01:20:04,751 in its, you know, purest essence 1473 01:20:04,834 --> 01:20:07,626 that not only did it bring him, 1474 01:20:07,709 --> 01:20:10,417 I think, a happiness he never thought he'd have, 1475 01:20:10,500 --> 01:20:13,042 but I suspect it contributed 1476 01:20:13,125 --> 01:20:15,209 to his growth as an artist. 1477 01:20:27,083 --> 01:20:29,375 In 1982, Sid Sheinberg gave me the book 1478 01:20:29,459 --> 01:20:31,292 of "Schindler's List" to read. 1479 01:20:31,375 --> 01:20:34,042 He felt it was my destiny to make this movie. 1480 01:20:34,125 --> 01:20:35,834 He was tenacious about getting me 1481 01:20:35,918 --> 01:20:38,459 to pay attention to it, not to give up on it. 1482 01:20:38,542 --> 01:20:42,334 I think he was intimidated 1483 01:20:42,417 --> 01:20:45,584 by the thought of making it. 1484 01:20:45,667 --> 01:20:48,250 He had the book for over 10 years 1485 01:20:48,334 --> 01:20:50,459 before he was ready to do it. 1486 01:20:50,542 --> 01:20:52,792 And he just said, "I'll know when it's time." 1487 01:20:52,876 --> 01:20:54,268 You know, if anybody pushed him on it, 1488 01:20:54,292 --> 01:20:55,667 "I'll know when it's time." 1489 01:20:57,459 --> 01:20:58,959 And then the time came. 1490 01:21:04,792 --> 01:21:09,626 On my first day, we were outside the gates of Auschwitz. 1491 01:21:09,709 --> 01:21:13,709 5:30 in the morning, bitterly, bitterly cold. 1492 01:21:13,792 --> 01:21:16,083 And hundreds of extras 1493 01:21:16,167 --> 01:21:19,209 dressed up in those horrible striped pajamas 1494 01:21:19,292 --> 01:21:21,250 and German guards 1495 01:21:21,334 --> 01:21:24,959 and real Alsatian dogs, real nasty dogs. 1496 01:21:29,250 --> 01:21:31,292 No! No! 1497 01:21:31,375 --> 01:21:34,209 Nothing could prepare me for my first visit to Auschwitz. 1498 01:21:34,292 --> 01:21:35,834 Nothing prepared me for that. 1499 01:21:38,292 --> 01:21:40,959 I wanted to shoot where the story actually took place, 1500 01:21:41,042 --> 01:21:44,250 all the actual locations, 1501 01:21:44,334 --> 01:21:46,294 but I realized at that point when I went to Poland 1502 01:21:46,334 --> 01:21:48,834 for the first time that I was playing with fire. 1503 01:21:48,918 --> 01:21:50,334 That's horrible. 1504 01:21:50,417 --> 01:21:52,876 He was like someone whose skin had been torn off. 1505 01:21:52,959 --> 01:21:55,167 He was just so vulnerable, 1506 01:21:55,250 --> 01:21:57,500 pacing up and down all the time. 1507 01:21:57,584 --> 01:21:59,125 I could tell how important 1508 01:21:59,209 --> 01:22:02,042 this subject matter and this film was to him. 1509 01:22:11,334 --> 01:22:15,292 He was telling a story of his family, his tribe, 1510 01:22:15,375 --> 01:22:19,834 so I was aware of the weight of the subject matter. 1511 01:22:19,918 --> 01:22:22,292 - I said to the crew, - "This isn't a documentary, 1512 01:22:22,375 --> 01:22:26,083 but we are documenting things that actually took place 1513 01:22:26,167 --> 01:22:27,959 in the place that you're standing right now." 1514 01:22:28,042 --> 01:22:32,751 And I said also, you know, "Those of us who are Jewish, 1515 01:22:32,834 --> 01:22:36,292 you know, would never have been able to stand here, 1516 01:22:36,375 --> 01:22:39,459 you know, in 1943." 1517 01:22:43,542 --> 01:22:46,042 I knew this couldn't be just another movie 1518 01:22:46,125 --> 01:22:49,834 and it couldn't be anything like anything I had ever directed before. 1519 01:22:49,918 --> 01:22:51,459 I had to approach the material 1520 01:22:51,542 --> 01:22:53,542 and I had to approach the location 1521 01:22:53,626 --> 01:22:56,042 with a great deal of reverence, 1522 01:22:56,125 --> 01:23:01,083 and I had to make this a very quiet, quiet production. 1523 01:23:01,167 --> 01:23:03,792 We were shooting on hallowed, sacred ground. 1524 01:23:06,626 --> 01:23:08,125 Everywhere we shot in Kraków 1525 01:23:08,209 --> 01:23:10,334 felt like we were shooting in a cemetery. 1526 01:23:10,417 --> 01:23:14,000 And it changed my entire approach to cinema. 1527 01:23:14,083 --> 01:23:15,375 I... that film looks different 1528 01:23:15,459 --> 01:23:17,709 than anything I had ever done before that. 1529 01:23:17,792 --> 01:23:21,500 I tried to do it with no fancy tricks, no fancy lenses, 1530 01:23:21,584 --> 01:23:23,834 no big Hollywood sweeping cranes. 1531 01:23:23,918 --> 01:23:25,918 I tried to take all the tools 1532 01:23:26,042 --> 01:23:28,334 with which I made so many of my films 1533 01:23:28,417 --> 01:23:30,209 and just chuck them out the window. 1534 01:23:30,292 --> 01:23:32,918 I never handheld anything, but I wanted to handhold 1535 01:23:33,000 --> 01:23:34,935 as much of "Schindler's List" as I possibly could. 1536 01:23:34,959 --> 01:23:37,375 I just wanted to create for all of us 1537 01:23:37,459 --> 01:23:40,918 the feeling that we were absolutely there at the time. 1538 01:23:41,000 --> 01:23:42,918 Goodbye Jews! 1539 01:23:43,000 --> 01:23:46,125 Goodbye Jews! Goodbye Jews! 1540 01:23:46,209 --> 01:23:49,209 I'm just wondering is the synagogue... 1541 01:23:49,292 --> 01:23:50,417 ...a good background, 1542 01:23:50,500 --> 01:23:51,834 or is the park a good background, 1543 01:23:51,918 --> 01:23:54,042 because this is kind of interesting here. 1544 01:23:54,125 --> 01:23:56,584 - Steven said, "I feel like. - I'm directing my first movie. 1545 01:23:56,667 --> 01:23:58,167 I'm not storyboarding anything." 1546 01:23:58,250 --> 01:23:59,602 And I think that gave him an adrenaline 1547 01:23:59,626 --> 01:24:01,083 or something that we all felt. 1548 01:24:01,167 --> 01:24:03,042 A fire, an alertness. 1549 01:24:03,125 --> 01:24:06,876 I've never felt the same level of energy and focus. 1550 01:24:07,000 --> 01:24:09,459 He seems to breathe cinema. 1551 01:24:09,542 --> 01:24:12,209 I wouldn't say he's an intellectual director. 1552 01:24:12,292 --> 01:24:15,542 I think he feels things intuitively and emotionally. 1553 01:24:15,626 --> 01:24:16,959 ...and coverage up like that. 1554 01:24:17,042 --> 01:24:19,626 He was kind of like an abstract painter 1555 01:24:19,709 --> 01:24:22,918 who has his canvass 1556 01:24:23,000 --> 01:24:26,459 and has a palette of extraordinary colors 1557 01:24:26,542 --> 01:24:28,375 but just doesn't know what color 1558 01:24:28,459 --> 01:24:31,250 to put on that screen first. 1559 01:24:31,334 --> 01:24:33,667 But once he's committed to that color, 1560 01:24:33,751 --> 01:24:36,584 he was just firing on all cylinders. 1561 01:24:36,667 --> 01:24:39,209 And there was literally times he was running, 1562 01:24:39,292 --> 01:24:40,959 physically running, with that camera 1563 01:24:41,042 --> 01:24:43,375 because a lot of the stuff, he shot himself. 1564 01:24:43,459 --> 01:24:44,667 Handheld camera. 1565 01:24:44,751 --> 01:24:46,250 He'd be running up and down, 1566 01:24:46,334 --> 01:24:48,584 saying, "Come on, come with me, quick," 1567 01:24:48,667 --> 01:24:50,584 as the idea was forming in his head. 1568 01:24:50,667 --> 01:24:53,083 And we'd all be running after him, "What? What?" 1569 01:24:53,167 --> 01:24:55,709 He'd be inspired. He saw something. 1570 01:25:08,000 --> 01:25:10,959 We were all struggling with the incomprehensible 1571 01:25:11,042 --> 01:25:14,375 as characters and as actors. 1572 01:25:14,459 --> 01:25:18,209 But we put one foot in front of the other in our mandate 1573 01:25:18,292 --> 01:25:21,417 to, as Elie Wiesel says, tell stories. 1574 01:25:24,042 --> 01:25:25,709 We took on the mantle 1575 01:25:25,792 --> 01:25:28,584 of actor-warriors, if you like. 1576 01:25:28,667 --> 01:25:32,626 Because if you soften anything with sentiment, 1577 01:25:32,709 --> 01:25:35,792 you lessen the blow that the audience have got to feel 1578 01:25:35,876 --> 01:25:37,542 and got to reel under. 1579 01:25:50,334 --> 01:25:52,667 In the liquidation of the ghetto scene, 1580 01:25:52,751 --> 01:25:54,334 I knew I had to serve the story. 1581 01:25:54,417 --> 01:25:57,751 I remembered my lines, but I was in deep shock. 1582 01:25:57,834 --> 01:25:59,500 No acting. 1583 01:26:05,626 --> 01:26:08,000 The beautifully orchestrated chaos 1584 01:26:08,083 --> 01:26:10,500 was unrepeatable or unforgettable. 1585 01:26:18,167 --> 01:26:22,250 Oskar Schindler was a gregarious man. 1586 01:26:22,334 --> 01:26:24,709 He was a second-rate businessman. 1587 01:26:24,792 --> 01:26:27,667 Bit of a shady character, you know? 1588 01:26:27,751 --> 01:26:32,292 A man about town, loved the women, loved his booze. 1589 01:26:32,375 --> 01:26:35,876 A bon vivant, that's what he was. 1590 01:26:35,959 --> 01:26:37,876 And he did this extraordinary thing. 1591 01:26:37,959 --> 01:26:42,125 He saved over 1,100 Jewish lives. 1592 01:26:42,209 --> 01:26:45,167 There was something indescribably mysterious 1593 01:26:45,250 --> 01:26:46,709 about this character. 1594 01:26:46,792 --> 01:26:49,375 It was impossible to really understand 1595 01:26:49,459 --> 01:26:51,542 why he did what he did. 1596 01:26:51,626 --> 01:26:54,083 But we decided just to let the audience 1597 01:26:54,167 --> 01:26:56,959 work that out for themselves. 1598 01:26:57,042 --> 01:26:58,792 I was a smoker at the time. 1599 01:26:58,876 --> 01:27:01,375 Steve was not a smoker, but in the close-ups, 1600 01:27:01,459 --> 01:27:03,167 he would start to tell me how to smoke. 1601 01:27:03,250 --> 01:27:06,667 He'd say, "Okay, you're looking at the table. 1602 01:27:06,751 --> 01:27:10,500 You see three of these high-ranking Nazi guys. 1603 01:27:10,584 --> 01:27:12,292 Take a drag of your cigarette." 1604 01:27:12,375 --> 01:27:16,250 "No, no. Do it again. 1605 01:27:16,334 --> 01:27:18,709 Keep your fingers there. Take a drag. 1606 01:27:18,792 --> 01:27:22,375 Let the smoke curl up your face. 1607 01:27:22,459 --> 01:27:25,250 Do it again. 1608 01:27:25,334 --> 01:27:27,584 Okay, now take your hand away very, very slowly." 1609 01:27:27,667 --> 01:27:30,209 So, he was basically telling me how to breathe. 1610 01:27:30,292 --> 01:27:32,500 I remember sharing it with Ben Kingsley 1611 01:27:32,584 --> 01:27:34,375 later on that night or the next day. 1612 01:27:34,459 --> 01:27:37,959 I said, "Ben, I just... if every scene's gonna be like that, 1613 01:27:38,042 --> 01:27:40,250 I'm a fucking puppet, you know? 1614 01:27:40,334 --> 01:27:41,751 I don't want to be a puppet. 1615 01:27:41,834 --> 01:27:43,250 I'm 41 years of age." 1616 01:27:43,334 --> 01:27:45,042 And I remember Ben so well. 1617 01:27:45,125 --> 01:27:47,667 He said, "A great conductor... 1618 01:27:49,250 --> 01:27:52,209 needs a good soloist. 1619 01:27:52,292 --> 01:27:53,876 So just trust that. 1620 01:27:53,959 --> 01:27:55,334 Just go into his direction. 1621 01:27:55,417 --> 01:27:57,292 Don't fight against it. Just go into it." 1622 01:27:57,375 --> 01:27:58,626 And that's what I did. 1623 01:27:58,709 --> 01:28:01,918 I just opened myself for Steven, you know? 1624 01:28:02,000 --> 01:28:03,417 My father was fond of saying, 1625 01:28:03,500 --> 01:28:05,626 "You need three things in life... 1626 01:28:05,709 --> 01:28:10,125 A good doctor, a forgiving priest, 1627 01:28:10,209 --> 01:28:12,125 and a clever accountant." 1628 01:28:16,459 --> 01:28:18,500 The first two... 1629 01:28:18,584 --> 01:28:20,167 I've never had much use for. 1630 01:28:20,250 --> 01:28:24,167 But the third? 1631 01:28:24,250 --> 01:28:26,167 Itzhak Stern was the character 1632 01:28:26,250 --> 01:28:29,459 that I was closest to in my understanding of him. 1633 01:28:29,542 --> 01:28:32,209 Just pretend, for Christ's sake. 1634 01:28:32,292 --> 01:28:35,709 And I said to Ben, "You're the conscience of Oskar Schindler. 1635 01:28:35,792 --> 01:28:38,083 You're also my window 1636 01:28:38,167 --> 01:28:40,459 into my insight into Oskar Schindler." 1637 01:28:40,542 --> 01:28:42,459 I'm trying to thank you. 1638 01:28:44,459 --> 01:28:47,375 I'm saying I couldn't have done this without you. 1639 01:28:47,459 --> 01:28:50,334 Anything I can glean from Schindler himself, 1640 01:28:50,417 --> 01:28:53,042 I think a lot of it is gonna come from how you look at him. 1641 01:28:56,334 --> 01:28:57,834 You're welcome. 1642 01:28:57,918 --> 01:28:59,542 There are very, very few directors 1643 01:28:59,626 --> 01:29:02,667 who respect stillness as much as Steven. 1644 01:29:02,751 --> 01:29:05,417 He's gonna catch every single gesture 1645 01:29:05,500 --> 01:29:08,751 you offer to the camera, and he's going to use it. 1646 01:29:08,834 --> 01:29:13,834 His intuition for something real and present is very, very strong. 1647 01:29:13,918 --> 01:29:17,042 He wanted to avoid clichés about Nazis, 1648 01:29:17,125 --> 01:29:20,500 and, in terms of performance, I understood it on my first day. 1649 01:29:20,584 --> 01:29:23,876 You know, the thing about Amon having a cough... "Ahem, excuse me," 1650 01:29:23,959 --> 01:29:27,375 and giving him sort of banal human failings, touches like that. 1651 01:29:27,459 --> 01:29:29,459 Do you have any questions, sir? 1652 01:29:29,542 --> 01:29:33,292 Yeah, why is the top down? I'm fucking freezing. 1653 01:29:33,375 --> 01:29:35,310 There were ways in which, through performance and filming, 1654 01:29:35,334 --> 01:29:37,709 you can amp up and signal "bad guy." 1655 01:29:37,792 --> 01:29:39,876 And I think he wanted, quite rightly, 1656 01:29:39,959 --> 01:29:41,751 to say, "No, man doing job. 1657 01:29:41,834 --> 01:29:44,709 - You decide what you think." - I have an idea. 1658 01:29:44,792 --> 01:29:46,727 How about just lighting their mouths, nothing else? 1659 01:29:46,751 --> 01:29:48,792 I was just going... You know... 1660 01:29:48,876 --> 01:29:51,375 No, him, I want to light just from the top, you know, 1661 01:29:51,459 --> 01:29:53,542 so we get some shadows here, just like... 1662 01:29:53,626 --> 01:29:56,709 Okay, I just want to make sure we're not being too on the nose 1663 01:29:56,792 --> 01:30:00,417 with the... you know, the badness of the character 1664 01:30:00,500 --> 01:30:02,626 by having a straight-down light. 1665 01:30:02,709 --> 01:30:04,935 Everything we do in this medium is about light and shadow, 1666 01:30:04,959 --> 01:30:07,751 how the cinematographer lights the actors, lights the set. 1667 01:30:07,834 --> 01:30:09,584 If you look at "Schindler's List," 1668 01:30:09,667 --> 01:30:12,083 Amon Goeth was always lit beautifully. 1669 01:30:12,167 --> 01:30:14,417 He always had that beautiful front light. 1670 01:30:14,500 --> 01:30:15,959 You know, the guy was very clear. 1671 01:30:16,042 --> 01:30:17,375 There was no mystery in him. 1672 01:30:17,459 --> 01:30:19,125 You don't have to enhance his evilness, 1673 01:30:19,209 --> 01:30:21,250 if you may say, by lighting. 1674 01:30:21,334 --> 01:30:23,250 Now, if you look at Oskar Schindler, 1675 01:30:23,334 --> 01:30:24,834 that was a confused individual. 1676 01:30:24,918 --> 01:30:26,834 He came to Poland to make money, 1677 01:30:26,918 --> 01:30:30,000 so it's always glamorous, but always shadowy. 1678 01:30:30,083 --> 01:30:33,334 And then as the movie's progressing, he gets more frontal light. 1679 01:30:33,417 --> 01:30:34,667 The shadows disappear. 1680 01:30:34,751 --> 01:30:36,667 They say you are good. 1681 01:30:36,751 --> 01:30:39,375 Because he's learning who he is. 1682 01:31:02,167 --> 01:31:05,042 The little girl in red actually happened. 1683 01:31:05,125 --> 01:31:09,083 Schindler on horseback watching these people being rounded up. 1684 01:31:11,292 --> 01:31:16,209 He did spot this little girl in a red coat. 1685 01:31:16,292 --> 01:31:18,375 Of all the carnage that's happening, 1686 01:31:18,459 --> 01:31:20,542 he can't take his eyes off this little girl 1687 01:31:20,626 --> 01:31:22,125 meandering down the street. 1688 01:31:22,209 --> 01:31:23,602 He couldn't take his eyes off of her 1689 01:31:23,626 --> 01:31:25,918 and wonder why is she not being taken 1690 01:31:26,000 --> 01:31:27,834 along with everybody else. 1691 01:31:27,918 --> 01:31:30,334 And, of course, the answer was, "Well, she will be taken. 1692 01:31:30,417 --> 01:31:31,792 May not be in the next few minutes, 1693 01:31:31,876 --> 01:31:34,209 but she's not going to survive." 1694 01:31:40,792 --> 01:31:42,667 During the liquidation of the ghetto, 1695 01:31:42,751 --> 01:31:44,768 when they were taking people and putting them in trucks 1696 01:31:44,792 --> 01:31:46,542 and shooting old people in the streets, 1697 01:31:46,626 --> 01:31:48,584 they were leaving her alone. 1698 01:31:48,667 --> 01:31:51,083 Somehow, the most obvious target 1699 01:31:51,167 --> 01:31:52,751 was not being apprehended. 1700 01:31:52,834 --> 01:31:55,709 And, to me, it was less about what turned Oskar Schindler, 1701 01:31:55,792 --> 01:31:59,417 and it was more that the world turned a blind eye on the Holocaust 1702 01:31:59,500 --> 01:32:02,959 and the industrialized process of wholesale murder. 1703 01:32:03,042 --> 01:32:04,751 Can you believe this? 1704 01:32:04,834 --> 01:32:08,334 As if I don't have enough to do, they come up with this? 1705 01:32:08,417 --> 01:32:12,542 I have to find every rag buried up here and burn it. 1706 01:32:12,626 --> 01:32:14,709 The party's over, Oskar. 1707 01:32:14,792 --> 01:32:17,167 They're closing us down, sending everybody to Auschwitz. 1708 01:32:17,250 --> 01:32:18,375 - When? - I don't know. 1709 01:32:18,459 --> 01:32:19,810 As soon as I can arrange the shipments. 1710 01:32:19,834 --> 01:32:23,792 Maybe 30, 40 days. That ought to be fun. 1711 01:32:26,542 --> 01:32:28,083 So, that little girl in red, 1712 01:32:28,167 --> 01:32:30,542 for me, symbolizes the Holocaust 1713 01:32:30,626 --> 01:32:33,209 and all of its monstrous evil, 1714 01:32:33,292 --> 01:32:35,959 and no one did anything about it when they could have. 1715 01:32:39,584 --> 01:32:43,792 I remember I put together a scene, very hard, emotionally. 1716 01:32:43,876 --> 01:32:46,792 And Steven comes in that night. 1717 01:32:46,876 --> 01:32:50,250 We went out to where he was staying 1718 01:32:50,334 --> 01:32:52,375 and I start running the scene. 1719 01:32:52,459 --> 01:32:55,667 And he looks at it. "Hold on, Mike. I can't do it." 1720 01:32:55,751 --> 01:32:58,751 He's like... he went like, "I can't do it. 1721 01:32:58,834 --> 01:33:01,292 It's too tough." And he left. 1722 01:33:01,375 --> 01:33:03,709 I just remember getting home and just falling apart. 1723 01:33:03,792 --> 01:33:06,167 And Kate was on the set with me a lot. 1724 01:33:06,250 --> 01:33:08,626 We would cry together many, many times. 1725 01:33:08,709 --> 01:33:11,667 She really kept me going through that whole production. 1726 01:33:11,751 --> 01:33:14,792 We were four months in Kraków. A long time. 1727 01:33:14,876 --> 01:33:18,209 It was, emotionally, the hardest movie I've ever made. 1728 01:33:29,250 --> 01:33:31,626 The film is not about 1729 01:33:31,709 --> 01:33:34,792 the Holocaust with a capital "H." 1730 01:33:34,876 --> 01:33:39,500 It is a particular window into the past. 1731 01:33:48,542 --> 01:33:50,876 And here, a mainstream director 1732 01:33:51,000 --> 01:33:52,918 had crafted a motion picture 1733 01:33:53,000 --> 01:33:56,209 that would in fact finally reach a large audience, 1734 01:33:56,292 --> 01:33:58,792 including people that simply may never have known 1735 01:33:58,876 --> 01:34:01,542 the word "Auschwitz." 1736 01:34:08,626 --> 01:34:10,560 About three quarters of the way through the shoot, 1737 01:34:10,584 --> 01:34:13,167 Steven had this idea about the end of the film. 1738 01:34:13,250 --> 01:34:16,417 He wanted to fly us to Jerusalem. 1739 01:34:16,500 --> 01:34:19,042 We would shoot a scene at Schindler's grave. 1740 01:34:19,125 --> 01:34:20,709 I needed there to be 1741 01:34:20,792 --> 01:34:24,000 some testimony built into the movie 1742 01:34:24,083 --> 01:34:27,334 that says this story actually happened. 1743 01:34:30,250 --> 01:34:32,000 Brave thing to do. 1744 01:34:32,083 --> 01:34:33,500 These are the real people. 1745 01:35:03,000 --> 01:35:06,876 That was a pivotal moment in Steven's life. 1746 01:35:06,959 --> 01:35:09,292 He recognized he couldn't take 1747 01:35:09,375 --> 01:35:11,083 any of the profits from the film. 1748 01:35:11,167 --> 01:35:13,125 He wanted to give something back, 1749 01:35:13,209 --> 01:35:16,125 so he started what became the Shoah Foundation, 1750 01:35:16,209 --> 01:35:20,125 documenting that oral history and capturing history 1751 01:35:20,209 --> 01:35:24,334 in a way that allowed people not to forget. 1752 01:35:24,417 --> 01:35:29,125 The Shoah Foundation is a way of trying to hear 1753 01:35:29,209 --> 01:35:32,709 the faintest echo of the stories that we've lost. 1754 01:35:32,792 --> 01:35:35,667 So, it's connected to him as a storyteller, 1755 01:35:35,751 --> 01:35:38,918 which is in his DNA. 1756 01:35:39,000 --> 01:35:41,626 They started running toward the tracks and they were shot. 1757 01:35:41,709 --> 01:35:44,083 It was probably the last patrol of the day. 1758 01:35:44,167 --> 01:35:45,847 They were not supposed to be there anymore. 1759 01:35:45,876 --> 01:35:47,751 And of course they asked for papers, 1760 01:35:47,834 --> 01:35:50,250 but my grandfather didn't have any. 1761 01:35:50,334 --> 01:35:53,751 And they took them. They took them. 1762 01:35:56,167 --> 01:36:00,083 He's got thousands and thousands of testimonies, 1763 01:36:00,167 --> 01:36:01,667 and not just about the Holocaust. 1764 01:36:01,751 --> 01:36:05,000 About Rwanda, about Bosnia, you know? 1765 01:36:05,083 --> 01:36:08,459 And it's amazing, this legacy that "Schindler's List" 1766 01:36:08,542 --> 01:36:10,375 has spawned through Steven. 1767 01:36:28,000 --> 01:36:30,417 - The experience of making. - "Schindler's List" 1768 01:36:30,500 --> 01:36:34,751 made me reconcile with all of the reasons, 1769 01:36:34,834 --> 01:36:40,709 the vain, glorious reasons, I hid from my Jewishness. 1770 01:36:40,792 --> 01:36:45,292 And it made me so proud to be a Jew. 1771 01:37:05,209 --> 01:37:08,334 There are periods of time in moviemaking history 1772 01:37:08,417 --> 01:37:11,626 where you have a collision of events 1773 01:37:11,709 --> 01:37:13,500 that innovates and creates something new. 1774 01:37:13,584 --> 01:37:16,542 And "Jurassic Park" was one of those moments. 1775 01:37:16,626 --> 01:37:18,584 - Keep it there. - It was - the beginning 1776 01:37:18,667 --> 01:37:20,375 of, really, the digital era 1777 01:37:20,459 --> 01:37:24,000 where the central characters were digitally created. 1778 01:37:24,083 --> 01:37:26,083 No one had ever gone there before that way. 1779 01:37:26,167 --> 01:37:29,751 Come on! 1780 01:37:29,834 --> 01:37:31,834 Steven said to me, 1781 01:37:31,918 --> 01:37:36,417 "I want 28-foot to 30-foot dinosaurs on the set 1782 01:37:36,500 --> 01:37:38,584 that the actors can interact with, 1783 01:37:38,667 --> 01:37:40,834 and I want them to be able to run." 1784 01:37:40,918 --> 01:37:43,459 There were going to be at least 60 wide shots 1785 01:37:43,542 --> 01:37:45,417 with 60 head-to-toe dinosaurs 1786 01:37:45,500 --> 01:37:47,334 that could not operate mechanically. 1787 01:37:47,417 --> 01:37:48,876 They had to run. They had to perform. 1788 01:37:48,959 --> 01:37:50,476 They had to twist and turn. They had to be real. 1789 01:37:50,500 --> 01:37:54,292 So, I went off to start to talk to experts 1790 01:37:54,375 --> 01:37:57,792 in the area of prosthetics and theme parks 1791 01:37:57,876 --> 01:37:59,143 to figure out how we're gonna do this. 1792 01:37:59,167 --> 01:38:00,626 And, of course, everybody said to me, 1793 01:38:00,709 --> 01:38:02,918 "We can build these things, but they can't run." 1794 01:38:03,000 --> 01:38:04,894 So, I went back to Steven and I said, "They can't run." 1795 01:38:04,918 --> 01:38:06,584 He said, "Well, they have to run." 1796 01:38:06,667 --> 01:38:08,876 - Okay, pushing team, move in there. - Move in. 1797 01:38:08,959 --> 01:38:12,209 So, all this development was going on, 1798 01:38:12,292 --> 01:38:17,000 and simultaneous to that, Dennis Muren called me and he said, 1799 01:38:17,083 --> 01:38:19,959 "I'm working on something with the computer 1800 01:38:20,042 --> 01:38:22,292 that I think could be extraordinary." 1801 01:38:30,500 --> 01:38:32,083 Lock the opening! 1802 01:38:32,167 --> 01:38:34,083 And we flew up to ILM, 1803 01:38:34,167 --> 01:38:35,792 and we went in this little office, 1804 01:38:35,876 --> 01:38:39,083 and there was a computer, and Dennis said, "Watch this." 1805 01:38:39,167 --> 01:38:40,459 And he hit a button, 1806 01:38:40,542 --> 01:38:42,751 and there was a dinosaur running. 1807 01:38:42,834 --> 01:38:44,125 This is all in the computer. 1808 01:38:44,209 --> 01:38:45,476 There's no models, no cameras, or anything. 1809 01:38:45,500 --> 01:38:46,834 When we looked at them, 1810 01:38:46,918 --> 01:38:48,560 it was like nothing you had ever seen before. 1811 01:38:48,584 --> 01:38:51,751 And it was one of those primal moments 1812 01:38:51,834 --> 01:38:55,667 - where you suddenly realize, oh, my God... - Oh, my God. 1813 01:38:55,751 --> 01:38:57,167 Oh, my God, we're there. 1814 01:38:57,250 --> 01:38:59,459 This is the future. 1815 01:38:59,542 --> 01:39:01,375 I could not believe my eyes. 1816 01:39:01,459 --> 01:39:03,375 Couldn't believe it. 1817 01:39:03,459 --> 01:39:05,209 They were alive. They were real. 1818 01:39:05,292 --> 01:39:08,667 And it was so exciting, we all leapt to our feet 1819 01:39:08,751 --> 01:39:10,959 because we had never seen anything like it. 1820 01:39:11,042 --> 01:39:12,626 I'm not exaggerating when I say 1821 01:39:12,709 --> 01:39:16,334 looking at that test was like the moment 1822 01:39:16,417 --> 01:39:17,918 when sound came to movies. 1823 01:39:18,000 --> 01:39:21,459 There was this new tool that was going to be huge, 1824 01:39:21,542 --> 01:39:22,667 and you could just tell. 1825 01:39:36,417 --> 01:39:38,709 It was that much of an experiment. 1826 01:39:38,792 --> 01:39:40,500 It felt that wild. 1827 01:39:40,584 --> 01:39:43,667 And watching, you know, their brains at work 1828 01:39:43,751 --> 01:39:46,334 as we were shooting, and how'd they adjust a shot, 1829 01:39:46,417 --> 01:39:48,709 and how giddy Steven would get, 1830 01:39:48,792 --> 01:39:53,167 you get caught up in the dreams he was building and the magic. 1831 01:39:53,250 --> 01:39:56,250 During the scenes where we're first seeing the dinosaur, 1832 01:39:56,334 --> 01:39:57,768 he puts the camera on me and says, "Okay, Jeff, 1833 01:39:57,792 --> 01:39:59,292 now you're looking at the thing. 1834 01:39:59,375 --> 01:40:00,959 Okay, so look at it. 1835 01:40:01,042 --> 01:40:03,042 Yeah, keep going. Keep rolling. 1836 01:40:03,125 --> 01:40:05,417 Is it real? Is it a trick? 1837 01:40:05,500 --> 01:40:08,876 And now, for no reason at all, you start to laugh. 1838 01:40:08,959 --> 01:40:10,250 Keep laughing a little bit. 1839 01:40:10,334 --> 01:40:12,209 Laugh a little bit more. That's it. 1840 01:40:12,292 --> 01:40:14,375 Now you're stunned by it again 1841 01:40:14,459 --> 01:40:16,083 and you just get very still. 1842 01:40:17,667 --> 01:40:19,185 Okay, that's it. Okay, I got what I need. 1843 01:40:19,209 --> 01:40:20,918 Let's go. Let's move on." Like that. 1844 01:40:21,000 --> 01:40:22,751 He knows exactly what he needs. 1845 01:40:22,834 --> 01:40:24,626 Weapon, you know, guy face... all faces, 1846 01:40:24,709 --> 01:40:27,792 weapons, faces, and then right to Bob. 1847 01:40:27,876 --> 01:40:31,209 - Get in there! - "Jurassic Park" - is a cautionary tale. 1848 01:40:31,292 --> 01:40:33,375 We stand on the shoulders of giants 1849 01:40:33,459 --> 01:40:36,250 to create the next great thing, 1850 01:40:36,334 --> 01:40:39,959 and yet we take no responsibility for our own creations. 1851 01:40:40,042 --> 01:40:43,292 But it's an old, timeworn science fiction story. 1852 01:40:43,375 --> 01:40:45,792 It's what brought Godzilla up from the depths. 1853 01:40:45,876 --> 01:40:50,417 You mess with atomic energy, you get Godzilla. 1854 01:40:50,500 --> 01:40:52,876 There's a lot of dark themes in "Jurassic Park" 1855 01:40:52,959 --> 01:40:56,375 that are about, you know, unleashing Pandora's box. 1856 01:40:56,459 --> 01:40:59,459 As it turns out, it's not only genetic engineering, 1857 01:40:59,542 --> 01:41:01,792 which is a theme in the movie, 1858 01:41:01,876 --> 01:41:03,626 it's actually the digital revolution 1859 01:41:03,709 --> 01:41:05,918 coming out right from behind the fence. 1860 01:41:17,751 --> 01:41:20,250 This opened up a whole new world in storytelling 1861 01:41:20,334 --> 01:41:22,584 because you can do anything you want. 1862 01:41:22,667 --> 01:41:25,125 You're not limited by plastics or metal 1863 01:41:25,209 --> 01:41:27,918 or gravity or anything. 1864 01:41:28,000 --> 01:41:30,292 If you can imagine it, you can do it. 1865 01:41:30,375 --> 01:41:33,167 It was the end of an era, no question about it. 1866 01:41:33,250 --> 01:41:35,090 And it was the beginning of a whole nother era. 1867 01:41:48,584 --> 01:41:53,000 Steven is a master of putting the effects shots in for a purpose. 1868 01:41:53,083 --> 01:41:56,667 They're there to advance the story 1869 01:41:56,751 --> 01:41:59,626 and to make it a different journey 1870 01:41:59,709 --> 01:42:01,834 than anybody's seen before. 1871 01:42:01,918 --> 01:42:03,459 And it could be a spaceship, 1872 01:42:03,542 --> 01:42:06,000 it could be a dinosaur, it could be an alien landing, 1873 01:42:06,083 --> 01:42:09,792 it could be, you know, a red coat that somebody's wearing 1874 01:42:09,876 --> 01:42:12,292 when they're running through a black-and-white movie. 1875 01:42:12,375 --> 01:42:15,209 - Put the camera down. - It's part - of the emotional landscape 1876 01:42:15,292 --> 01:42:17,000 of the story he's telling. 1877 01:42:17,083 --> 01:42:19,042 I've never seen a single moment 1878 01:42:19,125 --> 01:42:21,042 in a Spielberg movie in which you feel 1879 01:42:21,125 --> 01:42:23,500 that the technology is crushing the story. 1880 01:42:23,584 --> 01:42:25,292 And that's really hard. 1881 01:42:25,375 --> 01:42:28,209 I mean, these moments, which have to feel 1882 01:42:28,292 --> 01:42:31,542 spontaneous and real on-screen... 1883 01:42:31,626 --> 01:42:33,459 There are 200 people around, 1884 01:42:33,542 --> 01:42:35,500 and half of it is being created six months later 1885 01:42:35,584 --> 01:42:39,167 and half of it was six months before. 1886 01:42:39,250 --> 01:42:40,959 - When he made. - "Jurassic Park," 1887 01:42:41,042 --> 01:42:42,682 there was no guarantee that it would work. 1888 01:42:42,751 --> 01:42:45,459 That could easily have been a disaster. 1889 01:42:45,542 --> 01:42:50,125 But it was the right ratio of excitement and fear for Steven. 1890 01:42:50,209 --> 01:42:52,834 Doing a movie has to scare you a little bit. 1891 01:42:52,918 --> 01:42:55,918 Otherwise, you're not pushing it. 1892 01:42:56,000 --> 01:42:57,584 "Schindler's List," which seems... 1893 01:42:57,667 --> 01:42:59,667 Clearly, that should have been a movie now... 1894 01:42:59,751 --> 01:43:03,083 Was a three-hour black-and-white movie about the Holocaust. 1895 01:43:03,167 --> 01:43:08,626 In the halls of Universal, that was... that was crazy. 1896 01:43:08,709 --> 01:43:10,292 That was not... 1897 01:43:10,375 --> 01:43:13,334 Who green lights that movie, you know? 1898 01:43:13,417 --> 01:43:17,792 It was as big a risk as CG dinosaurs. Bigger. 1899 01:43:17,876 --> 01:43:20,876 You're saying "All my credibility as a fantasy filmmaker... 1900 01:43:20,959 --> 01:43:23,959 I'm gonna risk all that on CG dinosaurs. 1901 01:43:24,042 --> 01:43:26,417 And all my credibility as an artist, 1902 01:43:26,500 --> 01:43:28,167 I'm gonna put on the line, too. 1903 01:43:28,250 --> 01:43:30,709 And I'm gonna do it all over the course of 12 months. 1904 01:43:30,792 --> 01:43:32,876 Fingers crossed." 1905 01:43:32,959 --> 01:43:34,375 They seem obvious now. 1906 01:43:34,459 --> 01:43:37,959 They were by no means guarantees. 1907 01:43:38,042 --> 01:43:41,292 And that must have been a really terrifying period, 1908 01:43:41,375 --> 01:43:44,459 because you really are pushing all your chips into the middle of the table 1909 01:43:44,542 --> 01:43:46,334 at that point. 1910 01:43:46,417 --> 01:43:48,185 Of course, it turned out very well for Steven, 1911 01:43:48,209 --> 01:43:50,292 giving him one of the strangest 1912 01:43:50,375 --> 01:43:53,751 and most astoundingly successful years of any film director, ever. 1913 01:43:53,834 --> 01:43:56,709 This is my greatest technological masterpiece... 1914 01:43:56,792 --> 01:43:59,417 The Schpiel-Borg 2000. 1915 01:43:59,500 --> 01:44:01,375 I spared no expense. 1916 01:44:01,459 --> 01:44:03,000 Your play pal, Pinky, 1917 01:44:03,083 --> 01:44:06,375 is actually an extremely advanced cybernetic clone 1918 01:44:06,459 --> 01:44:09,667 of one of Hollywood's most powerful figures. 1919 01:44:09,751 --> 01:44:12,626 And if his box office numbers are any indication, 1920 01:44:12,709 --> 01:44:16,792 he has the potential to become ruler of the world. 1921 01:44:16,876 --> 01:44:20,083 Steven is the best-known director in the world, easily. 1922 01:44:21,792 --> 01:44:24,334 - Listen. - What? 1923 01:44:29,751 --> 01:44:31,751 Steven, you've made so many films. 1924 01:44:31,834 --> 01:44:34,459 When are you gonna do the big one? 1925 01:44:34,542 --> 01:44:37,167 Wow. What do you mean "big one?" 1926 01:44:37,250 --> 01:44:38,959 Something that clicks with the public. 1927 01:44:39,042 --> 01:44:40,602 "Something that clicks with the public." 1928 01:44:42,876 --> 01:44:44,959 The guy's an unmistakable force 1929 01:44:45,042 --> 01:44:46,876 in the business of making movies. 1930 01:44:46,959 --> 01:44:49,000 Running a company, being an executive producer, 1931 01:44:49,083 --> 01:44:50,959 being a producer, and being a director. 1932 01:44:51,042 --> 01:44:54,792 For a filmmaker, you can't have a better producer 1933 01:44:54,876 --> 01:44:56,792 than one of the greatest directors in the world. 1934 01:44:56,876 --> 01:45:00,250 He really nurtures young talent coming up. 1935 01:45:00,334 --> 01:45:02,751 It's a pretty amazing roster. 1936 01:45:05,542 --> 01:45:08,125 He's also a major figure in the television business. 1937 01:45:08,209 --> 01:45:09,542 He started a restaurant. 1938 01:45:09,626 --> 01:45:11,834 Dive! Submarine sandwiches. 1939 01:45:11,918 --> 01:45:14,250 The man was, like, doing 27 things at once 1940 01:45:14,334 --> 01:45:17,542 and being perfectly unselfconscious about it. 1941 01:45:17,626 --> 01:45:20,000 How many hats does that man wear? It's impossible. 1942 01:45:20,083 --> 01:45:21,763 - He once told me, - "When I'm at a buffet, 1943 01:45:21,792 --> 01:45:24,876 I like to have too much food on my plate." 1944 01:45:27,250 --> 01:45:29,709 He will be in production on a movie, 1945 01:45:29,792 --> 01:45:31,876 doing preproduction for another movie, 1946 01:45:31,959 --> 01:45:33,542 and editing yet a third. 1947 01:45:33,626 --> 01:45:35,500 He's got a lot of different channels. 1948 01:45:35,584 --> 01:45:36,792 You know, me, I have a list. 1949 01:45:36,876 --> 01:45:38,059 You know, "change light bulbs," 1950 01:45:38,083 --> 01:45:39,626 and that's on there for a week. 1951 01:45:39,709 --> 01:45:41,834 No, he gets a lot accomplished. 1952 01:45:41,918 --> 01:45:44,959 Three of Hollywood's richest, most powerful boy wonders 1953 01:45:45,042 --> 01:45:47,751 teamed up today to create a movie studio, 1954 01:45:47,834 --> 01:45:50,876 Hollywood's first major new independent studio 1955 01:45:50,959 --> 01:45:52,000 in almost half a century. 1956 01:45:54,042 --> 01:45:56,042 I don't think Steven really fears anything. 1957 01:45:56,125 --> 01:45:58,876 He's always ready to go and do something new. 1958 01:46:00,876 --> 01:46:03,959 No one can consume information, 1959 01:46:04,042 --> 01:46:06,792 be in so many places so effortlessly. 1960 01:46:06,876 --> 01:46:09,918 It used to make me crazy if a screenplay came in, 1961 01:46:10,000 --> 01:46:12,042 that, you know, we were all waiting for, 1962 01:46:12,125 --> 01:46:14,209 no matter what, I could never get home 1963 01:46:14,292 --> 01:46:16,334 and get it read before him. 1964 01:46:17,959 --> 01:46:20,000 To be that talented, 1965 01:46:20,083 --> 01:46:25,083 to be that successful almost in a mythological way, 1966 01:46:25,167 --> 01:46:26,792 your jaw drops. 1967 01:46:26,876 --> 01:46:28,250 Many times you see the person 1968 01:46:28,334 --> 01:46:32,834 incorporating their success into their personality. 1969 01:46:32,918 --> 01:46:36,626 There's a sense of self-importance. 1970 01:46:36,709 --> 01:46:39,167 And it's the opposite with Steven. 1971 01:46:39,250 --> 01:46:42,667 Steven's like a guy who works for Steven Spielberg. 1972 01:46:46,667 --> 01:46:50,125 Shark! 1973 01:46:50,209 --> 01:46:52,250 A day of pure bliss, for me, 1974 01:46:52,334 --> 01:46:54,209 is a day where I'm with my family. 1975 01:46:54,292 --> 01:46:57,375 I've got my eyes closed, they're swimming in the pool, 1976 01:46:57,459 --> 01:46:59,518 - and I just. - Listen to their voices. - One more time. 1977 01:46:59,542 --> 01:47:01,834 That's great, Theo. That was the best one. 1978 01:47:01,918 --> 01:47:04,042 I never knew I was going to have a big family. 1979 01:47:04,125 --> 01:47:05,834 That took me completely by surprise. 1980 01:47:05,918 --> 01:47:08,125 Kate never thought she'd have a big family either. 1981 01:47:08,209 --> 01:47:12,459 So, the natural evolution in our life was a gift. 1982 01:47:12,542 --> 01:47:14,334 Jessica is my oldest, 1983 01:47:14,417 --> 01:47:17,125 and then Max, and then Theo after that, 1984 01:47:17,209 --> 01:47:20,125 and then Sasha, and then Sawyer, 1985 01:47:20,209 --> 01:47:22,500 and then Mikaela, and then Destry. 1986 01:47:22,584 --> 01:47:24,334 Whoo-hoo! 1987 01:47:24,417 --> 01:47:27,125 Kate is a force in my life. 1988 01:47:27,209 --> 01:47:28,709 There's such an honesty about her 1989 01:47:28,792 --> 01:47:30,375 and an awareness of the world. 1990 01:47:30,459 --> 01:47:31,959 And I think the authenticity 1991 01:47:32,042 --> 01:47:35,250 of the kinds of movies I began to make 1992 01:47:35,334 --> 01:47:38,417 after Katie and I got together 1993 01:47:38,500 --> 01:47:42,083 had to do with bringing a kind of truth into my life 1994 01:47:42,167 --> 01:47:45,667 where truth began to upstage make-believe. 1995 01:47:45,751 --> 01:47:47,125 Okay, turn the camera on. 1996 01:47:47,209 --> 01:47:49,334 - Roll. - Okay, do it. 1997 01:47:49,417 --> 01:47:51,042 Marker. 1998 01:47:51,125 --> 01:47:52,626 You know, I've turned down 1999 01:47:52,709 --> 01:47:56,083 a lot of very successful movie franchises 2000 01:47:56,167 --> 01:47:59,292 that 10 years before I would've jumped at the chance to direct. 2001 01:47:59,375 --> 01:48:01,375 But it wasn't the kind of legacy 2002 01:48:01,459 --> 01:48:03,918 I want to leave behind for my kids. 2003 01:48:25,292 --> 01:48:27,417 - Steven wanted. - "Saving Private Ryan" 2004 01:48:27,500 --> 01:48:31,959 to be a different kind of very tactile and personal war movie. 2005 01:48:32,042 --> 01:48:33,959 We had no idea that Omaha Beach 2006 01:48:34,042 --> 01:48:37,667 was gonna be what it was like when we started. 2007 01:48:37,751 --> 01:48:40,000 He did not describe anything to us. 2008 01:48:40,083 --> 01:48:41,918 He was playing with our sense of confusion 2009 01:48:42,000 --> 01:48:43,542 and panic and fear, 2010 01:48:43,626 --> 01:48:45,792 capturing the moment of our own shock, 2011 01:48:45,876 --> 01:48:49,042 or our surprise, or our own blankness. 2012 01:48:49,125 --> 01:48:51,476 And the difference between standing around before we're shooting 2013 01:48:51,500 --> 01:48:53,685 and saying, "Hey, ready to do this? Nice to meet you. Here we go. 2014 01:48:53,709 --> 01:48:55,250 Can you swim? You can't swim? 2015 01:48:55,334 --> 01:48:57,876 You better, because you're in a Steven Spielberg movie. 2016 01:48:57,959 --> 01:49:01,292 You better..." So, we're talking like that. 2017 01:49:01,375 --> 01:49:03,125 And then it opened up 2018 01:49:03,209 --> 01:49:07,417 and all the powers of physical moviemaking went berserk. 2019 01:49:26,083 --> 01:49:27,834 Over the side! 2020 01:49:34,125 --> 01:49:36,167 Over the side, boys! 2021 01:49:47,083 --> 01:49:49,417 I tried very, very hard to put the audience 2022 01:49:49,500 --> 01:49:53,584 as close to the experience as I possibly knew how to do 2023 01:49:53,667 --> 01:49:56,500 so there wouldn't ever be a safe feeling 2024 01:49:56,584 --> 01:49:58,167 in the audience. 2025 01:49:58,250 --> 01:49:59,876 And when you narrow that distance... 2026 01:49:59,959 --> 01:50:02,375 If you're successful in narrowing the distance, 2027 01:50:02,459 --> 01:50:06,125 then the audience really becomes those characters. 2028 01:50:14,792 --> 01:50:17,125 Come on. 2029 01:50:17,209 --> 01:50:20,292 In "Saving Private Ryan," Spielberg understood 2030 01:50:20,375 --> 01:50:23,209 the expressionistic possibilities of sound. 2031 01:50:25,751 --> 01:50:28,375 You could hear the bullets streaking along. 2032 01:50:28,459 --> 01:50:30,876 You can hear them penetrate the flesh 2033 01:50:30,959 --> 01:50:33,000 and ravage these bodies. 2034 01:50:33,083 --> 01:50:35,667 You felt what it was like to have your ears ringing 2035 01:50:35,751 --> 01:50:38,876 in the midst of this and be completely disoriented. 2036 01:50:46,417 --> 01:50:48,667 The sheer intensity of that scene, 2037 01:50:48,751 --> 01:50:50,417 the visceral element, 2038 01:50:50,500 --> 01:50:53,042 not just metaphorically, but literally, 2039 01:50:53,125 --> 01:50:56,584 is like nothing... nothing that had been put on film before. 2040 01:51:02,918 --> 01:51:06,000 - I decided to shoot the entire. - Omaha Beach sequence 2041 01:51:06,083 --> 01:51:07,834 in complete continuity, 2042 01:51:07,918 --> 01:51:10,500 not knowing what was gonna come next. 2043 01:51:10,584 --> 01:51:13,000 And all my cameramen were given instruction 2044 01:51:13,083 --> 01:51:16,459 to be spontaneous in what they decided to shoot, 2045 01:51:16,542 --> 01:51:18,709 just like a documentary cameraman would. 2046 01:51:18,792 --> 01:51:22,417 And for, like, 27 days, we literally took the beach 2047 01:51:22,500 --> 01:51:25,250 as filmmakers, one yard at a time. 2048 01:51:29,042 --> 01:51:32,792 Mama! Mama! 2049 01:51:32,876 --> 01:51:34,792 "Saving Private Ryan" revealed 2050 01:51:34,876 --> 01:51:37,375 certain visceral truths about war 2051 01:51:37,459 --> 01:51:39,834 that people were not gonna learn from books. 2052 01:51:39,918 --> 01:51:42,417 They were not gonna learn from documentaries. 2053 01:51:42,500 --> 01:51:44,584 That was him at the height of his powers 2054 01:51:44,667 --> 01:51:46,792 doing something that nobody else could do. 2055 01:51:46,876 --> 01:51:50,000 The first time we talked about the movie, 2056 01:51:50,083 --> 01:51:54,000 he said, "I can't wait to shoot that machine gun nest at the radar installation." 2057 01:51:54,083 --> 01:51:56,083 He had already mapped this thing out in his mind, 2058 01:51:56,167 --> 01:51:59,209 and when we got to the location, there was one problem... 2059 01:51:59,292 --> 01:52:01,209 The sun wasn't in the right place. 2060 01:52:01,292 --> 01:52:04,751 Steven had thought the set was built this way, 2061 01:52:04,834 --> 01:52:06,459 but it was built this way. 2062 01:52:06,542 --> 01:52:08,417 So, he could not shoot it, because the sun 2063 01:52:08,500 --> 01:52:10,500 was not going to give him the light that he wanted. 2064 01:52:10,584 --> 01:52:13,792 And he was mad, perhaps with himself or perhaps with someone 2065 01:52:13,876 --> 01:52:16,083 who didn't tell him what the compass points were. 2066 01:52:16,167 --> 01:52:18,334 So, he went on a walk, and when he comes back, 2067 01:52:18,417 --> 01:52:20,257 he says, "Okay, I know how I'm gonna shoot it." 2068 01:52:23,125 --> 01:52:25,083 And it's a different perspective 2069 01:52:25,167 --> 01:52:28,083 from any other assault that we had shot in the film. 2070 01:52:29,709 --> 01:52:32,083 And if you're not Steven, 2071 01:52:32,167 --> 01:52:34,083 if you don't have this lifetime 2072 01:52:34,167 --> 01:52:37,125 of cinematic language in your head, 2073 01:52:37,209 --> 01:52:39,167 that's a different kind of day. 2074 01:52:39,250 --> 01:52:42,834 But because his eye is so connected to his brain 2075 01:52:42,918 --> 01:52:44,834 and every movie that he's ever seen 2076 01:52:44,918 --> 01:52:46,334 and every movie that he's ever made, 2077 01:52:46,417 --> 01:52:47,667 he just went out and said, 2078 01:52:47,751 --> 01:52:50,083 "Here's how we're gonna do this, and that's it." 2079 01:52:50,167 --> 01:52:51,500 Incredible. 2080 01:53:01,042 --> 01:53:04,417 "Saving Private Ryan" was in honor of the veterans, 2081 01:53:04,500 --> 01:53:07,709 and I think a bit of a homage to my father 2082 01:53:07,792 --> 01:53:09,959 who flew missions during WWII. 2083 01:53:10,042 --> 01:53:13,459 He wasn't in Europe. He was in India and Burma. 2084 01:53:13,542 --> 01:53:16,626 When I was a kid, my dad was telling WWII stories all the time. 2085 01:53:16,709 --> 01:53:18,626 His veteran friends would come over to the house 2086 01:53:18,709 --> 01:53:20,269 and I'd listen to them tell war stories. 2087 01:53:20,334 --> 01:53:22,125 So, WWII, that greatest generation, 2088 01:53:22,209 --> 01:53:26,667 became something that I wished I could be part of. 2089 01:53:26,751 --> 01:53:29,209 Steven had a complicated relationship with his father, 2090 01:53:29,292 --> 01:53:33,042 but he was starting to reconnect and realize 2091 01:53:33,125 --> 01:53:35,876 that his first impressions of a lot of the things he had 2092 01:53:35,959 --> 01:53:37,417 weren't necessarily true. 2093 01:53:37,500 --> 01:53:39,375 It was complex for me for a long time, 2094 01:53:39,459 --> 01:53:42,876 but at least I had a art form 2095 01:53:42,959 --> 01:53:45,667 that I could filter it through. 2096 01:53:45,751 --> 01:53:47,000 At least I had that. 2097 01:53:47,083 --> 01:53:50,751 If movies did anything for me, it... 2098 01:53:50,834 --> 01:53:55,042 I've avoided therapy because movies are my therapy. 2099 01:53:58,292 --> 01:54:00,250 Junior? 2100 01:54:00,334 --> 01:54:03,000 - Yes, sir. - And this - father-son obsession 2101 01:54:03,083 --> 01:54:04,876 I've had in my movies obviously speaks 2102 01:54:04,959 --> 01:54:10,959 to a great deal of feelings that I've been carrying with me 2103 01:54:11,042 --> 01:54:13,667 that I want to unburden myself of, and I have. 2104 01:54:13,751 --> 01:54:16,709 Do you remember the last time we had a quiet drink? 2105 01:54:19,083 --> 01:54:21,334 I had a milkshake. 2106 01:54:21,417 --> 01:54:23,459 Hmm? What did we talk about? 2107 01:54:25,500 --> 01:54:27,918 We didn't talk. 2108 01:54:28,000 --> 01:54:29,667 We never talked. 2109 01:54:29,751 --> 01:54:31,125 The absent father 2110 01:54:31,209 --> 01:54:33,125 has haunted Steven throughout his life, 2111 01:54:33,209 --> 01:54:37,375 and he has fictionalized it in all kinds of ways on film. 2112 01:54:37,459 --> 01:54:40,417 It's the heart of him. 2113 01:54:40,500 --> 01:54:42,042 Although I liked the movies, 2114 01:54:42,125 --> 01:54:44,000 I noticed the absence of the father 2115 01:54:44,083 --> 01:54:45,918 quite significantly. 2116 01:54:46,000 --> 01:54:48,667 For a long time, Steven was very mad at me. 2117 01:54:48,751 --> 01:54:50,125 There he is. 2118 01:54:52,792 --> 01:54:55,667 - Get a hug? - I was hurt by it, - but quietly hurt. 2119 01:54:55,751 --> 01:54:58,167 Confusing handshake? Kick in the teeth? 2120 01:54:58,250 --> 01:54:59,918 I didn't broach it with Steven. 2121 01:55:00,000 --> 01:55:03,834 I just ate it up a little bit 2122 01:55:03,918 --> 01:55:06,000 and hurt a little bit. 2123 01:55:06,083 --> 01:55:09,792 I thought I had lost you, boy. 2124 01:55:09,876 --> 01:55:12,459 I thought you had too, sir. 2125 01:55:12,542 --> 01:55:15,167 My dad and I finally resolved our differences, 2126 01:55:15,250 --> 01:55:19,834 and we're probably closer now than we ever were before. 2127 01:55:19,918 --> 01:55:22,000 - When he made. - "Saving Private Ryan," 2128 01:55:22,083 --> 01:55:24,417 he said, "I made this for my dad." 2129 01:55:24,500 --> 01:55:25,959 And that was wonderful. 2130 01:55:26,042 --> 01:55:28,918 That made me feel warm right here. 2131 01:55:43,751 --> 01:55:47,459 Steven has always had a big vision 2132 01:55:47,542 --> 01:55:50,209 of what movies can be. 2133 01:55:52,209 --> 01:55:55,000 He's an American moviemaker. 2134 01:55:55,083 --> 01:55:59,459 And it's not starry-eyed patriotism. 2135 01:55:59,542 --> 01:56:01,125 Animals! 2136 01:56:01,209 --> 01:56:03,667 He is drawn to all the themes 2137 01:56:03,751 --> 01:56:07,417 that are inherent in the American character 2138 01:56:07,500 --> 01:56:11,042 and the American society and how it developed. 2139 01:56:11,125 --> 01:56:13,042 There are people struggling 2140 01:56:13,125 --> 01:56:16,667 in one way or another for freedom in these movies. 2141 01:56:16,751 --> 01:56:21,417 Give... us free. 2142 01:56:21,500 --> 01:56:23,584 He doesn't take freedom for granted. 2143 01:56:25,083 --> 01:56:27,250 Liberty and equality, 2144 01:56:27,334 --> 01:56:29,626 the Constitution, 2145 01:56:29,709 --> 01:56:31,167 and the rights of the individual. 2146 01:56:32,751 --> 01:56:35,500 He's evolved as a filmmaker. 2147 01:56:35,584 --> 01:56:39,000 "Amistad" and "Lincoln" and "Bridge of Spies" 2148 01:56:39,083 --> 01:56:40,626 are all about the rule of law. 2149 01:56:40,709 --> 01:56:43,542 They're all about the rights of even people 2150 01:56:43,626 --> 01:56:46,792 who are either brought here against their will 2151 01:56:46,876 --> 01:56:51,584 or come here to be a soldier in an opposing army 2152 01:56:51,667 --> 01:56:53,250 and are caught. 2153 01:56:53,334 --> 01:56:56,042 The law fully covers everyone. 2154 01:56:56,125 --> 01:56:57,292 We were supposed to show 2155 01:56:57,375 --> 01:56:59,626 he had a capable defense, which we did. 2156 01:56:59,709 --> 01:57:02,292 Why are you citing the goddamn Constitution at me? 2157 01:57:02,375 --> 01:57:03,918 Tom, if you look me in the eye 2158 01:57:04,000 --> 01:57:05,751 and tell me we don't have grounds 2159 01:57:05,834 --> 01:57:07,226 for an appeal, I'll drop it right now. 2160 01:57:07,250 --> 01:57:09,334 I'm not saying that. You know what I'm saying. 2161 01:57:09,417 --> 01:57:11,334 Tom is saying there's a cost to these things. 2162 01:57:11,417 --> 01:57:13,209 That's right. 2163 01:57:13,292 --> 01:57:16,209 A cost to both your family and your firm. 2164 01:57:16,292 --> 01:57:17,834 I really believe in this country, 2165 01:57:17,918 --> 01:57:19,334 and I always have. 2166 01:57:19,417 --> 01:57:21,542 And it just resonated throughout my work... 2167 01:57:21,626 --> 01:57:23,417 Wanting to tell American stories, 2168 01:57:23,500 --> 01:57:26,209 wanting to tell stories about principled, ethical people 2169 01:57:26,292 --> 01:57:28,042 who, against all advice 2170 01:57:28,125 --> 01:57:31,334 and against most everyone else's better judgment, 2171 01:57:31,417 --> 01:57:34,250 just proceed to do the right thing. 2172 01:57:34,334 --> 01:57:38,334 I'm sure that sounds like I'm this kind of, you know, 2173 01:57:38,417 --> 01:57:42,459 idealist or some sort of a patriot, 2174 01:57:42,542 --> 01:57:44,459 but I am a patriot. 2175 01:57:44,542 --> 01:57:47,042 And I'm somewhat of an idealist, too. 2176 01:57:47,125 --> 01:57:50,125 Say all we done is show the world 2177 01:57:50,209 --> 01:57:52,500 that democracy isn't chaos. 2178 01:57:55,209 --> 01:57:58,709 That there is a great invisible strength 2179 01:57:58,792 --> 01:58:00,667 in a people's union. 2180 01:58:00,751 --> 01:58:03,292 Say we've shown that a people can endure 2181 01:58:03,375 --> 01:58:07,000 awful sacrifice and yet cohere. 2182 01:58:07,083 --> 01:58:09,667 Mightn't that save at least the idea of democracy, 2183 01:58:09,751 --> 01:58:12,125 to aspire to? 2184 01:58:12,209 --> 01:58:15,000 Eventually to become worthy of? 2185 01:58:15,083 --> 01:58:17,042 The first thing that you have to overcome 2186 01:58:17,125 --> 01:58:19,125 is the reluctance to even approach Lincoln 2187 01:58:19,209 --> 01:58:21,709 because he's such a mighty figure. 2188 01:58:21,792 --> 01:58:24,500 His experience as a president was in, you know, 2189 01:58:24,584 --> 01:58:27,667 one of the greatest crises that this country's ever known. 2190 01:58:27,751 --> 01:58:30,626 And so, undoubtedly, of course, 2191 01:58:30,709 --> 01:58:34,375 he made decisions that were extremely unpalatable 2192 01:58:34,459 --> 01:58:36,125 to many, many people. 2193 01:58:36,209 --> 01:58:40,125 We are absolutely guaranteed to lose the whole thing. 2194 01:58:40,209 --> 01:58:43,334 We don't need a goddamned abolition amendment. 2195 01:58:43,417 --> 01:58:45,667 Leave the Constitution alone! 2196 01:58:45,751 --> 01:58:47,792 ...peace commissioners appear today, or... 2197 01:58:52,000 --> 01:58:54,751 I can't listen to this anymore. 2198 01:58:56,459 --> 01:58:59,626 I can't accomplish a goddamn thing 2199 01:58:59,709 --> 01:59:02,083 of any human meaning or worth 2200 01:59:02,167 --> 01:59:05,918 until we cure ourselves of slavery 2201 01:59:06,000 --> 01:59:09,417 and end this pestilential war! 2202 01:59:09,500 --> 01:59:12,834 And whether any of you or anyone else knows it, 2203 01:59:12,918 --> 01:59:15,375 I know I need this! 2204 01:59:15,459 --> 01:59:18,834 This amendment is that cure! 2205 01:59:18,918 --> 01:59:20,751 Steven worked a long time 2206 01:59:20,834 --> 01:59:23,250 to find where the story was to tell it. 2207 01:59:23,334 --> 01:59:27,083 And it took guts for Steven to make a movie about Abraham Lincoln 2208 01:59:27,167 --> 01:59:31,334 in which Lincoln shares top billing with the House of Representatives. 2209 01:59:31,417 --> 01:59:33,751 He had faith that if he told a story 2210 01:59:33,834 --> 01:59:37,083 that is about democracy and it's about messiness and politics... 2211 01:59:37,167 --> 01:59:39,250 And people are on different sides of the issue, 2212 01:59:39,334 --> 01:59:41,310 and people who were Democrats then are Republicans now, 2213 01:59:41,334 --> 01:59:42,852 and Republicans now were Democrats then, 2214 01:59:42,876 --> 01:59:45,417 was pretty confusing for people to get a sense 2215 01:59:45,500 --> 01:59:47,083 right away of what the story was. 2216 01:59:47,167 --> 01:59:49,792 But he somehow thought if the American people 2217 01:59:49,876 --> 01:59:52,209 can feel this man and feel what he was doing, 2218 01:59:52,292 --> 01:59:55,250 they'll see what democracy is when it really works. 2219 01:59:55,334 --> 01:59:57,459 A motion has been made to bring the bill 2220 01:59:57,542 --> 01:59:59,792 for the 13th Amendment to a vote. 2221 01:59:59,876 --> 02:00:01,751 - Do I hear a second? - I second the motion. 2222 02:00:01,834 --> 02:00:04,083 So moved, so ordered. 2223 02:00:04,167 --> 02:00:07,417 And in the end, it's not Lincoln's triumph 2224 02:00:07,500 --> 02:00:09,709 that's pushed to the fore in the film. 2225 02:00:09,792 --> 02:00:11,584 I think what's really pushed to the fore 2226 02:00:11,667 --> 02:00:14,042 is that it's a triumph of democracy. 2227 02:00:14,125 --> 02:00:18,459 The part assigned to me is to raise the flag. 2228 02:00:18,542 --> 02:00:23,417 And when up, it'll be for the people to keep it up. 2229 02:00:26,167 --> 02:00:27,417 That's my speech. 2230 02:00:49,334 --> 02:00:51,751 Oh, yeah! 2231 02:00:55,834 --> 02:00:57,375 From about the time 2232 02:00:57,459 --> 02:00:59,500 of the millennium in Spielberg's career, 2233 02:00:59,584 --> 02:01:03,959 there is something, whether it's personal, political, historical, 2234 02:01:04,042 --> 02:01:08,000 that pushed him in a more adventurous and a darker direction. 2235 02:01:08,083 --> 02:01:09,751 I fundamentally don't buy 2236 02:01:09,834 --> 02:01:12,334 that he has a pessimistic worldview 2237 02:01:12,417 --> 02:01:16,751 or that he suddenly changed and has a more dubious opinion 2238 02:01:16,834 --> 02:01:19,500 of the human race, but still, 2239 02:01:19,584 --> 02:01:22,334 there's been an alteration. 2240 02:01:22,417 --> 02:01:24,792 He has been willing to go places 2241 02:01:24,876 --> 02:01:27,959 that he would not have gone in his earlier films. 2242 02:01:33,042 --> 02:01:35,209 All right, Howard Marks. Where are you? 2243 02:01:35,292 --> 02:01:37,626 It was a very complicated story, "Minority Report." 2244 02:01:37,709 --> 02:01:39,292 A very dark story, actually. 2245 02:01:39,375 --> 02:01:41,876 You know, democracy, freedom of choice, 2246 02:01:41,959 --> 02:01:44,334 corruption. 2247 02:01:44,417 --> 02:01:46,667 That dark, futuristic dystopian tone 2248 02:01:46,751 --> 02:01:49,125 was so compelling for me at that time. 2249 02:01:49,209 --> 02:01:51,042 Tennessee Williams says that artists 2250 02:01:51,125 --> 02:01:53,250 are like the canaries in the coal mine. 2251 02:01:53,334 --> 02:01:55,834 And Steven has an uncanny knack 2252 02:01:55,918 --> 02:01:59,834 for feeling what's going on in the world around him 2253 02:01:59,918 --> 02:02:03,292 and what needs to be said at its moment. 2254 02:02:03,375 --> 02:02:06,500 I think he's a very present filmmaker. 2255 02:02:06,584 --> 02:02:08,918 By mandate of the District of Columbia Precrime Division, 2256 02:02:09,000 --> 02:02:12,375 I'm placing you under arrest for the future murder of Sarah Marks and Donald... 2257 02:02:12,459 --> 02:02:15,876 The film anticipated the whole post-9/11 mentality 2258 02:02:15,959 --> 02:02:18,876 of arresting people before they can commit crimes 2259 02:02:18,959 --> 02:02:20,542 and preventive detention and so on. 2260 02:02:24,751 --> 02:02:26,209 But the movie that I made 2261 02:02:26,292 --> 02:02:29,417 that was a real statement about 9/11 2262 02:02:29,500 --> 02:02:30,751 was "War of the Worlds." 2263 02:02:34,834 --> 02:02:38,459 For me, it began with what would really happen 2264 02:02:38,542 --> 02:02:40,417 if we were invaded 2265 02:02:40,500 --> 02:02:42,292 and everything that we thought 2266 02:02:42,375 --> 02:02:45,417 made us invulnerable to invasion 2267 02:02:45,500 --> 02:02:46,542 was all wrong? 2268 02:02:58,209 --> 02:03:00,250 There's a sequence where Cruise's character 2269 02:03:00,334 --> 02:03:03,292 runs through the streets and the ray is turning people to dust 2270 02:03:03,375 --> 02:03:06,709 and some of that dust is in his hair. 2271 02:03:06,792 --> 02:03:08,834 And he comes home and sees himself in shock 2272 02:03:08,918 --> 02:03:12,375 and realizes that that's remains that are in his hair. 2273 02:03:14,167 --> 02:03:16,792 Steven handled that with great tact. 2274 02:03:16,876 --> 02:03:19,584 9/11 was so much a part of our national psyche, 2275 02:03:19,667 --> 02:03:22,876 you didn't have to do much to evoke the shock we all felt 2276 02:03:22,959 --> 02:03:25,751 and the helplessness we all felt at being attacked. 2277 02:03:47,250 --> 02:03:49,292 Good afternoon. I'm Jim McKay speaking to you 2278 02:03:49,375 --> 02:03:52,459 live at this moment from ABC headquarters 2279 02:03:52,542 --> 02:03:55,751 just outside the Olympic Village in Munich, West Germany. 2280 02:03:55,834 --> 02:03:58,834 The peace of what is... would've been called the "Serene Olympics" 2281 02:03:58,918 --> 02:04:02,500 was shattered just before dawn this morning about 5:00. 2282 02:04:02,584 --> 02:04:05,709 Nobody was expecting Steven Spielberg, 2283 02:04:05,792 --> 02:04:08,292 maybe the world's most famous Jewish artist, 2284 02:04:08,375 --> 02:04:10,083 to weigh in on the Middle East 2285 02:04:10,167 --> 02:04:11,876 because it's such a minefield, 2286 02:04:11,959 --> 02:04:13,959 and Steven is not a sensationalist 2287 02:04:14,042 --> 02:04:17,292 in the sense of wanting to create, 2288 02:04:17,375 --> 02:04:20,042 you know, firestorms of controversy. 2289 02:04:20,125 --> 02:04:22,500 This is building number 31. 2290 02:04:22,584 --> 02:04:24,250 At this moment, 2291 02:04:24,334 --> 02:04:27,542 eight or nine terrified living human beings 2292 02:04:27,626 --> 02:04:29,417 are being held prisoner. 2293 02:04:29,500 --> 02:04:32,709 I felt I could not make this one-sided. 2294 02:04:32,792 --> 02:04:37,125 And so, I knew it would be controversial from the very get-go. 2295 02:04:53,751 --> 02:04:56,876 It was that story of the group of Mossad agents 2296 02:04:56,959 --> 02:04:59,417 who were assembled to avenge the deaths 2297 02:04:59,500 --> 02:05:02,500 of the Israeli athletes at the Munich Olympics. 2298 02:05:06,709 --> 02:05:10,876 It was their job to go after a list of targeted men 2299 02:05:10,959 --> 02:05:14,042 who were part of a terrorist group. 2300 02:05:14,125 --> 02:05:18,042 And it was their job to, one by one, assassinate them. 2301 02:05:18,125 --> 02:05:21,500 This movie was trying to affect and turn on a debate. 2302 02:05:21,584 --> 02:05:24,584 Is vengeance the answer? Does it actually solve anything? 2303 02:05:24,667 --> 02:05:26,626 If you continue the cycle of violence 2304 02:05:26,709 --> 02:05:28,459 and cycle of blood, then... 2305 02:05:28,542 --> 02:05:31,459 that's what they'll be and nothing else. 2306 02:05:33,626 --> 02:05:36,125 Steven was very keen to tell a human story, 2307 02:05:36,209 --> 02:05:39,834 that these were men and not superheroes. 2308 02:05:39,918 --> 02:05:43,042 Their indecision and their mistakes 2309 02:05:43,125 --> 02:05:46,542 and their... is the reality of what happened, you know? 2310 02:05:46,626 --> 02:05:49,209 Life isn't a "James Bond" movie. 2311 02:05:49,292 --> 02:05:50,918 Are you... Are you Wael Zwaiter? 2312 02:05:51,000 --> 02:05:53,167 He said yes already. He already said yes. 2313 02:05:56,500 --> 02:05:58,459 What are we doing? 2314 02:06:02,500 --> 02:06:03,709 What do I do? 2315 02:06:03,792 --> 02:06:05,792 Do you know why we're here? 2316 02:06:16,667 --> 02:06:19,542 In "Munich," Spielberg is trying to come to terms 2317 02:06:19,626 --> 02:06:21,626 with the war against terror. 2318 02:06:21,709 --> 02:06:26,042 And he doesn't know where he is on it. 2319 02:06:26,125 --> 02:06:28,375 He's... he supports it, 2320 02:06:28,459 --> 02:06:32,209 but he's also disturbed by it. 2321 02:06:32,292 --> 02:06:34,209 And so, that's an example 2322 02:06:34,292 --> 02:06:37,000 of a kind of thoughtfulness that goes into his work. 2323 02:06:37,083 --> 02:06:40,918 I mean, he's the Hollywood equivalent of a public intellectual. 2324 02:06:50,083 --> 02:06:53,709 I remember when we shot the telephone bomb sequence. 2325 02:06:54,918 --> 02:06:56,626 In that one dolly shot, 2326 02:06:56,709 --> 02:06:59,918 you got a complete sense of the geography of the entire scene. 2327 02:07:02,209 --> 02:07:04,876 It took three days to shoot the scene. 2328 02:07:04,959 --> 02:07:07,959 Everything had to be from points of view. 2329 02:07:08,042 --> 02:07:10,417 There was the point of view of the guys in the car. 2330 02:07:10,500 --> 02:07:14,709 So now we wait for the red light. 2331 02:07:14,792 --> 02:07:17,876 There was the point of view of the man in the phone booth 2332 02:07:17,959 --> 02:07:19,542 who was gonna dial the number. 2333 02:07:19,626 --> 02:07:21,751 There was a point of view of Avner. 2334 02:07:21,834 --> 02:07:24,876 It's a triangle of shots. 2335 02:07:24,959 --> 02:07:27,292 Geography is one of the most important things to me, 2336 02:07:27,375 --> 02:07:29,542 so the audience isn't thrown into chaos 2337 02:07:29,626 --> 02:07:31,393 trying to figure out the story you're telling. 2338 02:07:31,417 --> 02:07:34,167 The audience needs to be clearer than you. 2339 02:07:36,542 --> 02:07:38,334 - Is the truck blocking the signal? - No. 2340 02:07:38,417 --> 02:07:39,834 Will the remote still work? 2341 02:07:39,918 --> 02:07:41,459 I can create suspense 2342 02:07:41,542 --> 02:07:44,834 if the audience knows where all the players are, 2343 02:07:44,918 --> 02:07:46,417 and they know what the stakes are, 2344 02:07:46,500 --> 02:07:48,709 and they know that there's a ticking clock. 2345 02:07:48,792 --> 02:07:51,083 Like the mom and daughter that get into the car 2346 02:07:51,167 --> 02:07:54,375 and then wind up returning because she forgot the glasses. 2347 02:08:03,292 --> 02:08:04,751 The suspense of that sequence 2348 02:08:04,834 --> 02:08:07,209 is letting the audience know geographically 2349 02:08:07,292 --> 02:08:09,751 where everybody is at all times. 2350 02:08:09,834 --> 02:08:12,751 Allô? Allô? 2351 02:08:15,083 --> 02:08:16,500 Allô? 2352 02:08:34,959 --> 02:08:35,959 Stop! 2353 02:08:36,000 --> 02:08:38,584 Stop, stop. Abort. 2354 02:08:41,918 --> 02:08:45,959 You're in the hands of somebody who will always show you what you need to see 2355 02:08:46,042 --> 02:08:49,709 in order to understand, on a narrative level, what's happening. 2356 02:08:49,792 --> 02:08:51,792 And you'll also see a lot of things 2357 02:08:51,876 --> 02:08:54,417 that will help you understand on deeper levels as well. 2358 02:08:54,500 --> 02:08:59,918 And that sort of narrative device that's in his head 2359 02:09:00,000 --> 02:09:03,959 is, you know, I think almost without precedent. 2360 02:09:09,834 --> 02:09:11,792 - Oui? - Mahmoud Hamshari? 2361 02:09:11,876 --> 02:09:12,959 Yes. 2362 02:09:20,167 --> 02:09:23,626 We talked a great deal about the politics 2363 02:09:23,709 --> 02:09:25,667 of making a movie like this. 2364 02:09:25,751 --> 02:09:28,125 How do you make a film that allows 2365 02:09:28,209 --> 02:09:30,000 for the possibility of understanding 2366 02:09:30,083 --> 02:09:33,667 why these men who murdered the athletes 2367 02:09:33,751 --> 02:09:34,834 did what they did? 2368 02:09:34,918 --> 02:09:38,375 Not in any way to excuse it, 2369 02:09:38,459 --> 02:09:41,334 but to try and comprehend it. 2370 02:09:41,417 --> 02:09:44,959 You kill Jews, and the world feels bad for them and thinks you're animals. 2371 02:09:45,042 --> 02:09:47,459 Yes, but then the world will see 2372 02:09:47,542 --> 02:09:49,292 how they've made us into animals. 2373 02:09:49,375 --> 02:09:50,792 They'll start to ask questions 2374 02:09:50,876 --> 02:09:52,792 about the conditions in our cages. 2375 02:09:52,876 --> 02:09:55,626 The movie was perceived to be suffering 2376 02:09:55,709 --> 02:09:57,334 from a sense of moral equivalence, 2377 02:09:57,417 --> 02:10:00,959 which is really the bravest thing about the movie. 2378 02:10:01,042 --> 02:10:05,459 It's looking for aspects of humanity on both sides of this conflict. 2379 02:10:05,542 --> 02:10:09,042 Ambiguity is something that you don't normally associate with Spielberg's films, 2380 02:10:09,125 --> 02:10:12,250 and "Munich" is the film where he went the furthest 2381 02:10:12,334 --> 02:10:15,250 in the bluntness and the ferocity 2382 02:10:15,334 --> 02:10:17,375 with which he approached that subject. 2383 02:10:17,459 --> 02:10:19,542 Did we accomplish anything at all? 2384 02:10:19,626 --> 02:10:22,334 Every man we killed has been replaced by worse! 2385 02:10:22,417 --> 02:10:25,250 Why cut my fingernails? They'll grow back. 2386 02:10:25,334 --> 02:10:29,083 Did we kill to replace the terrorist leadership or the Palestinian leadership? 2387 02:10:29,167 --> 02:10:30,834 You tell me what we've done. 2388 02:10:30,918 --> 02:10:34,584 You killed them for the sake of a country you now choose to abandon. 2389 02:10:34,667 --> 02:10:37,000 The end of this film is not celebratory... 2390 02:10:37,083 --> 02:10:39,042 Rejoicing in the death of the enemy. 2391 02:10:39,125 --> 02:10:40,751 It is incredibly quiet, 2392 02:10:40,834 --> 02:10:42,375 and only on the second viewing 2393 02:10:42,459 --> 02:10:44,334 did I realize the Twin Towers 2394 02:10:44,417 --> 02:10:46,209 are revealed at the end. 2395 02:10:48,334 --> 02:10:50,459 We did several takes of that scene 2396 02:10:50,542 --> 02:10:53,083 without having that space in the frame, 2397 02:10:53,167 --> 02:10:54,584 and then we did one take 2398 02:10:54,667 --> 02:10:56,334 with having that space in the frame, 2399 02:10:56,417 --> 02:10:59,751 knowing that he would put the Towers in. 2400 02:10:59,834 --> 02:11:02,834 Steven knew that he's making a controversial movie. 2401 02:11:02,918 --> 02:11:04,751 He just didn't want to push the boundaries. 2402 02:11:04,834 --> 02:11:06,209 But then at the end, he realized, 2403 02:11:06,292 --> 02:11:08,167 "You know what? I'm already doing it. 2404 02:11:08,250 --> 02:11:12,209 Why not just go and say what I want to say, you know?" 2405 02:11:15,709 --> 02:11:19,167 - I made the choice because. - I wanted people to say. 2406 02:11:19,250 --> 02:11:21,042 "Munich" is the context 2407 02:11:21,125 --> 02:11:24,292 for problems that exist in today's world 2408 02:11:24,375 --> 02:11:27,876 and basically are threatening to all of us. 2409 02:11:27,959 --> 02:11:31,834 You know, history is its own reminder 2410 02:11:31,918 --> 02:11:35,959 of how bad things can get. 2411 02:11:36,042 --> 02:11:39,209 And if we don't solve these problems, 2412 02:11:39,292 --> 02:11:41,209 they accumulate. 2413 02:11:41,292 --> 02:11:43,125 And you can't... There's no rug big enough 2414 02:11:43,209 --> 02:11:44,959 to sweep these problems under. 2415 02:11:45,042 --> 02:11:48,209 And eventually, something is going to happen. 2416 02:11:48,292 --> 02:11:51,125 And so, "Munich" is a prayer for peace, 2417 02:11:51,209 --> 02:11:52,876 but peace the hard way. 2418 02:11:52,959 --> 02:11:55,918 You know, peace by discovering within yourself 2419 02:11:56,000 --> 02:11:58,542 your moral high ground. 2420 02:12:04,792 --> 02:12:06,709 All my films come from the part of myself 2421 02:12:06,792 --> 02:12:08,792 that I really can't articulate. 2422 02:12:08,876 --> 02:12:11,667 I certainly have intuitive facilities, 2423 02:12:11,751 --> 02:12:14,542 but I don't really analyze those or don't really question them. 2424 02:12:14,626 --> 02:12:16,876 It's like looking a gift horse in the mouth, 2425 02:12:16,959 --> 02:12:19,918 and I'm almost superstitious that if I start to question that, 2426 02:12:20,000 --> 02:12:22,167 it's gonna, you know, fly away. 2427 02:12:22,250 --> 02:12:24,834 I don't think there's any doubt that Steven's work 2428 02:12:24,918 --> 02:12:27,417 deals with specific themes in his life, 2429 02:12:27,500 --> 02:12:30,918 which makes him a real personal filmmaker. 2430 02:12:31,000 --> 02:12:35,626 Do you understand what we are saying to you, Frank? 2431 02:12:35,709 --> 02:12:39,292 Your father and I are getting a divorce. 2432 02:12:39,375 --> 02:12:41,167 And his express through the images, 2433 02:12:41,250 --> 02:12:43,751 through the choice of story and how he deals with character. 2434 02:12:48,292 --> 02:12:50,125 All of Steven's sensibilities 2435 02:12:50,209 --> 02:12:53,876 were right in tune with this young man's journey. 2436 02:12:55,459 --> 02:12:57,459 You're immediately with this kid, 2437 02:12:57,542 --> 02:12:58,918 and no matter what he does, 2438 02:12:59,000 --> 02:13:01,000 you know he's searching for some way back 2439 02:13:01,083 --> 02:13:04,042 to repairing this torn household. 2440 02:13:04,125 --> 02:13:07,709 - Have you tried to call her? - No. 2441 02:13:07,792 --> 02:13:10,667 Why... why don't you call her right now? 2442 02:13:10,751 --> 02:13:12,584 Dad, why don't you call her right now? Here. 2443 02:13:12,667 --> 02:13:14,334 Dad, just call her. 2444 02:13:14,417 --> 02:13:16,417 Call her for me. You call her. 2445 02:13:16,500 --> 02:13:19,334 You tell her I have two first-class tickets to go see her son... 2446 02:13:19,417 --> 02:13:21,834 Your mother's married now to my friend Jack Barnes. 2447 02:13:21,918 --> 02:13:25,167 - They have a house in Long Island. - Oh, no. 2448 02:13:25,250 --> 02:13:27,000 So often in Spielberg's movies 2449 02:13:27,083 --> 02:13:28,667 the relationships that matter 2450 02:13:28,751 --> 02:13:31,292 are the relationships between parent and children 2451 02:13:31,375 --> 02:13:34,918 or members of a family or members of a community 2452 02:13:35,000 --> 02:13:38,209 bound by affection and loyalty and responsibility. 2453 02:13:38,292 --> 02:13:40,959 It's a huge theme that comes up again and again and again 2454 02:13:41,042 --> 02:13:43,250 in different phases of his own life 2455 02:13:43,334 --> 02:13:45,167 and in different stories. 2456 02:13:47,876 --> 02:13:49,542 Whoa! Hey! 2457 02:13:49,626 --> 02:13:51,709 Ronnie, hold it. Hold it. Wa... 2458 02:13:51,792 --> 02:13:52,834 Hold it. 2459 02:13:54,959 --> 02:13:57,042 Family is a big element in my life, 2460 02:13:57,125 --> 02:13:59,042 which is why so many of my stories 2461 02:13:59,125 --> 02:14:04,584 are about separation and then reunification. 2462 02:14:04,667 --> 02:14:08,667 Even "Lincoln" is about separation and reunification. 2463 02:14:23,751 --> 02:14:25,125 Barry! 2464 02:14:25,209 --> 02:14:27,209 I've made a lot of movies 2465 02:14:27,292 --> 02:14:31,042 about a family disintegrating 2466 02:14:31,125 --> 02:14:35,751 and then a family finding common ground to reunite. 2467 02:14:43,042 --> 02:14:46,167 There's a sense that everything, including the natural world, 2468 02:14:46,250 --> 02:14:49,751 conspires to pull people 2469 02:14:49,834 --> 02:14:52,918 or beings apart from one another 2470 02:14:53,000 --> 02:14:55,667 and then to return them. 2471 02:14:55,751 --> 02:14:57,292 It's like Shakespeare's romances. 2472 02:14:57,375 --> 02:15:03,250 There's a deep faith in his work that... 2473 02:15:03,334 --> 02:15:06,876 what's lost will in some way be restored. 2474 02:15:06,959 --> 02:15:08,834 And I think he is searching for that 2475 02:15:08,918 --> 02:15:12,542 in almost all the films that he's made. 2476 02:15:16,542 --> 02:15:18,834 Now slowly. 2477 02:15:18,918 --> 02:15:20,751 My mom and dad have a relationship today 2478 02:15:20,834 --> 02:15:23,125 which a writer in a storybook 2479 02:15:23,209 --> 02:15:25,459 would be accused of exaggeration. 2480 02:15:25,542 --> 02:15:28,042 I feel very lucky that after all these years apart, 2481 02:15:28,125 --> 02:15:31,292 my parents spend quality time with each other. 2482 02:15:31,375 --> 02:15:34,834 If you look at the first 18 years 2483 02:15:34,918 --> 02:15:37,542 of Steve's life and now, current day, 2484 02:15:37,626 --> 02:15:40,417 you would not know that there was a huge chunk in the middle, 2485 02:15:40,500 --> 02:15:42,140 that there was a divorce and a separation, 2486 02:15:42,209 --> 02:15:44,876 a lot of tears, and another man, and another wife, 2487 02:15:44,959 --> 02:15:48,167 and, you know, it looks like we were one continuous, happy family. 2488 02:15:48,250 --> 02:15:50,250 We just lost the reels to the home movies 2489 02:15:50,334 --> 02:15:51,792 in the middle of life. 2490 02:15:51,876 --> 02:15:54,334 Now she's back in love with me. 2491 02:15:54,417 --> 02:15:55,500 Isn't that nice? 2492 02:15:57,250 --> 02:16:01,083 Oh, Leah. 2493 02:16:03,250 --> 02:16:05,209 Janusz, it'd be a better two-shot. 2494 02:16:05,292 --> 02:16:08,167 If Dougie is here, okay, then it's not such a spread. 2495 02:16:08,250 --> 02:16:11,876 - So, it's not a single. It's over here. - No, no, it's a single. 2496 02:16:11,959 --> 02:16:15,083 When we start pulling back, Dougie comes into the shot sooner. 2497 02:16:15,167 --> 02:16:16,435 And then we continue with the move? 2498 02:16:16,459 --> 02:16:17,699 Yeah, we continue with the move, 2499 02:16:17,751 --> 02:16:19,459 but right now it looks like 2500 02:16:19,542 --> 02:16:21,918 - there's nothing in the center but the window. - Got you. 2501 02:16:22,000 --> 02:16:25,417 Steven loves to be a part of a big gang of people 2502 02:16:25,500 --> 02:16:28,083 and the company of filmmakers who are making a movie. 2503 02:16:28,167 --> 02:16:30,375 It's a big, great club. It's a big, great family. 2504 02:16:30,459 --> 02:16:34,459 - Tom, action. - I think it defines - Steven's filmmaking 2505 02:16:34,542 --> 02:16:36,125 in many, many different ways 2506 02:16:36,209 --> 02:16:40,459 because Steven is grounded and feels very safe 2507 02:16:40,542 --> 02:16:43,709 inside an environment with family. 2508 02:16:43,792 --> 02:16:46,000 He likes close relationships 2509 02:16:46,083 --> 02:16:49,375 with a few people who he trusts 2510 02:16:49,459 --> 02:16:51,876 and he can open his life up to. 2511 02:16:51,959 --> 02:16:54,209 And then he's very reluctant to have anybody leave. 2512 02:16:54,292 --> 02:16:56,375 That's it right there. It looks great. 2513 02:16:56,459 --> 02:16:58,292 We work for Steven. 2514 02:16:58,375 --> 02:17:01,626 He's the boss, but he encourages people with talent 2515 02:17:01,709 --> 02:17:04,334 to use the talent, to be brave with it, 2516 02:17:04,417 --> 02:17:05,876 to take risks, 2517 02:17:05,959 --> 02:17:08,375 because he wants to be stimulated as a filmmaker, 2518 02:17:08,459 --> 02:17:10,667 but those who he works with, you know. 2519 02:17:10,751 --> 02:17:13,125 And that's a really good quality in a filmmaker. 2520 02:17:13,209 --> 02:17:15,000 He's very collaborative. 2521 02:17:15,083 --> 02:17:17,059 He uses his people over and over again on the films 2522 02:17:17,083 --> 02:17:19,125 because we already speak a shorthand to each other. 2523 02:17:19,209 --> 02:17:21,643 - We've all worked together. - And they'd come on to full size... 2524 02:17:21,667 --> 02:17:23,500 He understands that people and can serve him 2525 02:17:23,584 --> 02:17:26,000 and how to synchronize his wishes with your own. 2526 02:17:26,083 --> 02:17:27,834 He would've made a great general. 2527 02:17:27,918 --> 02:17:30,042 If you could say that a film unit 2528 02:17:30,125 --> 02:17:32,751 can be like a Special Forces film crew, 2529 02:17:32,834 --> 02:17:34,125 that's what he has. 2530 02:17:34,209 --> 02:17:36,751 His team works so fast, 2531 02:17:36,834 --> 02:17:40,334 so hard getting through a lot every day. 2532 02:17:40,417 --> 02:17:42,083 Everybody on their feet, applauding. 2533 02:17:42,167 --> 02:17:43,667 And I think you could come to grief 2534 02:17:43,751 --> 02:17:45,542 very, very quickly on Steven's set 2535 02:17:45,626 --> 02:17:47,500 if you weren't very well prepared. 2536 02:17:47,584 --> 02:17:48,876 Everyone has to be. 2537 02:17:48,959 --> 02:17:51,167 And that creates incredible energy. 2538 02:17:54,209 --> 02:17:57,834 I work with my peeps, and I have for decades. 2539 02:17:57,918 --> 02:17:59,878 I mean, I don't know what I would do without them. 2540 02:17:59,918 --> 02:18:02,876 Roll sound. Roll! 2541 02:18:04,375 --> 02:18:06,751 I can't really have sanity 2542 02:18:06,834 --> 02:18:09,292 unless I have familiarity. 2543 02:18:09,375 --> 02:18:11,209 And it's just an extraordinary family 2544 02:18:11,292 --> 02:18:14,375 that I've been able to assemble over all these years. 2545 02:18:14,459 --> 02:18:16,834 I love being part of his tapestry, 2546 02:18:16,918 --> 02:18:19,042 so to speak, you know, like "Fiddler on the Roof." 2547 02:18:19,125 --> 02:18:22,375 You know? 2548 02:18:22,459 --> 02:18:25,250 - Michael Kahn and I. - Are blood brothers. 2549 02:18:25,334 --> 02:18:27,876 He started with me on "Close Encounters of the Third Kind," 2550 02:18:27,959 --> 02:18:32,375 and except for one time, he's edited every movie I made since then. 2551 02:18:32,459 --> 02:18:35,542 Janusz Kaminski has done everything since "Schindler's List." 2552 02:18:35,626 --> 02:18:39,542 But John Williams is my oldest collaboration, 2553 02:18:39,626 --> 02:18:43,125 and I depend on Johnny more than I've depended on anybody 2554 02:18:43,209 --> 02:18:45,626 to rewrite my movies musically 2555 02:18:45,709 --> 02:18:49,500 and put them a rung higher than I ever could reach. 2556 02:18:49,584 --> 02:18:52,042 You know, if I had to go back and recast 2557 02:18:52,125 --> 02:18:55,167 the creative team surrounding me, 2558 02:18:55,250 --> 02:18:58,584 I wouldn't be able to work as often as I do. 2559 02:18:58,667 --> 02:19:00,083 It'd be impossible. 2560 02:19:02,667 --> 02:19:05,751 Steven looks at movies constantly 2561 02:19:05,834 --> 02:19:08,000 and over and over and over again, 2562 02:19:08,083 --> 02:19:11,876 referencing shots and framing and ideas. 2563 02:19:11,959 --> 02:19:14,542 That's something Steven does all the time. 2564 02:19:18,459 --> 02:19:21,083 Great filmmakers' works live on to create 2565 02:19:21,167 --> 02:19:24,542 tremendous moments of inspiration. 2566 02:19:24,626 --> 02:19:27,375 And so, one of the films I still see every year 2567 02:19:27,459 --> 02:19:29,250 is "Lawrence of Arabia." 2568 02:19:37,292 --> 02:19:40,334 The shots, the sheer vistas, 2569 02:19:40,417 --> 02:19:43,626 and the portrait of such a complex character, 2570 02:19:43,709 --> 02:19:45,834 it's pure moviemaking. 2571 02:19:45,918 --> 02:19:47,417 Hey! 2572 02:19:47,500 --> 02:19:51,042 Hey! Hey! Hey! 2573 02:19:57,792 --> 02:19:59,667 Who are you? 2574 02:20:01,751 --> 02:20:04,709 Who are you? 2575 02:20:04,792 --> 02:20:06,375 Steven has always wanted to work 2576 02:20:06,459 --> 02:20:09,918 in a kind of big, you know, historical canvass like that, 2577 02:20:10,000 --> 02:20:12,751 and it took many movies before he accomplished 2578 02:20:12,834 --> 02:20:16,751 that level of masterly filmmaking. 2579 02:20:16,834 --> 02:20:19,417 Many years ago, Pauline Kael gave me a really great review 2580 02:20:19,500 --> 02:20:21,584 on "Sugarland Express," but she said, 2581 02:20:21,667 --> 02:20:24,209 "Whatever's on the surface might be all that is there. 2582 02:20:24,292 --> 02:20:25,709 There may be nothing behind that." 2583 02:20:25,792 --> 02:20:28,042 And she was absolutely right. 2584 02:20:28,125 --> 02:20:31,417 I hadn't grown up yet through the movies. 2585 02:20:31,500 --> 02:20:33,542 That was going to come in time. 2586 02:20:40,125 --> 02:20:43,918 Take a look at what he's done over close to 50 years. 2587 02:20:46,375 --> 02:20:48,792 There's certainly a lot of variety. 2588 02:20:51,042 --> 02:20:55,209 There are some things he's done that haven't worked, 2589 02:20:55,292 --> 02:20:58,292 but there is absolutely nobody like him 2590 02:20:58,375 --> 02:21:01,125 and no film career trajectory 2591 02:21:01,209 --> 02:21:04,876 that is anything like his in the history of film. 2592 02:21:04,959 --> 02:21:09,042 He speaks cinema as if it's his native language. 2593 02:21:09,125 --> 02:21:11,876 He is so fluent in it that he does things 2594 02:21:11,959 --> 02:21:13,876 that nobody else would dare to do 2595 02:21:13,959 --> 02:21:16,292 and they are instantly recognizable 2596 02:21:16,375 --> 02:21:19,417 as things that are purely his. 2597 02:21:19,500 --> 02:21:23,375 He has a dynamic sense of real filmmaking. 2598 02:21:23,459 --> 02:21:25,083 I'm talking about filmmaking of... 2599 02:21:25,167 --> 02:21:28,042 In the great narrative tradition of American cinema. 2600 02:21:29,292 --> 02:21:30,626 Steven was blessed 2601 02:21:30,709 --> 02:21:32,876 in that he could be commercial 2602 02:21:32,959 --> 02:21:34,751 and he could do art. 2603 02:21:34,834 --> 02:21:37,000 That's why I always compare him 2604 02:21:37,083 --> 02:21:38,626 to a kind of George Gershwin, 2605 02:21:38,709 --> 02:21:41,167 because Gershwin could write a Broadway show 2606 02:21:41,250 --> 02:21:43,584 or he could write "Concerto in F." 2607 02:21:43,667 --> 02:21:46,334 He could both, and very few people can do both. 2608 02:21:46,417 --> 02:21:48,250 And Steven can do both. 2609 02:21:48,334 --> 02:21:51,292 And that's a talent you have to be born with. 2610 02:21:53,834 --> 02:21:55,584 You think of that young kid in Arizona, 2611 02:21:55,667 --> 02:21:56,918 in the desert, watching movies, 2612 02:21:57,000 --> 02:21:59,125 watching television incessantly, 2613 02:21:59,209 --> 02:22:02,292 one day sneaking his way into a studio, 2614 02:22:02,375 --> 02:22:04,584 and manifesting his own destiny. 2615 02:22:04,667 --> 02:22:07,459 It's a pretty fantastic Hollywood story. 2616 02:22:09,375 --> 02:22:12,167 He's found a way to take his view of the world, 2617 02:22:12,250 --> 02:22:16,751 his wishful thinking, his optimism, 2618 02:22:16,834 --> 02:22:20,834 and also his uncanny sense of the thrill, 2619 02:22:20,918 --> 02:22:22,542 and sort of galvanize the whole thing 2620 02:22:22,626 --> 02:22:25,334 into whatever the story is he's telling. 2621 02:22:25,417 --> 02:22:27,751 It's authentically him. 2622 02:22:30,459 --> 02:22:32,292 Steven has a part of him 2623 02:22:32,375 --> 02:22:34,334 that wants to see something good 2624 02:22:34,417 --> 02:22:36,000 in the darkest of the dark 2625 02:22:36,083 --> 02:22:38,834 or that wants to just have a playtime. 2626 02:22:43,417 --> 02:22:46,667 And there may be people who say he's not edgy enough 2627 02:22:46,751 --> 02:22:50,792 or he's not bitter enough, he's not quirky enough, 2628 02:22:50,876 --> 02:22:53,250 or he's not dark enough, 2629 02:22:53,334 --> 02:22:56,459 but when it's all over and said and done, 2630 02:22:56,542 --> 02:23:00,500 what Steven has left is enormous. 2631 02:23:02,167 --> 02:23:05,584 To have both humor and suspense 2632 02:23:05,667 --> 02:23:08,125 and adventure and heart 2633 02:23:08,209 --> 02:23:11,918 through his grand eyes of storytelling 2634 02:23:12,042 --> 02:23:15,459 is a hell of a good thing. 2635 02:23:15,542 --> 02:23:19,334 Steven still has an enormous appetite 2636 02:23:19,417 --> 02:23:21,500 for the work that he does. 2637 02:23:21,584 --> 02:23:23,751 It's quite a rare thing. 2638 02:23:23,834 --> 02:23:27,250 You know, we all have, probably, a shelf life. 2639 02:23:29,250 --> 02:23:32,417 Yes, we probably go past that shelf life, 2640 02:23:32,500 --> 02:23:35,584 most of us, without even knowing it. 2641 02:23:35,667 --> 02:23:39,959 But in his case, I think, till the day he dies, he'll be doing work 2642 02:23:40,042 --> 02:23:45,334 that he feels absolutely viscerally compelled to do. 212423

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