Would you like to inspect the original subtitles? 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
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.