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Steven Spielberg: I started making a movie when I was a child,
But I remember when I almost released my dream of being a film director.
I must have been 16 years old
A film came to the city named "Lawrence of Arabia,"
and everyone talks about it.
I've never sat in a fancy theater chair before.
Premium ticket prices, 70mm projection,
stereoponic sound
And when the movie is finished,
I don't want to be a director again
because the bar is too high
There is a scene where he sees himself with the sword / knife,
When he is first given a robe
and he thinks of himself.
And he walked while laughing
and see his shadow in where is the strange robe
he holds it really printed
on the sand in the shadow
That is the right time. </ P>
And then, when they direct the retreating Turks,
you see him again covered in thick blood. </ P>
And he had a knife in the same position as him
in his youth, in his glorious days.
And he saw himself himself, who he is.
This is the first time, see a movie,
I realize that there is a theme a story theme that is not narrative.
There are character themes, that is personal themes. </ P>
That David Lean created portraits,
surrounded by portraits with murals
epic scope and actions,
but at heart and core "Lawrence of Arabia"
is "Who am I"?
I have a profound reaction to filmmaking,
and I go back and see this film a week later.
I saw this film a week after that.
And I saw this film a week after that.
And I realized that there was no way back,
that this will be what I will do
or I will die trying.
But this will be the rest of my life .
And then try to get - It feels like lining up.
- The camera must enter right. - slightly lower
good there. That's perfect.
Yes, the camera must be right a little, please.
Turn right.
- Right Right, right, right. - Can you get there?
Okay, it's good.
Every time I start a new scene, I'm nervous.
And like going to school, must take the exam.
I've never heard a sentence that was said before.
I do not know what will I think to hear it,
I do not know what I say to the actors,
I don't know where I will put the camera on.
And every time, it's the same.
But I say, this is /> the greatest feeling in the world.
I will tell you why this is a good feeling.
The more I feel confident
and be safe about something,
the less I will extinguish it.
The more I feel, "Uh-oh, this can be a big problem
in getting the story told,"
I'll work overtime to meet the challenge
and finish the job.
Alright, it's done. I don't know if it's worth doing .
So, I hate feeling nervous,
but I need feel right now
I'm really not sure with what I do.
And when it causes panic , I get a good idea.
The more I feel backward to the corner,
the more it works so
when I'm looking for a way out of a corner.
I like it. Next shot
Good.
- Did you see that? - Yes.
Martin Scorsese: I remember when Steven produced in "Jaws,"
the word in around the city and in "LA Times"
is that it is stupidity and it will be a disaster.
Richard Dreyfuss: "Jaws" started filming on May 2nd.
I hired, I thought, on May 3,
and they didn't have a shark, no there was a script, and there was no cast
when they first started, so....
The text was never locked.
We rewrote the script
12 hours before we shot what we just wrote.
you know, it's scary for the director not to know
if he will be able to submit the page to the cast the next day.
Guys, we can't shoot right now.
- Hold it. - Hold it.
This is my second day at sea
and I have time 54 more days.
I will learn a lot, because now I can only tell you
This is twice as slow as being shot in the sea because of shooting on land.
Bill Butler: Well, the studio hasn't been shooting movies in the sea before. </ P>
They will do it on the back lake. </ P>
They will do it in a tank studio.
They will make miniature boats.
They will-- everything will be very easy
that you will never be cold or wet.
>
But Steven said, "I will shoot in the open sea."
Roll sound
This should be a thriller
based on people like you and me who are outside our element
It requires a level of authenticity
which I think shooting on the back
at Universal in North Hollywood will not give it.
So, for me, there is no way back.
It must be shot in the sea.
I think it will be cakewalk,
but I don't know anything about tides or currents.
I don't know how the wind affects the water,
how the color of the sky changes the color of the water ,
or how you can't get anything suitable.
That is a nightmare, the worst scenario after the others.
I don't think we will ever finish.
I just guessed that I'd be fired from the film.
We were isolated in the middle of the sea, 12 miles off beach,
and that's technology over art every day.
We will be shot, there is art there,
but you can't recognize art from business that.
Just trying to keep the story the whole movie on my head
is a very quiet thing, because there is no that can really help me with that.
I have to see it before I film it.
And that's why it is so scary on "Jaws" -
when I can't see it Until I finally do it.
Just before I go to make a "jaw," I have to meet Henry Hathaway.
He is a director > tough guy, and he said,
"There will be a time when you will arrive at the set
and you won't know what you are do it.
It happens to all of us.
You must keep the secret with your life.
Don't let anyone see when you are not sure of yourself.
Hide it from everyone,
or you will lose respect from everyone. "
Markers
- good blood - And ready?
- And action, Roy. - Slow forward
I can go slow forward.
you have to go down and enter some of this nonsense.
And go down.
Of course everything's a mess. </ P>
The first time we tested the shark, it sank. </ P>
It would come out of water and go...
Like that.
I know it will happen
three or four weeks to rebuild the shark,
and so we have to make something else
it doesn't exactly show the shark
But give the shark senses close.
Bring it to around after him!
Barrel is a gift,
because I don't need to show the shark as long as the barrel is there.
What you don't see generally more scary than what you see,
and the script is filled with "sharks".
Sharks here, sharks in there, sharks where -Where.
This film doesn't have many sharks in it.
John Williams: If the shark has been visually available,
it might have changed the whole psychology
from experience
Williams: When you hear, "boom-boom, boom-boom," </ p >
you have been conditioned to think that is when the shark is present.
When the shark is far, very faint.
When the shark is just about to attack, is very close and very hard.
Williams: We can advertise > the existence of a shark or its attitude
with how we manage this record,
only a few notes
Dreyfuss: You are in a state of anxious without seeing a shark.
It only scared you.
Charlie, take my words for that!
Don't look back! Swim, Charlie!
Swim! Come on, Charlie!
Dun-dun Dun-dun, dun-dun.
Dun-dun, dun -dun, dun-dun, bombs bombs, bombs, bombs, bombs, bombs.
Come on, a little more, Charlie. Attaboy.
Come here , Charlie. Attaboy. Attaboy. </ P>
David Edelstein: This is a perfect exercise in tension
with techniques that can be done by other filmmakers.
I know I use the tool eat electricity in the audience
whenever there is some kind of pop-up surprise.
Michael Phillips: Like Hitchcock, he knows how to get you
on the edge of your seat
He doesn't show what what you want to see,
and then he gives it when he wants to deliver it.
J. Hoberman: He certainly likes torturing the audience. </ P>
Has he ever been analyzed? </ P>
1, 1,000; 2, 1,000;
3, 1,000; 4, 1,000...
Everything scares me when I was little. </ P>
Everything. </ P>
1, 1,000; 2 , 1,000; 3, one...
I took out the tree in my horrible window. </ P>
Itu hanya mengerikan.
1, 1,000; 2, 1,000...
I was filled with so much fear
that I needed to expel some of them. </ P>
And what better audience for < br /> drive me away from my demons
of my three sisters.
He will lock us in the cupboard with skull,
have shed various colors the wax around it.
Almost like blood.
I will close their eyes one by one,
take them inside closet
I will put the whole my body against the door.
They will close their eyes,
and I will just sit there listen to them scream.
I mean, tell this story now...
I still think it's really cool.
I will say, "I hate myself for that."
I don't hate myself for that. That's fun.
Initially , he just scares us.
But through the film,
He can scare everyone now.
And blockbuster movies
p>
Summer, of course, is "Jaws,"
a story about the shark the white killer who is released.
And the release of the film is on time
for maximum impact during the holiday season,
and some people who have seen it
now see phantom sharks every time they approach water .
Scorsese: I remember the night "Jaws" opened.
And we see, passing all the lines in Westwood
and places like that, and I say, "Here it is.
This is will be a big change. "
Janet Maslin: I was with him in the car
and he was really nervous but excited.
And the car drove round the corner,
and there was a line around the corner,
and then the car continued to run, and the line went on.
And he
You know, this is this instant breakthrough.
It feels like a balloon that explodes in this car.
And his whole life changes in a few minutes.
And he is 25 years or whatever.
"Jaws" costs three times fold
and that happens about two half times the schedule.
We finally filmed films in 159 days.
This film was originally scheduled for for 55 days.
But my pride is actually I think
>
I can shoot this film in 55 days.
Steven shook Hollywood bones.
"Jaws" makes more money
than the movie made until then.
That success changed my life.
you know, this gives me the final piece.
This gave me the opportunity to choose and choose
the film that I directed since then. </ P>
So "Jaws" is a free path towards my future .
I want you to meet with the current maker of movies who have taken it
- Oh Boy! - aren't you excited
- And everyone likes it. - Have you ever seen it?
Dinah Shore: Welcome, Mr. Steven Spielberg. </ P>
When was your first time really interested in movies? </ P>
When I was little. </ P>
- really - About, yes, 13 years. </ P>
- That's all? - Starter is very early, yes. </ P>
No - I don't take it seriously. </ P>
I did it - like some people paint
and some people like it, you know, driving a small car,
and I like making small movies. </ P>
I'm not aware there are 50 years filming in front of me.
And I live in Phoenix, Arizona,
where you can listen to the growing cactus if you < don't have something better to do.
- Yeah. - And I took a film camera
and I learned some sort of ABC when I left,
But it's just fun, that's < br /> is something that must be done.
I really want my childhood
sort of pie-in-sky, Norman Rockwell American Dream.
My father is this computer genius who was on the team found
the first commercial data processing machine on RCA back in 1950,
became my father many were persuaded and went from one company to another.
Like soldiers of bad boys, we moved from one place to another.
But most of the formative years I took place in Phoenix, Arizona.
My father was an American who worked very hard.
Sometimes working six days in a week and he comes home late at night.
His career demands a lot of time away from family.
And my mother is Peter Pan .
He is a sibling, not a parent,
because he is the best friend,
is not the primary caregiver.
And he got into trouble when we got into trouble.
Anne: Steve has a feeling that the family should be
like "Father Knows Best,"
but we are not ordinary families.
We are just the kind of bohemian people who grow up in the suburbs.
I go to the pet shop someday, and there is a monkey
Sit at this cage like , the position of the fetus.
And the shopkeeper says the monkey is dying.
She has been taken from her mother and she is depressed.
So, I go home, drive my jeep
with a large cage in behind and monkeys in cages.
And I remember the kids were scared.
They were very scared.
Steve said, "You know, in ordinary house,
Children say, & apos; Can we have a monkey? & apos;
And mom says, & apos; Are you crazy? & apos; "
You know, when I heard my story about
The things I did, I thought, "That's crazy."
Susan Lacy: What do you think is he crazy?
I like that monkey.
As a child, I spend lots of time watching television,
or listening to the album soundtrack,
or just sit around , stare at the clouds.
My father always asks me for that.
He doesn't like me getting Cs,
But school is not the place that I really like.
Nancy: Steve is a little kid who is alert and tentative
and in some cases doubt.
you know, he's not like normal children in the neighborhood.
He is not a person relying on muscles.
You know, he is intimidated a lot.
That's difficult.
Most My devil is self-inflicted wounds.
They are things inside me.
The way I see myself.
I don't have many rewards for myself,
you know, grow up. </ P>
I'm just a lonely person. </ P>
JJ Abrams: I think that explains a lot
why and how he was forced to make a movie.
That was not just a means of expression,
But it was a means to escape,
and that is a means to make friends with people
that you can't instead, or start hanging out
with girls who might not You can do the opposite,
or just find a way to have meaning.
The camera is my pen.
I wrote my story through the lens.
p>
And when I can say "action" and "cut,"
I take control of my life.
I like movies like "Sands of Iwo Jima,"
"Flying Tigers," "Battleground,"
I really influenced by all that,
and so some of my first films
are stories about World War II.
There is an airport with a group of WWII aircraft
just sitting there on the asphalt. </ P>
I'll take a photo of my friend with his finger on the stick
and cut 8mm actual combat.
Many were shot by John Ford, by the way.
And making movies that look like
production values outside the graph
because the production value is outside the graph.
That is the real thing.
Abrams: you can see the films,
and you see the ability to tell a story without words.
The use of special effects is very primitive spectacular.
You know, he will have a big bullet,
he puts a little dirt saw,
so that when the actor runs,
they will step on one section,
and it will throw dirt in the air
as if they were shot when they ran.
There are things that he did which really made sense.
you saw the trajectory.
There was something in that DNA,
even though it was shot on 8mm film,
is the same filmmaker's voice.
But I don't know anything about whether
I will have a career or where this will go.
I only know that it fills up time and it gives me
a large amount of satisfaction.
And the second I finish a movie, I want to start a new one
because I feel good about myself when I'm filming.
But when I have plenty of time to think,
all the scary whispers will start - start up.
It's not fun to be between ideas or projects.
Sid Sheinberg: His knowledge says that as a young man, </ p >
Steven is sort of the Phantom of the Opera,
haunts a lot of Universal Studios.
He will really get a lot of
one or another way.
I take the studio tour bus,
Wander around the parking lot.
And then at one point they give you a break bathroom,
and I never came out of the bathroom.
I waited until I could hear a drop of drops, then came out.
The bus vanished and I was in the parking lot.
James Brolin: He said he went upstairs
in the tower and took the office on the floor six,
and nobody bothered him for six months.
Dreyfuss: That story he asked for an office,
telephone, enter his name in door.
Eh, I don't believe, but you know what they say
in "People Who Shoot Liberty Valance" -
When the legend is greater from facts, print legends.
Roger Ernest: Once he sneaked into Alfred Hitchcock's set
and saw it a little </ p >
until he is caught and asked to leave.
Steve continues to study,
keeps looking, keeps asking
from all traders -
cinematographers, lighting, editors.
It feels like Spielberg 101 is overdrive.
I try very hard to enter the USC Film School,
and I just don't have the value to enter
And I even did personal interviews at USC,
and they refused me even directly.
So, Universal became my film school.
Ernest: Steven focused laser.
He never forgot the reality that the audience was early, for him ,
not an audience in the theater.
Audience is a studio executive.
And he knows how to make a movie
that will convince < br /> the studio executive,
"Yes, I have a talent to become a director.
Here's what I can do."
I saw this film, and I was very enamored of this film.
I have a very strong feeling
that this is not a maker of young films average of you.
Sid Sheinberg, who was Universal Television President at the time,
He said, "So, sir, I saw your film. </ p >
Very well made.
I want to offer a seven-year contract
to come to Universal for direct television. "
He said, "If you enter with us,
I will strongly support you in failure
like I will succeed."
And he is right in his word. </ P>
And that's the beginning of the most important relationship
I can imagine having in this business. </ P>
Steven is known as the unclean prince.
He is the person who will succeed.
I mean, he directed Joan Crawford
when he was 20 years old.
It will teach you a lot of things. </ P>
Joan Crawford is a member of the first professional SAG
I've directed in my life! </ P>
I want to see something !
Trees, concrete, buildings, grass, airplanes, colors!
Are Cassavetes who say, "If you want to be a true filmmaker,
You can't be afraid of anything or anyone. "
And Steven doesn't.
He was there with Joan Crawford > who wants it out every day.
And he has to shoot and according to schedule and be nice,
means to have a vision.
Shots must have a point of view.
But after the "Night Gallery" comes out,
There are many criticisms because I am a new item.
The youngest director ever has been included in the contract in history.
And the manufacturers who recruit will not hire me.
There are many hostilities,
and I have to prove myself to everyone.
You know, they see me as a kind of Sheinberg's stupidity.
He underwrote me. Let him find me working.
Brolin: I want to go straight,
and Steven comes in, and he's still a kid! </ P>
And I'm really jealous. </ P>
Steven can enter a room ,
look for one or two seconds, say, "This, this."
"Move it here, give me 25mm here."
"Look, face it ahead."
"Move it Silhouette here."
Two take, three take. "That's enough, thank you."
"Let's continue." < br /> That's amazing.
Steven Bochco: Steven has teeth in his brain
which automatically translates words into images
almost without it being a conscious process for him.
There is a unique visual sound there
that you must not just pay attention,
but you have to give a little the freedom to do it.
The initial theme I always makes the underdog chased
with persistent power
both nature and natural enemies,
and that person must ascend to the chance to survive.
And many come from just
Taste not safe that I feel since childhood
and how it bled into work.
I'm always a kid with big bullies,
and "Duel" is my life on the school page.
The truck is a bully, and the car is me.
George Lucas: I was at Francis Coppola's house,
and "Duel" will be shown that night,
so I kind of get away from the party
and say, "I want to see this film. I want to see what this child do. "
I'm like on the fence about Steven.
I said," Know what he is doing,
good, but a little too Hollywood for my taste. "</ P>
I saw" Amblin "and I thought" Amblin "was good,
But it wasn't - you know, that very, very striking.
That's very, very professional.
And for all of us, we are all rude,
Crazy people who do work is much more dirty.
So, I thought, "Okay, I'm going to watch the first half hour
and just see what he's doing."
And finally I watched everything.
And I came to Francis, I said , "This person is amazing.
You really have to see this movie." </ p >
Straight from the bat, it's clear
Nobody moves the camera like Steven Spielberg.
Other directors have fantastic space.
Orson Welles, just name it,
people who understand composition
But the way Spielberg's camera
and then ends at an place that really shifts
or intensifies the emotions of the scene,
It's just a natural gift it has.
Who knows where it came from?
Who - but it's the technique itself.
Francis Ford Coppola: "Duel" is a composition
which has a theme that is very elusive and interesting.
you know, this unknown threat.
Everyone has been on the road and some idiots have crossed in front of you,
And, you know, you are tempted to get up quickly
and go do something evil to him.
And here he takes this and makes it a parable. </ P>
When ABC sees "Duel,"
they are very happy with what they see .
But at the very, very end when the truck doesn't explode
in the fireworks display,
George Eckstein called me and said,
"The network was really upset because the truck didn't explode,
so they told us back to the cliff
and blow the truck."
And I said, "I will not do it."
The death of the truck is very torment.
I said, "I made the truck die slowly."
Oil, like blood, drips from the steering wheel.
The wheel slowly rolls off.
The fan is still on, but the truck dying.
I mean, this is the death of a truck.
That's what the audience wants to see.
This criminal element pays -
You know, paying the price for what did to this person.
I won't do it I won't blow the truck.
For Steven , small screen it's an interesting canvas,
and obviously he painted it very well,
But he knows this screen
Not a big enough canvas. </ P>
Vilmos Zsigmond: He is a director who knows
how important cinematography is,
and how Steven directs
> "Sugarland Express" is so fresh,
you know, because everything is on location. </ P>
And half of the film is in a police car.
And it's a difficult thing to -
to stay alive all the time.
you know, the angle and all that.
For me, directing is a cameraman,
and so I'm very on that front line.
I have to prepare a shot, I have to block the actors,
choreography of scene movements,
bring the camera into the choreography,
Find out when the camera stops, how it moves, </ p >
how far he moves, what is the composition,
so I always pay attention to the lens me, and that's what I did.
I even chose the lens that I want.
Its strength is truly the ability
to be able to tell an story in the picture instinctively.
Sometimes I watch his picture on TV without sound
just to see the picture.
Pauline Kael, one of the most influential film critics of of all time,
wrote in "The New Yorker" made by Steven Spielberg
one of the most phenomenal debuts in film history.
He compared it to Howard Hawks
In terms of how it feels it feels to the medium.
What Kael sees in Spielberg
is someone who has a true film feel,
But he also said he wasn't necessarily sure
there was so much to go with it.
He didn't see the sign of an artist the new movie appeared
like Martin Scorsese.
What he saw was his birth
of the hands of a new generation of Hollywood.
Martin Scorsese, the maker film "Mean Streets."
This is Brian De Palma, loud as usual.
- George and Marcia Lucas - Hi!
And this is Steven.
Get the camera set. Great.
♪ The time has arrived today ♪
♪ A young heart can go their way... ♪
In the mid to late 60's, there was a big change
in the Hollywood studio system.
It was a very different world that they had serve,
and there is also new freedom.
Brian De Palma: So, suddenly the door is open for young directors
with ideas that very crazy and seemingly original.
It's almost like, you know, crashing into a party.
Yes, people are in trip out, and we will enter
We are really obsessed with film,
But we certainly don't see it as a career.
We don't think we will make money for that.
There are George and Francis,
and then there is Marty and me,
Then there's Steven.
We come from a different place,
>
But needless to say, we are always very happy to be together.
When we gather, it feels like like the director's brotherhood.
George, place the camera on the table, at -
I will hit the ball into the lens,
and you choose the camera at the last moment.
When I go into the Brats film group,
like someone once called us,
I never - this is the first time I feel like insiders.
We are very, very lucky to be able to be part of that time.
Culture is convergent.
That's Albert. </ p >
musician, artist.
That is an extraordinary and fertile time.
And here we have Amy Irving in the car.
Brian De Palma introduced us when he made "Carrie." </ P>
- That's how we first met. - Then they started out together. </ P>
They were together and then they separate,
and then they come back together again.
- Amy is half dressed. - As usual, sew.
Yes, sew Steven's pants to make him ready
for the coming big day soon. </ P>
Noogies, noogies. </ P>
Steven is a nerd
Master of the world!
A funny nerdy, but he's a bookworm.
He's not into sports or drugs or rock & apos ; n & apos; roll,
But he is passionate and he is very enthusiastic.
He used to talk about movies,
and it was contagious, enthusiastic.
Steven have the first car phone.
This rings.
So, Steven and I often go around
and call a girl and say, "Okay , let's get together, "
and he will say," Okay. "
And of course we will be parked right outside his house.
It's like-- I will say -
This may seem very silly now,
But in those days it's like a miracle. </ P>
She's fun. He is fun to be around. </ P>
I'm Julia Child, French chef. </ P>
Today we carve... Thanksgiving turkey! </ P>
We all fighting
with our very unsuccessful first attempt
to penetrate Hollywood establishments,
But Steven always works.
Steven is always a studio creature,
and his thoughts and the methodology goes in that direction,
and he becomes his master. </ P>
He very lucky with the type of film
He really has a feeling for that kind of film
that the audience has a sense for.
We are now in the Scorsese kitchen. </ P>
We will show "Hell & apos; s Angels". </ P>
We are all interested in each other. </ P>
We have one thing that makes we are all together, one element.
One type of madness and an obsession with film.
We consult each other,
and without shyly giving opinions about each other's work.
That's very much like that,
but we're still competitive
"Come on and see my movie.
Sit down - sit here. > The best sound here. "</ P>
And blowing others away. </ P>
Everyone is forced to do a better job
to impress everyone ,
because Marty has done this film (Mean Streets),
or Francis has done the film (The Godfather).
They become like acid tests.
you get some real foundation and you hope for honesty -
maybe not too honest
George shows a lot of things
"Star Wars" for the first time,
and has no effect. </ P>
It was only World War II, black-and-white stock recording
cut with snippets of blue screen production color,
and then show us the film,
expect us to see the movie. </ p >
It's basically a children's film.
you know, it's not that my other friends
will be considered something which very valuable.
Steven is the only person who is very enthusiastic about it
and says, "This will be a big blow."
But George said, "I thought this would be a disaster."
He was very depressed, and we all went
to Chinese restaurants after the movie is finished,
and Brian stands up and starts checking about,
"What happened around here? I don't understand the story.
Who are these people? Who is that hairy man?
Where are they from? Where is the context?
Where is the backstory? That makes me crazy. "
Brian goes to George.
And George just sits there. He turns red.
George, I think, wants to kill him.
But of all that, something great comes.
Brian basically said, "you need, like, old movies
to start the image with a preface,
and all these words appear on the screen, and they travel,
and the preface tells you what you see
and why you are in the theater and what that mythology is.
Tell us what the world is,
and then we can enjoy the photo. "
And that's the birth of the famous prologue.
Steven came to visit me when I was shooting "Scarface,"
and I gave him one unit
to shoot Colombian people who climbed the stairs.
Say hello to my little friend.
So, we just shot people shot
for several weeks
We all respect each other's work,
and we just try to each other help
When we see things that we think can be fixed.
Alright, now I'm back -
the camera to our new director -
That's the worst swish pot I've ever seen.
The worst inhaling pot I've ever seen.
Dia menembak aku. Aku benar-benar dalam kegelapan.
How do you expect to see something?
It's like what happened in Paris in the 20s.
You know, you got a bunch of > people, they are all crazy,
and they are controversial and do the same fight,
But you kinda see it later and you say,
"How can the whole group -"
The whole group be successful
and dominate the film business.
It's like, how can that be?
We're just a bunch of crazy kids.
But, you know, I think a lot of it really loves movies
and all are desperate for make films in any way we can.
Dear God.
Tony Kushner: When watching Steven's movie,
you feel like being in in the presence of something mysterious
and unspeakable and poetic.
Enjoying very simple pleasures -
afraid , amused, mesmerized.
I was greatly affected
by how far Stanley Kubrick took "2001: A Space Odyssey"
into the world, really, expressionist art,
and I want to take "Close Encounters" even further.
I really want the audience to see screen and say,
"I have an appearance,"
But I'm not sure all this will work.
Bob Balaban: It's very risky .
Effects for "Close Encounters"
have basically never been done before.
He shoots people with a motion control camera,
makes the camera move, pan, tilt,
whatever it wants to do
And then what is recorded, actually, on tape,
and then when Doug Trumbull, special effects watchdog,
returned to the facility post production,
he could actually duplicate the camera was moving .
So when you marry two images, they are perfect,
and you can have, for really about the first time,
move special effects
Always before, you have to sit there calmly,
Because if you move, it will destroy everything .
Everyone does it today.
They can't do the movie effect
Except Steven and Doug don't try all this.
The stakes are very high for Steven on "Close Encounters."
Columbia Pictures really is on the verge of bankruptcy,
and they bet farms in this film.
He has a banker and Hollywood who is breathing around his neck
to prove to the world that "Jaws" is not a coincidence.
So, Steven has the responsibility a big answer on his shoulder,
but he must remain loyal to what works for him,
or that
And he does it.
Win or lose, he makes the movie he dreams for.
When I still small, dad I invited me to watch
Perseid meteor shower and introduce me to the sky
as a place of unspeakable miracles.
And because it's a wonderful experience for me,
heaven promises if there will be,
you know, the first meeting
between extraterrestrial civilization and our own,
will only be tame and constructive.
That will be the talk.
When These extraterrestrials come here,
we don't know what they can talk about,
what they understand, or even what they see ,
so Steven has an idea that communication
should be a combination of sound and light.
I first thought math would be
common language between intergalactic species,
but I think that will be much more emotional
If music is how we talk to each other.
I am not consciously looking for a film
that has a spiritual core.
There is a spiritual part of myself that happened
to bleed to in work, and so I'm aware,
That's the only important choice,
will find things inherently have something from the belief system
That's beyond our understanding, it's a little out there.
"Close Encounters" is more a personal statement
from the previous two films.
I mean, he wrote the script.
That meant a lot to Steven.
The origin came from a film
I've actually written and directed when I was 17 years old.
That was the story of the first human contact with with a UFO.
And there's actually a UFO in the "Firelight" that I made.
I saw a lot of movies, and I have a whole card catalog in my brain
of the things I've seen
And just by watching a movie with special effects in it,
I can search for almost anything.
On the one hand, he has lived with "Close Encounters"
since he was a child.
And he has a vision with real feelings
from what this film must feel like
when you experience the movie.
Steven doesn't want to make his own film.
>
He wants to make a great personal movie.
That's not true. That's not true.
incorrect.
that Richard Dreyfuss is struggling.
I'm close to the film.
Something opens up his imagination
to find something he thinks
will give some cathartic answers.
He must go through chaos
to achieve some kind of clarity.
He is an artist who tries to plumb
the depth of his imagination.
So I think in some sense
"Close Encounters" may be the most,
Most uncertain most personal film
I have arrived at that point,
Because it's also about family dissolution.
I remember when we moved to Northern California from Arizona.
I have felt that the situation isn't going well with my parents.
And one day, father I just broke down,
and I've never seen my father cry before.
And I just stood on kitchen,
Angry because my father is not a man.
He cries like a child.
And I start shouting "whiny" /> to him as hard as I can.
Just started shouting, "Whiny, you whiny, you whiny,"
until they push me out of the kitchen.
p>
Roy, promise me that you will leave! Please!
You cry! You cry! You cry! </ P>
- you cry Crying! - Get out of here! Come out! </ P>
Come on, you guys. </ P>
- Whiny! - Come on. </ P>
You cry! </ P>
- Shut up! - Ronnie: Stop it!
and celebrate about life itself
to be full of real despair and sadness.
I will see my mother go to the living room
and play some Schumann and cry.
Cry until he can't see the notes on paper.
I'll sit with him and hold /> his hands, talk to him.
He just said, "I am very lonely here. I am very sad here."
I also experienced things the same.
And all I know is that my father
was fulfilled up there, and it didn't.
So, when it was announced by my mother
that my mother and my father split up,
I don't know the details.
I don't know why they split up,
and I'm not for a long time.
I don't want to know.
I fell in love with someone else.
I fell in love with Bernie Adler.
I looked to behind, I thought, "How dare I do that?"
But I really didn't care at that moment.
It's all about me and /> my unhappiness.
Bernie is my father's best friend,
and he is an equipment.
It feels like having an uncle.
I will never tell children that she divorced me.
Instead, I let them think that I divorced her.
Why did you do that ?
Protect him because he is fragile.
And he still is.
So, I think I can get less hurt from him.
I still love him.
My father and stepfather are good friends.
My mother married my father's best friend.
You saw a picture of big, that's bad. </ p >
That's so bad.
It doesn't hit me until I get older
that it's something that is very difficult for Dad,
and I - my heart bled to him.
Steve really thought my father left us.
So, for a few years, we blocked it.
And Steve, I know, blame him
for a bad relationship. </ P>
That's really the worst period
all my life
I never told daddy I was that I was angry with him.
We never had angry words,
But that was an alienation
that I created, not from my father.
He is looking for a relationship with me.
I just left and got lost in my work,
The way I saw my father lost in his
all years come home late
and work the weekend back in Phoenix and all that.
I became my father. I became a workaholic.
And I lost contact with him.
It continued for... 15 years.
Tom Snyder: You know, I read about you today.
You have done four films. That's all.
Four films that I can count.
You are not Alfred Hitchcock finished over 50 years.
you are not John Ford.
Can you believe that you have directed
four films and you are famous people?
- Can you believe that? - Can I believe that?
Yes, I can, as a matter of fact.
I can believe that I has directed four films,
even though it looks like I have directed even longer.
Tom Hanks: He arrived at the scene in such a big way.
You know, the way "Jaws" entered
into consciousness the world is very large.
"Close Encounters" is 10 times bigger.
But Steven is in the process of finding himself.
I don't think he himself knows
where this path will take him.
I'm sure, like other people at that age,
He wondered if he really was as good as he thought.
And turns out he is.
After you do "Jaws"
and then "Close Encounters," well, where do you go?
Bars, as they say, are set to a certain level.
And what are you doing? </ P>
You become yourself in the form of
and you jump over the bar again. </ P>
Initially, my idea was for "ET"
p>
does not include extraterrestrials.
It will be about how divorce affects childhood
and how it really is kind of trauma to children.
- Father's shirt - Yeah.
Remember when he used to invite us to the soccer match
and take us to the movies,
and we will have popcorn fights?
So, the main theme is about
Me, man, boy
- Elliott - And what extraordinary event
will be needed to fill Elliott's heart
after losing his father?
This will bring something extraordinary
as an outer creature that comes into his life.
Drew Barrymore: Steven, as a filmmaker,
can make another world, almost impossible scenario,
but do it in the suburbs
and with real families and real people ,
So, you can go to outer world, outer space,
extraterrestrial scenarios, it doesn't make sense,
because it's based on humans
and human stories.
Okay, he's a man from outer space
and we take him to a spaceship.
- Well, can't he go up? - This is reality, Greg.
"E.T." is an American story on the outskirts of the city,
and suburbia are all that I know of growing up.
So, the movie that I made in the 70s, era 80s,
is a reflection of what I know. </ P>
My main religion is the suburbs. </ P>
You know, families all gather,
No one is divorced, there is no who is unhappy with each other.
Of course, everything is wrong.
Maybe you might imagine it....
I can't imagine it.
Maybe it's a perverted child or flawed or something.
A disabled child.
Maybe elf or leprechaun.
There is no such thing, penis breath!
Elliott!
Sit down.
Daddy will trust me.
Maybe you should call your father and tell him about it.
I can't He is in Mexico together Sally. </ P>
Where is Mexico
I saw my childhood through this family
and the great young actor. </ P>
Peter Coyote: When Steven works with children,
He brings some sort of feeling "let's play".
He must pull you back. Take this , here.
It's not like someone who talks about babies with children.
It's just that he really communicates with them.
And this is like direct transmission.
Now he suddenly turns to you, his eyes open.
Do that to ET < Br /> Give a pleasant scream to ET
Do it again, really excited about "Are they coming?"
Breathing, breathing, breathing, breathing, breathing.
- work alone - Does this mean they will come?
No, work alone even more. Working alone
Does this mean they will come?
p>
Bigger, bigger. "Does this mean they will come?"
Does this mean they will come?
Yes!
Melissa Mathison: She has to be a little father, a little friend,
But she, more than what , their observer,
and me thought it was very fun for him.
Wait a minute. Drew, this is for you, my dear.
- Your apple - I want to shoot "E.T." in continuity
This gives the children context for the work they did that day,
Because they know tomorrow tomorrow there will be a script
and yesterday yesterday in the script.
So, for young people,
This gives them real confidence that they are living
and they live the life of a story.
Now they put the machine on his chest,
and they will surprise him to try to make it come back.
And when they gave him a surprise,
it was very hard and it made you jump and cry even more.
They put it on his chest now,
and he press the button, and continue, "Pow!"
Are you okay, honey?
Huh? Are you okay? </ P>
Come see. Wipe your doll's face too. </ P>
Thank you. Thank you. </ P>
Good. Oh. </ P>
For years I wondered about the universal appeal of this film,
and one day, it hit me. </ P>
There are no two humans on Earth
who are far apart
than humans and that alien. </ P>
Come. </ P>
Stay. </ P>
And if Elliott,
and mother, and the little girl,
and scientists, all can love and empathize </ p >
and make the right approach
and the relationship with this creature,
So, there can also be two people on Earth,
and I think that is a subtext that is bubbling through movies
and definitely touched something,
because you didn't get many movies
that were loved and universally valued
40 years later.
And it's talking to something.
Some desires for can reach the limits
and touch others.
I'll be here. </ P>
See you
Leonardo DiCaprio: This is a very difficult balance as a director
to encourage young people < br /> do dramatic sequences,
because you clearly manipulate them for some capacity.
But Steven knows how to take them as directors </ p >
to some of these darker places
while handling them with child gloves.
AO Scott: Children in the Spielberg world
might be vulnerable, maybe not happy,
but they are also very... they are very strong
and they are heroic
I think all the films I have handled
with young people and their stories
are about the importance of empowering these children
to control the story,
at least control their lives.
Kathleen Kennedy: Steven intuitively sees the world
through an innocent lens,
and the children do it naturally.
So, it becomes a kind of go-to lens
that he wants to use for the story.
p>
George Negus: One of the most interesting things I've ever read about you
film and luck when he is still growing up.
He is truly a great child. "
Do you see yourself? Is that a reasonable comment?
I think that makes sense.
You must understand-- How do you define a big child?
A big child who is responsible, or just a child who is irresponsible?
Because I think you are /> must be responsible,
But you don't want to lose the child inside you,
because that's what makes you young,
and that's what keeps you in touch,
and keeps smiling on your face
I don't really know what
feels like being an adult
- Oh... - I...
God!
I feel my wheat
after both "jaws" and "Close Encounters."
So I thought, "I can do comedy." Why not?
If I do both films, why can't I do anything? </ P>
And I have a sense of humor. </ P>
I go to the movies and I laugh when they are funny.
Why not handle comedy?
I feel very immune at that time.
I guarantee
there will be no bombs dropped here.
Bob Zemeckis and Bob Gale wrote the script,
and it is slim and evil.
I am the one who unfurled humor
and budget until the break point.
For me, that was the reason for just blowing a lump of nonsense
and trying to make the audience laugh .
But like I did a crime war by making "1941."
Everyone messed it up.
I was completely destroyed.
Just the feeling of failure, the cold emptiness,
where every movie reminder,
you get the feeling hurt in the middle of your stomach,
and you just want to dig a hole and put a head in it.
I mean, for next year, I put my head in many holes.
And my friend George Lucas came to save him.
George said, "What did you do next?"
And Steven said that he really > want to do a James Bond movie.
And George said, "I have something much better than James Bond."
It's about an archaeologist
and he went hunting for supernatural artifacts.
And Steven said, "I like it.
Let's do it."
He is not stock, standard hero.
He is not one of "just adding water"
and he will grow into the hero of your dreams.
There are humans under all that.
That's what made Indiana Jones accessible to the public.
- I thought they were trying to kill us. - I know, Dad !
Well, this is a new experience for me.
It happened to me all the time.
This is an action-adventure movie where each reel is cliffhanger.
Only pure escape entertainment.
It will be an all-out "B" movie,
and the film "B" is fun because they don't take it seriously.
you do it fast. You do it dirty
you cheat everything you might be able to
to save money as much as possible,
>
and you don't worry about the fact
that it won't be "Lawrence of Arabia."
We take it to the studio, and what what I didn't realize
was that Steven did not have a great reputation,
because he always passed budgets and schedules.
So , every studio says no.
And some of them even said, "you know, if you can get a different director,
we will do it, but Steven doesn't can make the film for $ 20 million. "
If it's $ 20 million, we will make $ 20 million. "
My experience at three costs is great,
" Jaws, "" Close Encounters, "" & apos; 41, "
Teach me how to be more economical
and profitable "Raiders" immeasurably.
He has something to prove, but he also doesn't want to disappoint me, his friend.
you know, it's like, it's not a studio, it's us.
Friday night. If we don't get this , we don't get the shot.
If we don't get an injection, we don't get the film.
If they don't get the movie, we all go down the creek.
George said, "Look, if you direct this,
you have to shake hands me now and promise
If it's a big blow, you have to direct two more. "
And that is great collaboration.
Father!
- What? What? - Father!
- What? </ P>
- Head for fireplace - Oh. </ P>
Harrison Ford: "Indiana Jones" movie is always more about movies
than about anything else.
They follow certain film formulas,
which frees them to do silly things.
Tom Stoppard: There is something I admire
on "Indiana Jones." </ P>
When Harrison fell off the cliff
and his friends thought he had died and they peeked down,
and Harrison appeared without his hat,
because he had fallen from the cliff, for God's sake,
and the mysterious wind blew the hat into the frame.
These films were clearly made for the audience.
They were made for filmgoer.
They are meant for pure entertainment pleasure.
Which does not mean that they cannot be emotionally involved,
which does not mean they are not can be smart from time to time.
But they have to satisfy entertainment.
And Steven and George already know
how use the filmmaking machine
to satisfy the audience in a certain way
not so many directors or producers.
Hugh Downs: In the history of century long motion this,
there has been one director, one,
Walter Parkes: Steven is the most commercial director
in film history,
and I think it's because he has deep understanding
how the language of cinema
causes an emotional reaction to the audience.
And there is no question that the idea making films is a phenomenon
very exciting for Steven.
But it brings a lot of mixed results.
There are people who hate it,
people who blame it for damaging film.
William Goldman has written specifically
that it is blockbuster and Steven
and George Lucas has destroyed Hollywood.
Some people see Spielberg as a repressive force,
that he brought some sort of empty escape
that will bring the film in the other direction.
And of course with marketing executives
who moved to the studio
in the late 70s and early 80s,
It is clear that what they see is a dollar sign. </ P>
But I will not blame Spielberg for that. </ P>
Return to the first review by Pauline Kael.
He says he is a great popular entertainer,
that he feels what the audience wants to see.
Why are there people who apologize for that?
Let me make you react to something
said by one of your partners, another director.
"Steven Spielberg can't be compared
with people like Mike Nichols and Barry Levinson.
There's a place for mass entertainment,
But don't be confused
with art or quality, making award-winning films. "
Sometimes I think that such statements
are arrogant in themselves,
because that kind of says that, you know,
p>
art is serious and art can't - can't move you
Art can't be on a bike with ET and fly across the moon,
that it's not art.
If you make this type of film
that makes the type of money that the movie does,
and if you make it entertainment franchises
or just something that appeals to many people
and unapologetically mainstream entertainment,
then there is little , I think, suspicion.
Come on, kid, because I am waiting for you.
You cut me and I will kill you.
I am looking for a perception that is different from myself alone.
And if I don't want to consciously
make a departure and prove something,
not only for myself but for others,
I might not choose "Color Purple" as the next movie.
But it's my first movie that is really mature,
that takes, you know, substantive, humanistic subject matter.
I'm 40 years old and I see life may be less optimistic.
So, I know this will be > a very serious trip,
and I am willing to accept it.
All my life I have to fight.
I have to fight my father, I have to fight my uncle,
I have to fight my brothers.
A girl is not safe in family,
But I never thought I had to fight in my own house!
I loved Harpo.
God knew I loved it,
but I will kill him dead before I let him beat me.
Oprah Winfrey: For Steven to take this material too
is a very big problem,
because you play around in some areas
Where if wrong, then many people are upset.
He wants creating not only the world-view of African-Americans,
but the matriarchal world
in the face of repression patriarchy and violence.
And I truly believe that he wants it
to stretch himself with the way he had never done before.
And he did push himself,
but he won't force himself too far before -
the audience or maybe his own,
you know, the core of inclination.
He never asked me how I felt.
Never asked anything about myself.
Wait above me, do business.
"Doing business"? Is she bu -
why, Miss Celie, you sound like
she went to toilet to you
That's how it feels.
I have a problem with some critics
I don't like that I avoid
From the love story between Shug and Celie.
And the scene where Avery's Shug shows Celie, with a mirror, her vagina,
that doesn't enter into the film,
that definitely really changed
the whole nature and tone of the film.
I just didn't go for the full monty of books that.
I might have done that if I made a movie 10 years later.
I'm just shy. I'm a little embarrassed. </ p >
I'm not the right person to do that.
Steven tells the story Alice wrote,
and he tried to access it
from his personal point of view.
He can never go to where Alice goes with the book.
Maslin: That book is appreciated because nonsense and realism,
and none of the quality he knew.
He only asked him with even approaching the incident.
Nothing really want Steven Spielberg
to become a sandy filmmaker.
That's not his sensitivity.
But with "The Color Purple," the right color,
the settings have been built from the bottom up
according to the specifications.
Something is very wrong and looks like Disney's storyboard
about the film
you know, he wants to make a prettier picture
than is intended in the text.
That is Steven. </ P>
He wants to make everything like that. </ P>
He wants to make life like that. </ P>
I have a baby on the road,
and that child will change my life.
- Already have, by the way. - Are you nervous or anything?
I am not nervous, no.
I just thought it was the best thing
It happened to me and Amy.
We really can't wait for this.
I think Amy's fate and I
are to bring Max to the world,
which is a beautiful thing.
Before that, I didn't sure I know what personal life is.
I think life starts
with, you know, "Action!"
And then, " Cut! "</ P>
After my father broke up,
I always thought that I would do my best
that if I ever decided someday to married,
I will not divorce.
And then, of course, I did.
Divorce in any situation hurts.
And this hurts me a lot
because I'm a divorce child
p>
and I know what it's like
- Jamie: my plane - Jamie! Jamie! </ P>
Mother? </ P>
- Mother? - Frank Marshall: "Empire of the Sun"
about this young man growing in Shanghai
which was separated from his parents
during the Japanese invasion.
Mama!
- Jamie! - Mother! </ P>
And he experienced an extraordinary transformation
and the process of growth. </ P>
That is playing on what I know is my power,
is able to take on the reality of a dark and gloomy war
and put it with a child's approach
By the way this special child sees the war.
>
That's based on the experience
that JG Ballard has a
in a Japanese exile camp. </ P>
Jim is a lost boy who tries to find out
where he is in this world. p>
This is a movie about growing too fast
and leaving all you have ever used
to keep yourself safe
>
If you don't have anything to keep yourself safe,
you become a survivor like everyone else,
and you grow very fast.
this extraordinary congratulations
who managed to have more perseverance on him
than, really, people around him.
This is a great tradition epic filmmaking.
The sports stadium is in the end of all things,
all items that have been stolen there,
surrealism
and what makes you feel at that time and place,
what this world feels like,
how it's destroyed messy, all civilizations.
And then, something that even is more disturbing to its beauty,
and that is light from the atomic bomb.
It's like a soul that goes beyond other lives.
Mrs. Victor. </ P>
This is very poetic and... mystical. </ P>
This is war
and that is real death and horror.
And that is like the end of innocence
for Spielberg's child
I think that is a true film - really great,
But, for me, it's finally shaded
into tenderness or unnecessary sentimentality.
I don't know where it came from ,
But he likes and enjoys sentiment.
This is part of him.
At that time, he was not stopped, to be exact,
by many critics, but a bit skeptical.
"Oh, he wants to be serious now.
Oh, he's trying to make a serious film .
Oh, now he wants it "- which, I mean -
This is some kind of bad thing
to say about any artist
That definitely hurts her feelings.
I don't think anyone as an artist
wants to feel like they are being pigeonholed
in a way that people others determine who they are.
And when Steven starts exploring
other types of stories that are more serious,
They are very reluctant let it do that.
It's like, "How dare you, Steven Spielberg?
We have determined that you make this kind of film,
So why did you suddenly try to make this? "
He's not too intellectual,
But maybe as a filmmaker, Steven use those films
like stepping stones along the way.
He doesn't know where he is headed,
but I think he trains the muscles, by the way,
To find out that he can go there,
it's okay </ p >
My memories were first - I was on a stroller.
I only remember being moved somewhere,
and grandmother and grandfather me with me.
We go to this basement.
There is a red light above a set of doors.
And I only remember get closer
to this red light where all these parents -
only men are chanting something.
And the red light is Eternal Light, Ner Tamid,
and that is my first memory.
- Do you believe in God? - Yes.
Tell me about that Where not?
It came from me -
you know, spiritually I - not even spiritual,
my religious roots and family.
All my grandparents have very influential strong against me.
My grandfather, Fievel, plays guitar
and he sings all Yiddish Russian songs.
And my grandmother, Jennie,
teach English to victims Hungarian Holocaust congratulations.
We are Orthodox. I grew up Orthodox.
And traditions have become a big part my family,
and religious studies, and Hebrew school,
and bar mitzvah, and the bat mitzvah for my sister.
But we always live in an environment where there are no Jews. </ P>
And there are real cultural differences in those days
between Jews and non-people Jewish,
real cultural splits.
I remember that at one point,
Children stood outside and sang
"Spielberg was a dirty Jew "
I must have been excluded
and was appointed and discriminated against.
What I want to do is adjust myself.
And by being Jewish, it is impossible I can adjust to anything. </ P>
My grandfather will come to spend a week with us,
and I'll play on the page in front of the seven houses below,
and my grandfather will stand up on our front porch
and shout my Hebrew name, "Shmuel ! "
Seberas maybe," Shmuel! "
And all my friends will say,
" Did he talk to you? That's your house. "
And I immediately denied that it was me.
"No, he definitely called someone else."
"What is your name Shmuel?"
And all my friends start to laugh.
"Shmuel, is that Shmuel?"
And in the meantime, in the background,
you can hear my grandfather's shout
with a Russian accent, "Shmuel!"
Steve doesn't want to be a Jew.
He doesn't want to be a person > Jews because it makes us
too different from everyone
And the "Pastor Knows Best" family
is a family that assimilates. </ P>
And I think he missed her so much. </ P>
I started to deny my Jewish religion,
you know, started to deny
everything that I receive as a child
and don't want to accept
if it will make me a pariah
I am ashamed of myself.
I still feel ashamed of myself
p>
even remembers a long stretch of my life
where I don't want to become a Jew anymore.
When I first met Kate,
>
something that only happened in theaters
happened to me.
This is a terrible cliché, but the bell starts ringing.
Love at first sight. That's right
There's something there
so both of them are confident about Katie
and convince me.
There is a kind of in-syncness.
with the appeal in the tradition of
and the depth of history of Judaism.
And he really wanted to marry me as a Jew.
So, he turned to religion Jews before we got married.
Sue: He said he always felt like going home.
He always feel this is the place.
So when he studied Judaism and entered it,
brought Steve back to appreciate it
Kate brought something to Steven
that I didn't think Steven believed he could have it.
He was very dedicated to family idea
In that case, you know, the purest essence
that doesn't just bring it,
I think, a happiness which he never thought of ,
but I suspect it contributes
to its growth as an artist.
In 1982, Sid Sheinberg gave me this book
that is the book "Schindler list "to read.
He felt my destiny made this film.
He tried hard to get me
to pay attention to it, < br /> don't give up.
I think he was intimidated
with the thought of making it.
He has this book for more than 10 years
before he is ready to do it.
And he just says, "I will know when it's time."
you know, if anything push it there,
"I will know when it's time."
And then the time comes.
Liam Neeson: On my first day, we outside the gate of Auschwitz.
At 5:30 a.m., bitter, very cold.
And hundreds of extra
wearing those horrible pajamas
and German guards
and the real Alsatian dogs, real evil dogs.
No! No! </ P>
No one can prepare me for my first visit to Auschwitz. </ P>
Nobody prepared me for that. </ P>
I want shoot where the story actually happened,
all the actual locations,
But that's when I realized that I went to Poland
for the first time I played fire.
It was terrible.
He was like someone whose skin was torn.
He was very vulnerable,
pacing all the time.
I know how important
This subject and this film is for him.
He tells a story of about his family, his tribe,
so I'm aware of
> the weight of the subject matter.
I told the crew, "This is not a documentary,
But we document the things that actually happened
where you stand right now. "
And I say too, you know, " We who are Jews,
You know, never can stand here,
you know, in 1943. "
I know this can't be just another movie
and it's impossible for anything I've done before.
I have to approach the material
and I have to approach the location
and I have to make this very quiet and lonely production.
We shoot at the ground holy and holy.
Wherever we shoot Kraków
We feel like we're shooting a funeral.
And that changes the whole my approach to cinema.
I - the film looks different
than anything I've ever done before .
I tried to do it without fancy tricks, no fancy lenses,
no big Hollywood cranes are sweeping.
I tried to take all the tools
where I made so many of my movies
and just threw them from the window.
I've never handled anything, but I want to hold it
as many as "Schindler List" as much as possible.
I just want to create for all of us
the feeling that we are really there at that time.
Goodbye to the Jews!
Goodbye to Jews! Goodbye to Jews! </ P>
I just want to know the synagogue...
... good background,
or the park is a good background,
because this is rather interesting here.
Ralph Fiennes: Steven said, "I feel like directing my first film.
p>
I'm not a storyboard of any kind. "
And I think that gives him the adrenaline
or something we all feel.
Fire, vigilance.
I've never felt the same level of energy and focus.
He seems to inhale the cinema.
I think he feels things intuitively and emotionally.
... and such coverage.
He is like an abstract painter
which has the canvas
and has an incredible palette
but doesn't know what color
to install the screen first.
But once he's committed to that color,
he just shoots at all the cylinders.
And there are times when he runs,
walks physically, with that camera
Because of many things, he shoots himself.
Handheld camera
He will run up and down,
say, "Come on, come with me, hurry,"
because the idea formed in his head. </ P>
And we will all < > chase after him, "What? What?"
He will be inspired. He sees something.
Sir Ben Kingsley: We all struggle with incomprehensibility
as characters and as actors.
But we put one foot in ahead of the others in our mandate
as Elie Wiesel said, telling her stories.
Kingsley: We take the coat
from the actor-warrior, if you like it. </ P>
Because if you soften something with sentiments,
you reduce the punch must be felt by the audience
and must be under.
In the liquidation of the ghetto scene,
I know I have to serve the story.
I remembered my sentence, but I was very shocked.
Don't act!
Beautiful chaos
cannot be repeated or forgotten
Oskar Schindler is a gregarious man.
He is a second-class entrepreneur.
A little shady character, you know?
A man about the city , love the women, like the liquor.
That's right, that's it.
And he did this amazing thing.
He saved more than 1,100 Jewish lives.
There is something that mysteriously
has described about this character
It is impossible really understand
why did he do what he did
But we decided to let the audience
do it himself.
I was a smoker on at that time.
Steve is not a smoker, but...
he will start telling how to smoke.
He will say, "All right, you're looking at the table.
You saw three of the people this high-ranking Nazi.
Drag your cigarettes. "</ P>
" No, no, do it again. </ P>
Keep your fingers there. Take drag. </ P>
Let smoke curl up on your face.
Do it again.
Okay, now bring your hand very, very slowly. "
So, basically he told me how to breathe.
I remember sharing with Ben Kingsley
tonight or tomorrow.
I said, "Ben, I'm just-- if every scene will be like that,
I'm a fucking doll, you know? </ P>
I don't want to be a puppet. </ P> >
I'm 41 years old. "
And I remember Ben well.
He said, "Great conductor...
need a good soloist
So just believe that.
Go towards him.
>
Don't fight it. Just go in there. "
And that's what I did.
I just opened up for Steven, you know?
My father likes to say,
"you need three things in life -
a doctor who is good, forgiving pastor,
p>
and a smart accountant. "
The first two...
I have never used much for.
But the third one?
You also have my window
into my insights about Oskar Schindler. "
I tried to say thank you.
I said that I can't do this without you.
Whatever I can pick up From Schindler himself,
I think a lot of it will come up from how you see it.
Same.
There are very, very few directors
who respect silence just like Steven.
He will catch every movement
you offer to the camera, and he will use it.
His intuition for something that is real and now very strong.
He wants to avoid cliches about the Nazis,
And, in terms of performance, I understand it on my first day.
You know, the problem is about Amon who coughs - "Ahem, excuse me,"
and gives him some kind of human failure, touching it like that.
Do you have a question, sir? </ P>
Yes, why is the car open? I froze. </ P>
There are several ways in which, through performances and filmmaking,
You can get and signal "bad guys".
And I think he wants it, it's quite correct,
for say, "No, the person who does the job.
- you decide what you think." - I have an idea.
How about just lighting up their mouths, nothing else?
I just left - you know -
Tidak, dia, aku ingin menerangi hanya dari atas, kamu tahu,
so we get some shadows here, like...
Okay, I just want to make sure we don't get too nose
with - You know, the crime character
by having a light straight down.
Everything we do in this media is about light and shadow, </ p >
how cinematographers turn on actors, turn on the set lights.
If you see "Schindler list",
Amon Goeth always has light.
He always has that beautiful front light.
You know, that guy is very clear.
There is no mystery in him.
you don't have to increase the crime,
if you can say, by lighting.
Now, if you see Oskar Schindler,
That is a confused person.
He came to Poland to make money,
So it's always glamorous, but it's always dark.
And then as the film develops, he gets more lots of frontal light.
The shadows disappear.
They say you are good
Because he is learning who he is.
Little girl red really happened.
Schindler rode a horse to see these people were rounded up.
He saw this little girl wearing a suit red.
Of all the massacres that are going on,
He can't let go his sight from this little girl
meanders on the road.
He can't look away from him
and wonders why he hasn't been taken
along with others.
And, of course, the answer is, "Okay, he will be taken.
Maybe not in the next few minutes,
But he won't be able to survive . "
During the liquidation of the ghetto,
When they bring people and put them in the truck
and shoot old people on the street,
They leave it alone.
Somehow, the clearest target
is not captured.
And, for me, that meaningless about what happened to Oskar Schindler,
and more that the world closed eyes on the Holocaust
and the industrialization process mass murder.
Can you believe this
As if I don't have enough to do, they come with this?
I have to find every lap that buried here and burn it.
The party ends, Oskar.
They close us, send everyone to Auschwitz. </ P>
- When? - I don't know
Once I can arrange the shipping. </ P>
Maybe 30, 40 days. That should be fun. </ P>
So, the little girl is red,
for me, symbolizing the Holocaust
and all her terrible crimes,
and nobody did anything when that happened.
Michael Kahn: I remember I collected a scene, very hard, emotional.
And Steven came that night. </ P>
We went to where he was staying
and I started running the scene. </ P>
Dan dia melihatnya. "Tunggu dulu, Mike, aku tidak bisa melakukannya."
He's like - he goes like, "I can't do it.
It's too difficult." And he leaves.
I only remember go home and fall apart.
And Kate is in the shooting location with me.
We often cry together many times.
He really made me go through all that production.
We are four months in Kraków. Long time.
That, emotionally, the toughest movie I've ever made.
Annette Insdorf: This film isn't about
the Holocaust with the capital "H."
This is the window < br /> certain in the past.
And here, a president director
has made a film
that will eventually reach the audience the big one,
includes people who might never know
the word "Auschwitz."
About three quarters go through shooting,
Steven has an idea about the end of this film.
He wants to fly us to Jerusalem.
We will shoot a scene in Schindler's grave.
I need to have
some testimonies built on in the film
Who said this story really happened.
The thing that dared to do.
These are the real people.
That was an important moment in Steven's life. </ P>
He realized that he could not take it
one of the benefits of the film. </ P>
He wanted restore something,
Then he started what became the Shoah Foundation,
documented oral history and captured history
in a way that allows people not to forget.
The Shoah Foundation is a way to try to hear it
a faint echo of the story we have disappeared.
So, connected with he is a storyteller,
that is in the DNA.
They start running towards /> lane and they are shot.
That might be the last patrol of the day.
They shouldn't be there again.
And of course they asked for a newspaper,
But my grandfather did not have it. </ P>
And they took it. They took it. </ P>
He got thousands < br /> and thousands of testimonies,
and not just about the Holocaust.
About Rwanda, about Bosnia, you know?
And it's amazing , this legacy is the "Schindler list"
has given birth to Steven.
Experience makes "Schindler list"
make me reconcile for all reasons,
Reason in vain and noble, I hide from my Judaism.
And that makes me very proud of being a Jew.
In 1993, Schindler List Winning 7 1994 Academy Awards (Oscar) in categories including...
... Best Films, and Steven Spielberg which won Oscars for the First Time in the category... .
... Best Director.
There are several periods of time in the history of filmmaking
where you experienced a clash of events
who innovates and creates something new.
And "Jurassic Park" is one of those times.
- Save it there - That is the beginning
from, really, the digital age
where the central character is made digitally.
No one has ever gone there before that.
Come on!
Steven said to me,
"I want a dinosaur as high as 28 feet to 30 feet on the set
that actors can interact with,
and I want them to run. "
There are at least 60 shots wide
with 60 dinosaurs
who cannot operate mechanically.
They must run away. They must appear.
They must rotate and turn around. They must be real. </ p >
So, I went to start talking to experts
in the field of prosthetics and theme park
to find out how we will do this
And, of course, all people say to me,
"We can build these items , but can't run."
So, I returned to Steven and I said, "They can't run away." </ P>
He said, "Okay, they have to run." </ P>
- Okay, some of the team, moved there. - Move.
So, all of these developments are going on,
and along with that, Dennis Muren calls me and he said,
"I'm working on something with a computer
which I think can be extraordinary."
Aah!
The opening key!
And we flew to ILM,
and we went to this small office,
and there was a computer, and Dennis said, "Watch this."
And he pressed a button,
and there is a dinosaur running.
This is all on the computer.
There are no models, no there is a camera, or anything.
When we see them,
It's like nothing you've ever seen before.
And that is one of the main moments
where are you suddenly aware, oh, my God...
O Lord.
Oh, God, we are there.
This is the time front.
I can't believe what I see.
Can't believe it.
They live. They are real.
And it's very exciting, we all jump to our feet
because we have never seen anything like this.
I'm not exaggerating when I say it
See the exam as it is now
When you hear a sound in a movie.
There is a new tool that will be large,
and you can know.
Laura Dern: It's an experiment.
It feels wild.
And see, you know, their brains work
When we shoot, and how they adjust the shot,
and how cute Steven is,
you are trapped in a dream that he is waking up and his magic.
Jeff Goldblum: During a scene where we first saw a dinosaur,
He put the camera on me and said, "Okay, Jeff,
Now you see that.
Okay, so look at that.
Yes, just go ahead. Keep rolling.
Is that real? Is this a hoax
And now, for no reason at all once, you start laughing.
Keep laughing a little.
Laugh a little more. That's all. </ P>
Now you are stunned again
and you just keep quiet. </ P>
Okay, that's it. Okay, I got what I need.
Let's go. Let's continue. " Like that.
He knows exactly what he needs.
Weapons, you know, faces men - all faces,
weapon, face, and then to Bob.
- enter there - "Jurassic Park" is a memorial story.
We stand on a giant shoulder
>
to create the next big thing,
but we are not responsible for our own creation.
That is what brings Godzilla up from the depths.
You fall apart with atomic energy, you get Godzilla.
Rick Carter: There are many themes < br /> dark in "Jurassic Park"
That's about, you know, releasing the Pandora box.
It turns out, not only genetic engineering,
p>
which is the theme in the film,
it's actually the digital revolution
coming out right behind the fence.
Muren: This opens the world /> just in storytelling
because you can do whatever you want
you are not limited by plastic or metal
or gravity or whatever.
If you can imagine it, you can do it.
And that is the beginning of the whole nother era.
Muren: Steven is a master who has a shot effect for a purpose.
They exist to advance the story
and to make it a different journey
than ever seen before.
And that can be a spaceship,
It could be a dinosaur, it could be to be an alien landing,
It could be, you know, the red coat that someone wears
When they run through black-and-white movies.
- Put the camera down. - This is part of the emotional scene
of the story he told
I've never seen a moment
in the Spielberg movie that you feel
bahwa teknologinya menghancurkan ceritanya.
And it's very difficult.
I mean, times like this , which we must feel
spontaneously and real on the screen... </ p >
There are 200 people around,
and half were created six months later
and half were six months before.
When he made " Jurassic Park, "
There is no guarantee that will work. </ P>
That can easily be a disaster. </ P>
But that the right ratio for joy and fear for Steven.
Doing a movie should scare you a little.
If not, you don't push it.
"Schindler list," which seems -
Obviously, it should be the movie now -
is a black-and-white film three hours about Holocaust. </ P>
That's not -
Who is the green light with the film, you know?
That's as big as the risk of CG dinosaurs. Bigger
you say "All credibility I am a fantasy filmmaker -
I will risk all of that on CG dinosaurs. </ P>
And all credibility I am an artist,
I will also use the phone. </ P>
And I will do it for 12 months. </ P>
The fingers crossed. "</ P>
They are clear now. </ P>
They are not guaranteed at all. </ P>
And that must be a very terrible period ,
because you really pushed all your chips to the center of the table
at that time
Of course, it turns out that is very good for Steven,
gave him one of the weirdest
and the most astonishing years of any film director.
This is my greatest technology work -
Schpiel-Borg 2000.
I ignored the costs.
Your play buddy, Pinky,
is actually a very advanced clone cybernetic
one of the characters Hollywood the greatest. </ P>
And if the box number office is indicated,
It has the potential to be to be the ruler of the world.
Steven is the most famous director of in the world, easily.
- Listen - What?
Steven, you made it lots of movies.
When will you do a big one?
Wow. What do you mean "the big one?" </ P>
Something that was clicked with the public. </ P>
"Sesuatu yang diklik dengan publik."
The man is a clear force
in the business of making films.
Running a company, being an executive producer,
being a producer, and Being a director.
Robert Zemeckis: For a filmmaker, you can't have a better producer
than one of the best directors in the world.
He really nurtures young talent that comes.
This is a very amazing list.
He is also a great figure < br /> in the television business.
He started a restaurant.
Dive! Submarine sandwich
The man, equally do 27 things at once
and unconsciously fully about it.
How many hats do men wear? That is impossible.
He once told me, "When I'm at the buffet,
I like to eat too much on my plate."
Holly Hunter: She will /> produce in theaters,
do preproduction for other films,
and edit not one third.
He gets a lot of different channels.
you know, I have a list.
you know, "change the light bulb,"
and it's there for a week.
No, he got a lot of achievements.
Tom Brokaw: The three richest people the richest in the richest world in the world
are working together today to make a film studio, </ p >
The first major independent studio in Hollywood
almost half a century.
Aku tidak berpikir Steven benar-benar takut dengan apapun.
He is always ready to go and does something new.
Jeffrey Katzenberg: Nothing can consume information,
is in so much the place is so easy.
It used to make me crazy if the scenario appears,
That, you know, we all wait, </ p >
no matter what, I can never go home
and read it in front of it.
Dustin Hoffman: To be talented,
>
To be successful almost mythologically,
your jaw drops
Often you see that person
combine their success into their personalities.
There is selfishness.
And just the opposite with Steven.
Steven is like a man who works for Steven Spielberg .
One day pure happiness, for me,
is the day I am with my family.
My eyes are closed, they are swimming in the pool,
- and I'm just listening to their voices. - Once again.
That's good, Theo. That's the best.
I never knew I will have a big family.
That surprised me.
Kate never thought would have a big family.
So, evolution natural in our life is a gift.
Jessica is the oldest,
and then Max, and then Theo after that,
and then Sasha , and then Sawyer,
then Mikaela, then Destry.
Woman: Whoo-hoo!
Kate is a power in my life.
p>
And I think its authenticity
of the type of film that I started making
After Katie and I were together
It has something to do with bringing sort of truth into my life
where truth begins to rise stage make-believe.
Okay, turn on the camera.
- Roll - All right, do it. </ P>
Action
You know, I have rejected
many of the very successful movie franchises
that 10 years before I jumped on the chance to direct.
But it's not a type of inheritance
I want to leave my children.
p>
Steven wants "Saving Private Ryan"
to be a different type very tactile and personal warfare film.
We don't know that Omaha Beach
He doesn't describe anything to us.
He is playing with feelings of confusion
and panic and fear,
capture the moment our own shock,
or our surprise, or our own emptiness.
And the difference between standing in around before we shoot
and say, "Hey, ready to do this? Nice to meet you. We start.
Can you swim? You can't swim </ p >
You are better, because you are in Steven Spielberg's movie.
You are better... " So, we talk like that.
And then open
and all the power of making physical films go berserk.
Next to it!
From the side, boy!
I tried very hard to put the audience
As close as possible to the experience that I know how to do it
so there will never be any feeling of security
in the audience.
And when you narrow that distance -
If you succeed narrow the distance,
then the audience really becomes that character.
Come on.
In "Saving Private Ryan," Spielberg understands
the possibility of expressionistic sound.
You can hear bullets rocking.
You can hear they penetrate the flesh
and damage this body.
you feel what your ears ring
In the middle of this and get very confused.
The intensity of the scene,
visceral elements ,
is not only metaphorically, but literally,
like nothing - nothing has been put into the previous movie .
I decided to shoot the entire Omaha Beach sequence
in complete continuity ,
do not know what will happen next.
And all cameramen I was given instructions
to be spontaneous in what was < > they decided to shoot,
like documentary cameramen.
And for, like, 27 days, we really took the beach
as a filmmaker, one page every time.
Mama! Mama! </ P>
"Saving Private Ryan" is revealed
certain visceral truths about war
that people will not learn from books. </ P>
They won't learn from the documentary.
That's what he is at the peak of his power
do something that someone else can't do.
The first time we spoke about the movie,
He said, "I can't wait shoot it
the machine gun nest arrived at the location, there was one problem -
The sun was not in the right place.
Steven thought the plane was built like this,
but it was built this way.
So, he can't shoot him, because the sun
won't give him the light he wants.
p>
And he is angry, maybe with himself alone or maybe with someone
who doesn't tell him what does the compass mean?
siapa yang tidak memberitahunya apa arti kompas itu?
So, he kept going, and when he returned,
He said, "Okay, I know how I will shoot him."
And that is a different perspective
from other attacks that we have done in this film. </ P>
And if you are not Steven,
if you do not have this life
of cinematic language in your head,
That is a different kind of day.
But because his eyes are so connected to his brain
and every movie he has seen
and every movie he has ever made,
he just came out and said,
"This is how we will do this, and that's it." </ P>
Extraordinary. </ P>
"Saving Private Ryan" to honor veterans,
and I think little respects my father
who flew missions during World War II.
He was not in Europe. He was in India and Burma. </ P>
When I was a kid, my father told the stories of the Second World War at any time. </ P>
His veteran friends would come home
and I will listen to them tell the story of war.
So, WWII, the greatest generation,
becomes something that I hope you can become my part.
Steven has an intricate relationship with his father,
but he starts connecting back and realizes
it's his first impression from a lot of things he has
isn't necessarily true.
It's very complex for me for a long time,
but at least I have an art form
that I can filter it.
At least I have that.
If the movie does something for me, that -
I have avoided therapy because film is my therapy.
Junior?
- Yes sir. - And this father-child obsession
I have watched the film I clearly
for many feelings that I have brought with me
that I want to break away , and I have it. </ p >
Do you remember the last time the time we drank calmly?
Huh?
I have a milkshake.
Hmm? What are we talking about? </ P>
We are not talking. </ P>
We never speak. </ P>
A father who is absent
has haunted Steven as long as his life,
and he has been fixing it with all sorts of ways in movies.
That is the heart.
Even though I like movies,
I see the absence of the father
is quite significant
For a long time , Steven is very angry with me.
That's it.
- hug? - I'm hurt by it, but it's very slow.
No handshake? Want to kick teeth? </ P>
I didn't talk about it with Steven. </ P>
I just filtered it a little
and it hurts a little. </ P> >
I thought I had lost you, son.
I thought you were too, sir.
My father and I finally resolved our differences,
and we might be closer now than before.
When he made "Saving Private Ryan,"
He said, "I made this for my father."
And that's amazing.
It makes me feel warm here.
Lawrence Kasdan: Steven always has a big vision
of what movies can be.
He is an American filmmaker. </ P>
And that is not star-eyed patriotism. </ P>
Animals! </ P>
He is interested in all themes
that are attached on American characters
and American society and how it develops.
There are people who are struggling
in one way or another freedom in these films.
Give... we are free.
He does not take freedom for granted.
Liberty and equality,
Constitution,
and individual rights.
He evolved as a filmmaker.
"Amistad" and "Lincoln" > and "Bridge of Spies"
all about the rule of law.
They are all about rights even people
are brought here to against their will
or come here for /> become an army of opposing soldiers
and get caught.
The law fully covers everyone.
We should show it
He has a defense that able, what we did.
Why did you quote the Constitution damn it to me?
Tom, if you look me in the eye
and say that we have no reason
For an appeal, I will drop it right now.
I did not say that. You know what I say. >
Tom says there are fees for these things.
That's right.
Fees for families and your company.
I really believe in this country,
and I always have.
And it only resonates throughout my work -
wants to tell an American story,
wants to tell about < br /> principled and ethical people
who, against all suggestions
and against the best people's judgments,
continue doing what right.
I'm sure it sounds like me, you know,
idealist or some kind of patriot,
But I'm a patriot. </ p >
And I am also an idealist.
Say everything we do is show the world
that democracy is not chaos.
That there is no power /> extraordinary eyes
in the unity of the people.
Say we have shown that people can survive
a terrible sacrifice but still sticking together.
Maybe not at least save the idea of democracy,
to aspire?
Finally become worth it?
Daniel Day-Lewis: The first thing you have to overcome
is the reluctance to approach Lincoln
because he is great person.
His experience as president is inside, you know,
One of the biggest crises that has ever known about this country.
And of course, of course,
He made a very uncomfortable decision
For many people.
We really guaranteed to lose everything.
We don't need amendment to deletion.
Leave the Constitution alone!
... the commissioner of peace is present today this, or -
I can't listen to this anymore.
I can't achieve something unlucky
of every human meaning or value
until we heal ourselves from slavery
and end this war!
And is there any of you or anyone else who knows,
I know I need this!
p>
This amendment is the cure!
Steven worked long time
to find out where the story was to tell it.
And it took courage for Steven to < make a film about Abraham Lincoln
where Lincoln shares the highest bill with the House of Representatives.
and people are on the side different from this problem,
and the people who were Democrats were Republicans now,
and Republicans now are Democrats later,
is quite confusing for people to make sense
directly from what the story is
But somehow why did he think that Americans
could feel this man and feel what he was doing,
they would see what democracy was when it really works.
A movement has been made to bring the bill
for the 13th Amendment for voting.
- Did I hear it for a moment? - I am both moving.
So moved, so ordered.
And in the end, this is not the victory of Lincoln
who are pushed forward in the film.
I think what really pushed forward
was that this was a victory for democracy.
The part that was assigned to me was to raise the flag.
And when it goes up, it will be for people to save it.
That is what I say.
♪ We will come, Father Abraham ♪
♪ 300,000 more ♪
♪ From the winding stream of Mississippi ♪
♪ And from the coast of New England ♪
♪ We leave our plow.... ♪
Oh yeah! </ P>
Todd McCarthy: From that time
of the millennium in Spielberg's career,
There was something, whether it is personal, political, historical,
which drives it in a direction that is more adventurous and darker.
I basically don't buy
that he has a pessimistic world view
or that he suddenly changes and has more dubious opinions
from humanity, but still,
there is a change.
He was willing to go to the place
that he would never entered the previous film.
Alright, Howard Marks. Where are you
The story is very complicated, "Minority Report."
A very dark story actually. </ P>
you know, democracy, freedom of choice,
corruption. </ P>
Dark and futuristic dystopian tones
it was very attractive to me at the time.
Tennessee Williams said that artists
were like canaries in coal mines.
And Steven had an extraordinary talent
to feel what is happening in the world around him
and what needs said at that moment.
I think he is a filmmaker that is very reliable.
With the mandate of the Division Precrime District of Columbia,
I put you under arrest for
the murder of Sarah Marks and < br /> Donald in the future...
This film anticipates the overall post-9/11 mentality
holds people before they can commit a crime
and preventive detention and so on.
But the movie I made
That is a real statement about 9/11 is "War of the World."
For me, it starts with what will actually happen
if we are invaded
and everything what we think
dan segala sesuatu yang kita pikir
makes us immune to invasion
is it wrong?
There is a Cruise character sequence
Walk through the streets and rays turn people into dust
and some of the dust is in his hair.
And he goes home and sees himself shocked
and realizes that it is the rest in his hair.
Oh!
Steven handled that very wisely.
9/11 was part of national soul we,
you don't have to do much to evoke the shock that we all feel
and the helplessness that we all feel attacked.
Good afternoon. I am Jim McKay talking to you
Staying current from ABC headquarters
tepat di luar Desa Olimpiade di Munich, Jerman Barat.
Peace of what - will be called "Calm Olympics"
Go home just before dawn This morning around 5:00.
Nothing expecting Steven Spielberg,
is perhaps the most famous Jewish artist in the world,
to weigh in the Middle East
because it is a minefield,
and Steven is not a sensationalist
in the sense of wanting to create,
you know, a storm triggers controversy.
This is building number 31 .
Right now,
eight or nine creatures fearful life
are being held.
I feel I am not can make this one side.
So, I know this will be controversy because of the very controversy.
Eric Bana: Stories of Mossad agent groups
who was assembled to avenge his death
from Israeli athletes at Munich Olympics.
Their task was to pursue a list of targeted people
who are part of a terrorist group.
And their task is one by one, kill them.
Daniel Craig: This film tries to influence /> and turn on a debate.
Is revenge the answer? Does it really solve anything?
If you continue the cycle of violence
and the blood cycle, then...
That's what they will do and nothing else.
Steven really wants to tell a human story,
that this is a male and not a super hero.
Doubts and their mistakes
and them - are the reality of what happened, do you know?
Life isn't a "James Bond" movie.
Are you - are you Wael Zwaiter?
He said yes already. He said yes. </ p >
What do we do?
What do I do?
Do you know why we are here?
At "Munich," Spielberg <
And he doesn't know where he is on it.
He - he supports it,
p>
But he was also bothered by it.
So, that is an example
of some kind of attention that entered into his work.
It took three days to shoot the scene.
Everything had to be from point of view.
There was a point of view people in the car.
So now we wait for the red light.
There is a point of view the guy in the telephone booth
who will dial that number
There is Avner's point of view. </ P>
This is a triangle of shots. </ P>
Geography is one of the things that matters most to me,
so that the audience doesn't thrown into chaos
trying to find out the story you told me.
Audience needs more clear than you.
- Does the truck block the signal? - No.
Will the remote still work? </ P>
I can make tension
if the audience knows where all players are,
and they know what the stakes are,
and they know that there is a ticking clock.
Like mothers and daughters entering the car
and then wind back because he forgot the glasses.
The tension of the order
is to let the audience know geographically
where is everyone at any time.
Allô? Allô? </ P>
Allô? </ P>
Stop! </ P>
Stop stopping. Cancel. </ P>
you are in the hands of someone who
will always show what you need to see
to understand, at the level narration, what happens.
And you will also see many things
that will help you understand a deeper level too.
And narrative devices like that are on his head
You know, I think is almost without precedent.
- Oui? - Mahmoud Hamshari?
Yes.
We talk a lot about politics
making movies like this. </ P>
How do you make films that allow
for possible understanding
why do these people kill athletes
do what they do
Not for any reason to forgive him,
but to try and understand it.
you killed Jews, and the world feels bad for them and thinks you are animals.
Yes, but then the world will see
how they make us be animals.
They will start asking questions
about the conditions in our enclosure.
The film is considered to suffer
of a sense of moral equality,
which is really the thing that is the bravest about this film.
This is looking for humanitarian aspects on both sides of the conflict this.
Ambiguity is something that you don't associate with Spielberg's films,
and "Munich" are films where he goes further </ p >
in its determination and ferocity
with which it approaches the subject.
Do we reach something?
Everyone we kill has > replaced by the worse!
Why did I cut my fingernails? They will grow back.
Do we kill to replace terrorist leadership or leadership Palestine? </ P>
kamu beritahu aku apa yang telah kami lakukan.
You killed them for a country that you now choose to leave behind.
The end of the film is not a celebration -
rejoices in the death of the enemy.
This is very quiet,
and only in the second view
am I aware of the Twin Towers?
is revealed at the end.
>
We do some scenes
without having space in the frame,
and then we do one take
by having space in the frame,
>
knowing that he would put Towers in.
Steven knew that he was making a controversial film.
He just didn't want to impose limits.
Why not just go and say what I want to say, you know? "
I made a choice because I want people to say
" Munich "is the context
for the problems that exist in the world today </ p >
and basically threatening us all.
You know, history is a special reminder
how bad it can be.
And if we don't solve this problem,
they accumulate. </ P>
And you can't-- There is no rug that is big enough
to sweep this problem under
And finally, something will happen.
So, "Munich" is a prayer for peace,
but peace in a way that is difficult.
you know, peace with find yourself
Your moral base is high.
All my films come from from my part
that I really can't articulate.
I definitely have intuitive facilities,
but I don't really analyze it or don't really question it. </ P>
It's like looking for a horse gift in the mouth,
and I'm almost superstitious that if I start questioning it,
it will, you know, fly away
I don't think there is any doubt < > that Steven's work
deals with a particular theme in his life,
which makes him a real private filmmaker.
Do you understand what which we say to you, Frank?
Your father and I divorced.
And the expression through pictures,
through the choice of stories and how he is dealing with characters.
All sensitivity Steven
Parallel to this young man's journey.
you immediately with this child,
and no matter what he does,
you know he is finding a way back
to repair the house this torn staircase.
- Have you tried calling him? - No.
Why - why didn't you call him right now?
< Daddy, why don't you call him now? Here.
Daddy, just call him
Call him for me You call him
you tell him that I have two first class tickets to go to see her child -
Your mother is married now with my friend Jack Barnes.
- They have homes on Long Island. - Oh no.
So often in Spielberg's film
an important relationship
is a relationship between parents and children
or family members or community members
are bound by affection and loyalty and responsibility.
This is a big theme that appears again and again and again
in different phases of his own life
and in different stories.
Whoa! Hey! </ P>
Ronnie, hold it. Hold Wa -
Hold
Family is a big element in my life,
That is why so many of my stories
are about separation and then reunification.
Even "Lincoln" is about separation and reunification.
Barry!
I have made a lot of movies
about broken families
and then the family found a foundation together to reunite.
There is a feeling that everything something, including the natural world,
conspire to attract people
or beings separate from each other
and then return it.
It's like Shakespeare's romance.
There is deep trust in his work...
What is missing will be restored.
And I thought he was looking for it
in almost all the movies he made. </ P>
Now slowly. </ P>
My mom and dad have today relationship
the authors in a storybook
will be accused of being overrated.
I feel very lucky that after years apart,
My parents spend quality with each other.
If you look at the first 18 years
of Steve's life and now, today,
you won't know that there is a big piece in the middle,
that there is a divorce and farewell,
lots of tears, and man <br Other, and another wife,
and, you know, it looks like we are one a continuous and happy family.
We just lost > film rolls at home
in the middle of life.
Now he's back in love with me.
Isn't that good?
Oh, Lea. </ P>
Janusz, it will be two better shots. </ P>
Jika Dougie ada di sini, oke, maka itu bukan penyebarannya.
- So it's not one. This is here. - No, no, it's a single. </ P>
As we begin to pull away again, Dougie immediately follows. </ P>
Then we keep moving ?
Yes, we keep moving,
But now it looks like
- there's nothing in the middle but the window is - Get to you. </ P>
Steven likes to be part of from a large group of people
and filmmaking companies who are making movies. </ P>
This is is a great big club. This is a big and big family.
- Tom, "Action" - I think it defines Steven's filmmaking
In many things, many different ways
because Steven reasoned and felt very safe
in the environment with family.
He liked close relationships
with some people he trusted
and he could open his life up.
And then he was very reluctant told anyone to leave.
It's there. It looks really good. </ P>
We work for Steven. </ P>
He is the boss, but he encourages people with talent
to use talent, to be brave with it,
to take risks,
because he wants to be stimulated as a filmmaker,
But who works with him, you know.
And that is the quality that is very good at filmmakers.
He is very collaborative.
He uses his people many times in films
because we have spoken briefly with each other.
- We've all worked together. - And they will come to full size...
He understands that people can serve him
and how to synchronize his wishes with your own wishes.
He must have made a great general.
If you could say it was a film unit
Can be like a crew Special Forces movie,
That's what he has.
The team works so fast,
It's so difficult to pass lots of things every day. </ p >
Everyone stands up, claps.
And I think you can come for sadness
very, very quickly on Steven's set
If you don't well prepared.
Everyone must
And it creates extraordinary energy.
I work with my colleague, and I've worked with him for decades.
I mean, I don't know what I will do without them.
Roll sound
I can't really have sanity
unless I have intimacy.
And it's just an extraordinary family
that I have been able to collect over the years.
I like being part of a tapestry,
So to speak, you know, like "Fiddler on the Roof".
♪ After 37 years, happy to know... ♪ Do you know?
Michael Kahn and I are sisters.
Michael p>
He started with me in "Close Encounters of the Third Kind,"
Janusz Kaminski has been doing everything since "Schindler list."
But John Williams is my oldest collaboration,
and I depend on Johnny more from which I depend on anyone
to rewrite my musical film
and put them over more rung than I can achieve.
you know, if I have to go back and come back
the creative team that surrounds me,
I won't be able to work as often as I do.
>
That's impossible.
Steven sees movies continuously
and again and again and again,
reference images and framing and ideas.
That is something that Steven did all the time.
The work of the filmmaker that was great was constantly created
So, one of the films that I still see every year
is "Lawrence of Arabia."
Shots, shadows,
and character portraits that are so complex,
that is pure filmmaking.
Hey!
Hey! Hey! Hey! </ P>
Who are you? </ P>
Steven always wants to work
In a big sort, you know, history canvas like that,
and it took a lot of films before he completed it
the level of making that great film.
Years ago , Pauline Kael gave me a really great review
on "Sugarland Express," but he said,
"Whatever is on the surface maybe there.
Maybe there's nothing behind that. "
And he's really right.
I haven't grown through film.
It will come in time.
Look what he did almost 50 years.
There must be many variations.
There are a number of things that he did that didn't work,
But not at all < br /> there are those like him
and there is no trajectory of film career
That is something like he is in film history.
He speaks cinema as if his mother tongue.
He is very fluent in doing it so he does many things
no one else dares to do it
and they are immediately recognized
as pure things.
He has a dynamic sense of real filmmaking.
I talk about filmmaking -
in the narrative tradition of the great American cinema.
Steven is blessed
because he can be commercial
and he can do art.
>
That's why I always compare it
to some sort of George Gershwin,
because Gershwin can write a show on Broadway
or he can write "Concerto in F." </ P>
He can do both, and very much few people can do both. </ P>
And Steven can do both. </ P>
And that is the talent you have to go through. </ P>
you think of that young man in Arizona,
in the desert, watching a movie,
watching television constantly,
One day sneak into a studio,
This is a fantastic Hollywood story.
He found a way to take his views on the world,
his dreams, his optimism,
and also the feeling of the incredible sensation,
and sort of galvanizing everything
into anything the story he says. </ p >
This is authentic to him.
Steven has a part of himself
who wants to see something good
in darkness
or who wants to only have playing time.
And maybe someone says that he is not nervous enough
or he is not bitter enough, he is not strange enough,
or he isn't dark enough,
but when it all ends and is said and done,
What Steven has left is very large.
Having humor and tension
and adventure and heart
through his eyes that are great telling
is a good thing.
Steven still has a huge appetite
for the work he does.
This is a rare thing.
You know, we all have , maybe, shelf life.
Yes, we might pass the shelf life,
Most of us, without even knowing it.
But in his case, I thought, until the day of his death, he would start working
that he felt really forced to do something. </ p >
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