B 8

STEVEN SPIELBERG:
A Biography
Kathi Jackson
GREENWOOD PRESS
STEVEN SPIELBERG
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STEVEN SPIELBERG
A Biography
Kathi Jackson
GREENWOOD BIOGRAPHIES
GREENWOOD PRESS
WESTPORT , CONNECTICUT . LONDON
Library of Congress Cataloging-in-Publication Data
Jackson, Kathi, 1951–
Steven Spielberg : a biography / Kathi Jackson.
p. cm. — (Greenwood biographies ISSN 1540–4900)
Includes bibliographical references and index.
ISBN-13: 978–0–313–33796–3 (alk. paper)
ISBN-10: 0–313–33796–9 (alk. paper)
1. Spielberg, Steven, 1946– 2. Motion picture producers and
directors—United States—Biography. I. Title.
PN1998.3.S65J33 2007
791.43023'3092—dc22
[B] 2006039109
British Library Cataloguing in Publication Data is available.
Copyright ©2007 by Kathi Jackson
All rights reserved. No portion of this book may be
reproduced, by any process or technique, without the
express written consent of the publisher.
Library of Congress Catalog Card Number: 2006039109
ISBN-13: 978–0–313–33796–3
ISBN-10: 0–313–33796–9
ISSN: 1540–4900
First published in 2007
Greenwood Press, 88 Post Road West, Westport, CT 06881
An imprint of Greenwood Publishing Group, Inc.
www.greenwood.com
Printed in the United States of America
The paper used in this book complies with the

Permanent Paper Standard issued by the National
Information Standards Organization (Z39.48–1984).
10 9 8 7 6 5 4 3 2 1
Copyright Acknowledgments
The author and publisher gratefully acknowledge permission for use of the following
material:
Richard Combs, “Primal Scream: An Interview with Steven Spielberg.” First published
in Sight and Sound, Spring 1977. Reprinted in Steven Spielberg Interviews, edited by Lester
D. Friedman and Brent Notbohm (Jackson: University of Mississippi, 2000). Permission
granted by Richard Combs, July 16, 2006.
Frank Sanello, Spielberg: The Man, The Movies, The Mythology (Dallas: Taylor
Publishing, 1996). Permission granted by Patricia Zline, Rowman Littlefield Publishing
Group. Lanham, MD.
Lester D. Friedman and Brent Notbohm, eds. Steven Spielberg Interviews (Jackson:
University of Mississippi, 2000).
Every reasonable effort has been made to trace the owners of copyright materials in this
book, but in some instances this has proven impossible. The author and publisher will be
glad to receive information leading to more complete acknowledgments in subsequent
printings of the book and in the meantime extend their apologies for any omissions.
To Westly and Trevor:
Once upon a time in the early 1980s there was a single mother of two young
boys, ages nine and three. During some of their silly times, they made lists
of whom their mom should marry and make their stepfather. Many famous
names came and went, but two always remained: Steven Spielberg and
George Lucas.
Many years later, the same mom was offered a chance to write a biography.
Her choices were Steven Spielberg and George Lucas. She chose Spielberg.
So, boys, I couldn’t give you Mr. Spielberg as a stepfather, so I’m giving him
to you as a book.
My love forever,
Mom
CONTENTS
Series Foreword xi
Acknowledgments xiii
Introduction: The Spielberg Mystique xv
Timeline: Significant Events in the Life of Steven Spielberg xxi
Chapter 1 The Formative Years, 1946–1968 1
First Encounters 3
The Frightened and Frightening Child 3
True Boyhood Home 4
The Boy Scouts 4
Discovering the Camera 5
Religion 7
Winning 8
California 9
Divorce 10
Universal Studios 10
Breaking into the Big Time 11
Chapter 2 From TV to Film, 1969–1977 15
Professional Directing Debut: Night Gallery 15
viii CONTENTS
Break-Out Television Movie: Duel 16

Spielberg’s Forgotten Movie: Ace Eli and
Rodger of the Skies 18
Directing His First Feature Film:
The Sugarland Express 19
Jaws 20
Close Encounters of the Third Kind 24
Chapter 3 Director/Producer, 1978–1983 29
First Producing Project: I Wanna Hold Your Hand 29
The Bomb: 1941 29
Raiders of the Lost Ark 31
Poltergeist 33
E.T. the Extra-Terrestrial 34
Twilight Zone The Movie 37
Chapter 4 Real Life and Reel Life, 1984–1991 41
His First Company: Amblin Entertainment 41
Indiana Jones and the Temple of Doom 42
Amy Irving 43
The Color Purple 44
Amazing Stories 45
Empire of the Sun 46
Indiana Jones and the Last Crusade 47
Always 48
A Second Chance at Marriage 48
Chapter 5 From Peter Pan to Company Man, 1991–1994 51
Hook 51
Jurassic Park 53
Speaking of Money 54
Schindler’s List 54
The Schindler/Spielberg Legacy 59
DreamWorks (SKG) 59
CONTENTS ix
Chapter 6 Into the New Millennium, 1994–2001 65

Taking a Break from Directing 65
The Lost World Jurassic Park 65
Amistad 67
Saving Private Ryan 69
Tom Hanks 73
A.I. Artificial Intelligence 74
Chapter 7 The Legend Continues, 2002–2005 79
Minority Report 79
Catch Me If You Can 80
The Terminal 82
War of the Worlds 83
Munich 86
Chapter 8 Awards and Fame, Good Works, Future
Projects, Acclaim 91
Awards 91
Fame 92
Downside of Fame 93
Good Works 93
Future Projects 95
Acclaim 97
Appendix A: Films Directed by Steven Spielberg 101

Appendix B: Films Produced by Steven Spielberg 103
Appendix C: Awards 107
Appendix D: Top-Grossing Films: All-Time Worldwide
Box-Office Records 115
Appendix E: Charitable Organizations Supported by Spielberg 117
Bibliography 119
Index 139
About the Author 145
Photo essay follows page 64
SERIES FOREWORD
In response to high school and public library needs, Greenwood developed

this distinguished series of full-length biographies specifically for student
use. Prepared by field experts and professionals, these engaging biographies
are tailored for high school students who need challenging yet accessible
biographies. Ideal for secondary school assignments, the length, format,
and subject areas are designed to meet educators’ requirements and stu-
dents’ interests.
Greenwood offers an extensive selection of biographies spanning all
curriculum related subject areas including social studies, the sciences,
literature and the arts, history and politics, as well as popular culture,
covering public figures and famous personalities from all time periods and
backgrounds, both historic and contemporary, who have made an impact
on American and/or world culture. Greenwood biographies were chosen
based on comprehensive feedback from librarians and educators. Con-
sideration was given to both curriculum relevance and inherent interest.
The result is an intriguing mix of the well known and the unexpected, the
saints and sinners from long-ago history and contemporary pop culture.
Readers will find a wide array of subject choices from fascinating crime
figures like Al Capone to inspiring pioneers like Margaret Mead, from the
greatest minds of our time like Stephen Hawking to the most amazing
success stories of our day like J. K. Rowling.
While the emphasis is on fact, not glorification, the books are meant
to be fun to read. Each volume provides in-depth information about the
subject’s life from birth through childhood, the teen years, and adulthood.
A thorough account relates family background and education, traces
xii SERIES FO REWO RD
personal and professional influences, and explores struggles, accomplish-

ments, and contributions. A timeline highlights the most significant life
events against a historical perspective. Bibliographies supplement the ref-
erence value of each volume.
ACKNOWLEDGMENTS
Thanks to Heather Staines for welcoming me to Greenwood. Thanks to

Kristi Ward for being so much fun to work with.
To my longtime friend Cheryl Smith, for answering questions that
erased my worries.
To my teacher, mentor, and friend Birdie Etchison, for always being
there with reassurance.
To Steven Awalt, editor at SpielbergFilms.com, for clarifying so many
things. Steven, I can’t thank you enough for all of your help. If I’ve not
met your expectations, I’m really sorry. I tried.
Thank you, Aura Levin Lipski, publisher of www.Hebrewsongs.com,
for verifying the name of the children’s song in Schindler’s List.
Thanks to all my friends and family for continued support, and most of
all, thanks to my always loving best friend and husband, William.
INTRODUCTION:
THE SPIELBERG MYSTIQUE
Unlike actors and singers, there are just a handful of movie directors who
are known worldwide and whose very name means success. Add the word
“magic” and you have narrowed the list down to two: Walt Disney and
Steven Spielberg. The two share another commonality: many of their
films leave warm memories with their audiences. Spielberg knew from a
very early age that he wanted to make movies. When Arnold Spielberg
told his young son that he would have to start at the bottom of the movie
business and work his way up, young Steven responded, “No, Dad. The
first picture I do, I’m going to be a director.”1 He is said to have told a
classmate, “I want to be the Cecil B. DeMille of science fiction.”2
Spielberg fills 12 pages on the Internet’s International Movie Database,
and he has credits in each of the site’s 11 categories: producer, director,
miscellaneous crew, writer, editor, actor, second unit director or assistant
director, visual effects, self (documentaries), archive footage, and notable
TV guest appearances. He has won two Academy Awards for Best Direc-
tor and the Academy’s Irving Thalberg Lifetime Achievement Award.
According to Yahoo! Spielberg “has succeeded in combining the intimacy
of a personal vision with the epic requirements of the modern commercial
blockbuster.”3 And most importantly, he “possesses an uncanny knack for
eliciting and manipulating audience response.”4 And though money was
never the object of his filmmaking, he is the most financially successful
filmmaker in motion picture history and has been on Forbes annual list of
richest people since at least 1997.
But except for making him more philanthropic, success has not changed
this world-renowned giant of movies. He still wears jeans, sneakers, and
xvi INTRODUCTION
a baseball cap. He still wears a beard and he still wears glasses. He does
not drink, take drugs, or smoke. His only vice is biting his nails, which he
has done since he was four years old. And although he turned 60 in 2006,
he still has the abundance of fears and phobias that he has had all of his
life. He has nightmares about floods, sharks, heights, and elevators. He
is even scared of furniture with feet or decorations of snakes and insects.
(Trivia: These phobias have not stopped him, however, from owning a
house on the beach and a home in Trump Tower.) He has been happily
married to the same woman, actress Kate Capshaw, since October 12,
1991, and has always put his family ahead of his career. He drives his
children to school and often takes the family with him on location. And
while he and his filmmaker friends may talk about business and make
million-dollar deals, they are just as likely to talk about their kids’ soccer
games while their wives are doing the same in another room. According
to his March 21, 1999, article in The Guardian Limited, Stephen J. Dubner
writes that Spielberg’s, “reach is so great and his power so boundless that,
when people in Hollywood talk about him, it sounds as if they are talk-
ing about God, with one difference: people are not afraid to bad-mouth
God.”5 Actor Tom Cruise says that Spielberg has not lost the decency
that many others lose. “Even his detractors,” writes Dubner, “who assault
his films off the record, acknowledge that Spielberg is a ferocious multi-
tasker, an idea machine and a canny businessman who has also managed
to become a devout family man.”6 He is so good at what he does that his
movies have become part of the American lexicon. “He is arguably the
most influential popular artist of the 20th Century,”7 says author Michael
Crichton.
To Steven Spielberg, making movies is therapy, and he will read-
ily tell you that he uses aspects of his childhood in almost every film:
shooting stars, broken family, lonely child, piano, fatherless home, and
the suburban neighborhood. Another of his trademarks is to use the
“everyman” as his main character. This is the ordinary person who
learns that he can accomplish far more than he thought he could—
a character who creates a bond with the average moviegoer. All of these
contribute to Spielberg’s belief that his films are successful because they
reach people on a human level. “You have to like the people of your
story; it’s very important, and if you don’t like the people, no matter
how technologically superior a film is, it’s just not going to succeed.”8
An example of this technique is also one of his favorite scenes in Jaws.
A depressed Police Chief Brody is oblivious to his little boy imitating
his every gesture and expression. When Brody sees what is going on,
he and the boy share a “soft moment. It’s little things like that,” says
INTRODUCTION xvii
Spielberg, “that I’m able to interject in terms of humanizing my mov-

ies.”9 “Each of my movies has showed enough humanity to allow the
audience to identify with the person who is having the experience.”10
But Spielberg can also frighten the audience, and he uses suspense
and editing techniques like Alfred Hitchcock did. He also admires John
Ford’s “judicious”11 use of close-ups and wide shots and says that there
is, “nothing worse than a close-up that’s from the chin to the forehead.
I remember watching Paths of Glory and realizing how few tight close-
ups there were, but when [Stanley] Kubrick used a close-up, it meant
something.”12 In Badlands and Barry Lyndon, says Spielberg, Kubrick
made you feel as if you were there. And John Frankenheimer’s editing,
he says, “often has more energy than the content of the story. . . . When
I saw The Manchurian Candidate, I realized for the first time what film ed-
iting was all about.”13 When all is said and done, it is Stanley Kubrick’s
Dr. Strangelove or How I Stopped Worrying and Learned to Love the Bomb
that Spielberg believes is “nearly a perfect motion picture.” Its “broad,
baroque comedy,” he says, “was extra funny”14 because it was grounded
in reality.
Through the years as he learned more aspects of filmmaking, he says
that he wanted to do it all: gaffer, key grip, set design, makeup, composer,
etc. But he also learned that once you are on a professional filming site,
you fall under the rules of unions and are not allowed to do anyone else’s
job. “Now,” he says, “I delegate happily the functions that I feel there are
people much better equipped to execute than I am.”15 But he continues to
give his input regarding these aspects because he feels that it is his respon-
sibility to the story. He still sets up the cameras and, although he is willing
to listen to editors, he still believes that “editing is my thing, as well as
cinematography.”16 When it comes to casting, Spielberg considers it “at
least half the movie . . . not only casting the actor, but also casting the
crew.”17 Once casting is completed, he feels that 40 percent of his creative
effort has been realized. He tries to hire actors who are not yet well known
so the audience cannot relate to his or her former roles and because new-
comers give so much, “all that energy and ambition.”18 He tries to turn
co-workers into a “family” and tries to bring out the best in his actors,
but he admits that he can be demanding and can forget the actors’ needs.
“I see only the work, and sometimes I forget that there are a lot of human
people who are trying to contribute to your vision.”19 He adds, “Movies
are my sin; my major sin is filmmaking. I find the people who drink exces-
sively, or take a lot of drugs, aren’t very happy with their lives and what
they’re doing. But I’ve always been very happy making films and that is all
the stimulation that I’ve needed.”20
xviii STEVEN
INTRODUCTION
SPIELBERG
He is always open to any ideas to improve his work, even if it means not
using painstakingly made plans, and he always listens to suggestions from
those around him. He knows better than to give in to either his control-
ling side or his creative side because each side must be represented. He
is also known for the speed at which he films. He likes to get everyone
going and then keep the momentum. One of his filming techniques is to
keep cameras rolling—no constant retakes and cuts—and have the actors
keep repeating the scene until everyone is satisfied, and he always prints
his first takes because he often likes the actors’ mistakes. Likewise, after
a scene has been filmed several times, he will often throw in something
to disconcert the actors. “Then I watch them scrambling for their con-
fidence and scurrying for the focus of the scene. During that searching,
some very exciting things can happen in front of the camera.”21 After he
finishes a film, he feels that it is no longer his. He also fears that he would
want to change too much of it. Besides, by that time he is ready to move
on to another project. “I marvel at [composer] John Williams,” he says,
“because he can conduct his own music over and over again. I can’t do
that. I’ll dedicate two—three years of my life to one film. But then I want
to move on and try something new.”22
Spielberg makes movies because he loves to make them, but his favor-
ite part of the process is solitary—the excitement of getting a new idea
and researching it and then deciding how to make it come to life on the
screen. He also enjoys collaborating during which he says he gets his best
ideas. No matter how he makes his movies, the results are loved because
he follows his heart and does what he loves, even when some people say
that his films are too sappy and predictable. He wants people to like his
movies, and he is proud that entire families can watch them. “I always like
to think of the audience when I am directing,” he says, “Because I am the
audience.”23 And as the audience, what are Spielberg’s favorite movies?
The list of ten is: Fantasia (1940), Citizen Kane (1941), A Guy Named Joe
(1943), It’s a Wonderful Life (1946), The War of the Worlds (1953), Psycho
(1960), Lawrence of Arabia (1962), 2001: A Space Odyssey (1968), The
Godfather (1972) and La Nuit américaine (1973).
NOTES
1. Quoted in Joseph McBride, Steven Spielberg: A Biography (New York:
Simon & Schuster, 1997), 13.
2. Ibid.
3. Yahoo! Movies, “Steven Spielberg Biography,” www.movies.yahoo.com.
(accessed April 18, 2006).
INTRODUCTION xix
4. Ibid.
5. Stephen J. Dubner, “Steven the Good,” The New York Times Magazine,
February 14, 1999. Reprinted in Steven Spielberg Interviews, Lester D. Friedman
and Brent Notbohm, eds. (Jackson: University Press of Mississippi, 2000), 225.
6. Ibid.
7. Quoted in McBride, 9.
8. Quoted in Susan Royal, “Always: An Interview with Steven Spielberg,”
American Premiere, December/January 1989–1990. Reprinted in Steven Spielberg
Interviews, Lester D. Friedman and Brent Notbohm, eds. (Jackson: University
Press of Mississippi, 2000), 90.
9. Quoted in Mitch Tuchman, “Close Encounter with Steven Spielberg,”
Film Comment, January/February 1978. Reprinted in Steven Spielberg Interviews,
Lester D. Friedman and Brent Notbohm, eds. (Jackson: University Press of
Mississippi, 2000), 44.
10. Quoted in Tuchman, 43.
11. Quoted in David Helpern, “At Sea with Steven Spielberg,” Take One,
March/April 1974. Reprinted in Steven Spielberg Interviews, Lester D. Friedman
12. Quoted in Richard Combs, “Primal Scream,” Sight & Sound, Spring 1977.
Reprinted in Steven Spielberg Interviews, Lester D. Friedman and Brent Notbohm,
eds. (Jackson: University Press of Mississippi, 2000), 36.
13. Quoted in Combs, 35–36.
14. Quoted in Chris Hodenfield, “1941: Bombs Away,” Rolling Stone, January 24,
1980. Reprinted in Steven Spielberg Interviews, Lester D. Friedman and Brent
Notbohm, eds. (Jackson: University Press of Mississippi, 2000), 81.
15. Quoted in Steve Poster, “The Mind Behind Close Encounters of the Third
Kind,” American Cinematographer, February 1978. Reprinted in Steven Spielberg
Interviews, Lester D. Friedman and Brent Notbohm, eds. (Jackson: University
Press of Mississippi, 2000), 61.
16. Quoted in Poster, 62.
17. Quoted in Royal, 92.
18. Ibid.
23. Quoted in International Movie Database, “Biography for Steven
Spielberg,” www.imdb.com. (accessed September 22, 2005).
TIMELINE:
SIGNIFICANT EVENTS IN THE
LIFE OF STEVEN SPIELBERG
The years listed for the movies are the years they were released. Most were
made the previous year.
February 25, 1945 Arnold Spielberg weds Leah Posner.
December 18, 1946 Steven Allan Spielberg is born in Cincinnati,
Ohio.
1946–49 The family lives in a Jewish neighborhood,
Avondale. In 1949, the family moves to New
Jersey. Anne Spielberg is born December 25,
1949.
1952 Steven sees his first movie, The Greatest Show on
Earth.
1953 Susan Spielberg is born December 4.
1956 Nancy Spielberg is born June 7.
1957 The Spielbergs move to Phoenix, the place
Steven considers his true boyhood home.
1958 Steven falls in love with television and old
movies and makes his first film, The Last Train
Wreck.
1958–1959 Steven joins the Flaming Arrow Patrol of Ingle-
side’s (Boy Scout) Troop 294, and makes The Last
Gun to earn a Boy Scout badge.
1960 Makes Fighter Squad.
1962 Makes Escape to Nowhere, his first fully scripted
movie, and wins First Prize at the Arizona
Amateur Film Festival.
xxii TIMELINE
March 24, 1964 His first feature-length movie, Firelight, is shown

at the Phoenix Little Theater.
March 25, 1964 The Spielbergs move to California.
1964–1965 Spends summers with an uncle who lives near Los
Angeles so he can work at Universal Studios.
1965 Graduates from Saratoga High School.
1966 Arnold and Leah Posner separate. Arnold moves
to Los Angeles. Leah and children move back
to Phoenix. Steven begins attending California
State College at Long Beach. Arranges classes so
he can spend three days per week at Universal
Studios. Lives with father the first year.
1967 The Spielbergs’ divorce becomes final and Leah
marries Bernie Adler.
1968 Steven makes his calling card movie, Amblin’,
and gets a seven-year contract with Universal.
Quits school.
November 8, 1969 Makes his professional directing debut with an
episode of Night Gallery on NBC.
1969–1973 Directs several television programs.
November 13, 1971 Duel is aired as the “ABC Movie of the Week-
end.” Receives critical acclaim.
1973 Writes story, Ace Eli & Rodger of the Skies, and
receives his first theatrical credit.
April 5, 1974 His first feature movie, The Sugarland Express,
opens to outstanding reviews. Besides directing,
Spielberg shares story credit with Hal Barwood
and Matthew Robbins.
1975 Directs his first hit, Jaws, which sets box-office
records, turns summer into a blockbuster season,
and sets the bar for future adventure movies.
1977 Writes and directs Close Encounters of the Third
Kind and receives his first Academy Award
nomination for Best Director.
1978 His first producing project, I Wanna Hold Your
Hand.
1979 Directs 1941 and proves that even Spielberg can
make mistakes. Leah and Bernie open a restau-
rant, The Milky Way, in Los Angeles, which has
a kosher dairy-based menu.
1980 Produces Used Cars.
TIMELINE xxiii
1981 Teams with George Lucas to begin the saga of

Indiana Jones with Raiders of the Lost Ark.
Spielberg receives his second Academy Award
nomination for Best Director. Produces Conti-
nental Divide.
1982 Writes and produces Poltergeist. Directs and
produces E.T. the Extra-Terrestrial and receives
his third Academy Award nomination for Best
Director.
1983 Produces Twilight Zone The Movie and directs one
segment.
1984 Joins Kathleen Kennedy and Frank Marshall to
form Amblin Entertainment. Directs Indiana
Jones and the Temple of Doom. Meets future wife,
Kate Capshaw, when she auditions for leading
female role. Produces Gremlins.
1985 Directs The Color Purple. Becomes a father when
girlfriend, Amy Irving, gives birth to Max on
June 13, 1985. The couple marries on November
27, 1985. Produces The Goonies, Back to the Fu-
ture, and Young Sherlock Holmes.
1986 Produces The Money Pit and An American Tail.
1985–1987 Produces the series and directs two episodes
of Amazing Stories for NBC—an unsuccessful
return to television.
1987 Directs and produces Empire of the Sun. Produces
Innerspace and *batteries not included.
1988 Produces Who Framed Roger Rabbit and The Land
Before Time.
1989 Directs Indiana Jones and the Last Crusade. Directs
and produces Always, an updated version of A
Guy Named Joe (1943). Divorces Amy Irving. Re-
ceives the Boys Scouts’ Distinguished Eagle Scout
Award. Produces Back to the Future II and Dad.
1990 Renews his relationship with Kate Capshaw and
they have a daughter, Sasha. Produces Back to the
Future III, Gremlins2, Arachnophobia, Joe Versus
the Volcano, and TV’s “Tiny Toon Adventures.”
1991 Spielberg and Capshaw marry October 12. He
and Capshaw adopt a son, Theo. Directs Hook.
Produces An American Tail: Fievel Goes West.
xxiv TIMELINE
1992 He and Capshaw have a son, Sawyer.

1993 Directs Jurassic Park. Directs and produces
Schindler’s List. The movie gives Spielberg his
first Best Director Oscar. It also wins the Oscar
for Best Picture. Produces TV series “Animani-
acs” and We’re Back! A Dinosaur’s Story.
1994 Establishes Survivors of the Shoah Visual History
Foundation to save Holocaust survivors’ stories.
Joins Jeffrey Katzenberg and David Geffen to
form DreamWorks SKG. Produces The Flintstones
and the TV series “ER”
1995 Produces Casper and Balto. Bernie Adler dies.
1996 He and Capshaw have another daughter, Destry,
and adopt a daughter, Mikaela. Produces Twister.
1997 Directs The Lost World Jurassic Park. Directs and
produces Amistad. Produces Men in Black. Arnold
Spielberg marries Bernice Colner.
1998 Directs and produces Saving Private Ryan. Wins
second Best Director Oscar. Produces Deep Impact
and The Mask of Zorro.
1999 Directs American Journey (aka The Unfinished
Journey).
2000 DreamWorks Interactive Studio is sold to
Electronic Arts.
2001 Writes, directs, and produces A.I. Artificial In-
telligence. Produces Jurassic Park III and the TV
mini-series, “Band of Brothers.” Resigns from Boy
Scouts’ Advisory Board because of their view on
homosexuality.
2002 Directs Minority Report. Directs and produces
Catch Me If You Can. Produces Men in Black II
and the TV mini-series, “Taken.” Graduates from
California State University at Long Beach.
2004 Directs and produces The Terminal.
2005 Directs War of the Worlds. Directs and produces
Munich. Produces The Legend of Zorro, Memoirs
of a Geisha, and the TV mini-series, “Into the
West.” Announces that he will help develop
three games for Electronic Arts. Except for
DreamWorks Animation SKG, Spielberg, Kat-
zenberg, and Geffen sell DreamWorks SKG to
Paramount Pictures for $1.6 million.
TIMELINE xxv
2006 With director Zhang Yimou, Spielberg signs on

to codesign the opening and closing ceremonies
of the 2008 Beijing Olympics. Announces that
he and Mark Burnett will produce On the Lot,
a reality television program. Produces Monster
House, Flags of Our Fathers, Spell Your Name, and
Letters from Iwo Jima. As a producer, he has these
projects in various phases of production.
Note: Release dates are prone to change.
On the Lot TV series (2007)

“Nine Lives” (mini) TV Series (2007)
Transformers (2007)
Disturbia (2007)
The Talisman (2008)
Jurassic Park IV (2008)
When Worlds Collide (2008)
Team of Rivals (aka the Lincoln biopic) (2008)
Interstellar (2009)
“The Pacific War” (mini) TV Series (2009)
As a director, he has these movies in various

stages of production:
Team of Rivals (aka the Lincoln biopic)

(2008)
Indiana Jones 4 (2008)
Interstellar (2009)
Chapter 1
THE FORMATIVE YEARS,

1946–1968
Once you learn about the life of Steven Spielberg, you begin to see examples
of its influence in many of his movies. While other people pay counselors to
listen to their childhood recollections, Spielberg makes money telling the
world about his.
Arnold Spielberg and Leah Posner Spielberg lived in Cincinnati, Ohio,
when their first child, Steven Allan, was born on December 18, 1946. For
the next three years they lived in the Jewish neighborhood of Avondale,
where Steven spent a lot of time with his maternal grandparents, “Mama”
and “Dadda” Posner. One day the little boy and his mother were at a
store and he wanted a toy Greyhound bus and threw a tantrum when she
refused to buy it. The family rabbi happened to observe the incident and
called “Mama” Posner, who, in typical grandmotherly fashion, promptly
went out and bought the toy for her grandson. As she watched him play
with it, she noticed how he balanced the bus on the table’s edge with two
of the wheels hanging over the side. In later years, she realized that she
had witnessed his first experimentation with special effects. “You mark
my words,” she once said. “The world will hear of him.”1 Besides spoiling
her grandson, Jennie Posner taught English to Holocaust survivors to help
them become U.S. citizens. She was also an in-demand public speaker
whose speaking voice, says her daughter, was “like a singing voice.”2
Philip Posner immigrated to the United States from Russia. Officially,
he was in the clothing business, but he preferred to spend time dancing,
playing the guitar, and telling stories. (One of his brothers was a Yiddish
Shakespearean actor, and another brother danced and sang in vaude-
ville before becoming a lion tamer in the circus.) Once, when money ran
2 STEVEN SPIELBERG
low, he sold some jewelry and then took the family on a vacation. Leah
Posner carries loving memories of an “exciting” man who walked with her
through a snowstorm and lifted his head to the heavens and said, “How
wondrous are thy works.” To Leah, this was more than a loving image.
“This is who I am,” she says. “This is who Steven is.”3 She studied to
become a concert pianist and says that such an accomplishment gave her
confidence, but she gave up the piano when she married Arnold Spielberg
on February 25, 1945. Outgoing and full of spirit, Leah rarely said “no” to
her children. Compared to her husband’s more pragmatic nature, it is easy
to see why Leah was Steven’s favorite parent.
Arnold Spielberg had an inquisitive technical mind and a career
that required much of his time. He also earned many promotions,
which meant that the family had to move every few years. As a child,
Steven could not know and appreciate that his father was in on the
ground floor of the computer industry and that he would eventually
hold 12 patents. All the boy saw was a distant father who disrupted his
young life with constant moving. And while the boy was awed by his
father’s war service, it is unlikely that he truly realized just what the
man had accomplished during those years. Arnold Spielberg enlisted in
the U.S. Army Signal Corps in January 1942. When he found himself
in India working with aircraft parts and other war materiel, he asked
to be assigned to the 490th Bombardment Squadron. He was promoted
to master sergeant and became “an expert signalman.” Using bamboo
poles, he designed “a high gain, bi-directional rhombic antenna” whose
signal was “clear as ‘Ma Bell.’” He also made changes to radio equip-
ment that enabled his base to use their only generator. During one
task he nearly electrocuted himself but went on to rewire a circuit so
the same thing would not happen to anyone else. Last but not least,
Master Sergeant Spielberg flew combat missions into Imphal to deliver
food and ammunition to British and Indian troops and bring out the
wounded. Although it took many years, his contributions to the war
effort were finally acknowledged. In 1999, he received the meritorious
service award from the Selective Service system. In April 2000, his son
honored him by donating the money to build a theatre at America’s
National D-Day Memorial. On April 6, 2001, Arnold Spielberg was
awarded the Bronze Star Medal. Quoting the government tribute, “He
set up the communications system that serviced the control tower for
planes practicing strafing and bombing missions on an island in the
Indian Ocean. He also started to train as a radio gunner and learned all
about the B-25s, the famous Mitchell bomber, communication equip-
ment, inside and out.”4
THE FO RMATIVE YEARS, 1946–1968 3
FIRST ENCOUNTERS
Steven’s first memory is of attending a Jewish temple (in Avondale) in
his stroller and being awed by the red light that glowed in the sanctuary
where the replica of the Ark of the Covenant is kept. This may be where
he began his fascination with what he calls “God Lights.”5 That this
should be his first memory is almost a revelation about how important his
religion would become to him, though not for many years. When Steven
was about three, the family moved to New Jersey. One starry night his dad
put him into the car and drove him to a hilltop. With blanket in hand,
father and son walked to the top of a hill, spread out the blanket, and sat
down. The father pointed to the sky and showed his sun the Perseid me-
teor shower. Thus began Steven Spielberg’s love affair with the sky that
he has shared with millions of moviegoers. At the time, however, Steven
says that his awe of what he observed was flawed when his dad added the
scientific terms because it took away some of the mystery. But that was
then. Today he quickly credits his father with introducing him to the
magic of the sky.
THE FRIGHTENED AND FRIGHTENING CHILD

In an effort to protect their children (by June 1956, Steven was joined
by sisters Anne, Sue, and Nancy), the Spielbergs rarely permitted the kids
to watch television or go to movies, so Steven was thrilled when he saw
his first movie, The Greatest Show on Earth. But the little boy was disap-
pointed that there was no real circus on stage and that the movie was
about adults with the only real excitement coming toward the end—a
train wreck. And while the Spielbergs assumed that Walt Disney movies
were the best for their children, they had no idea how much Bambi and
Snow White and the Seven Dwarfs would frighten their very impression-
able son. Steven Spielberg admits that he was, and still is, afraid of many
things. As a child, he was terrified of swaying tree branches outside his
bedroom window, clouds, wind, the dark, and clowns—even the shadow
puppets he made on the ceiling. But he enjoyed the stimulation of being
scared and soon learned that the best way to overcome your own fears is
to frighten others, which he mercilessly did to his sisters. As Anne got
older, she teamed with her brother to scare Sue and Nancy. Their mother
often tells of the time that Steven put the head of one of Nancy’s dolls on
a bed of lettuce and served it to the little girl. There were also times when
he would stand outside the girls’ bedroom window and howl, “I am the
moon.” According to their mother, her daughters are still frightened by
4 STEVEN SPIELBERG
the moon. “Steven wasn’t exactly cuddly,” his mother says. “What he was
was scary. When Steven woke up from a nap, I shook.” But she quickly
adds that she and the kids “had a great time.”6 In later years, Steven would
produce Poltergeist (see chapter 3), which he says is, “the darker side of my
nature—it’s me when I was scaring my younger sisters half to death when
we were growing up—and E.T. is my optimism about the future and my
optimism about what it was like to grow up in Arizona and New Jersey.”7
TRUE BOYHOOD HOME

In 1957, Arnold Spielberg took a job with General Electric, and the
Spielbergs moved to the place that Steven still considers his true boyhood
home: Phoenix, Arizona. Here he had the suburban home and family that
he tries to recreate in so many of his movies. Here he finally had a dog
(Thunder), a pet lizard, and even parakeets that freely flew inside the
house. He watched television as much as he could—an escape that be-
came his education. He loved comedians Imogene Coca, Sid Caesar, and
Soupy Sales, and the TV show The Honeymooners. Television introduced
him to many black-and-white movies and so fascinated him that he even
enjoyed listening to the hissing and watching the “snow” when the chan-
nels ended their daily programming. He especially enjoyed Spencer Tracy,
and Tracy’s Captains Courageous inspired aspects of Spielberg’s Empire of
the Sun just as Tracy’s Adam’s Rib inspired the male-female aspects of the
Indiana Jones movies. He also admired Frank Capra’s work, particularly
It’s a Wonderful Life, with its depiction of the all-American community.
He especially appreciates the way Capra filmed crowd scenes.
THE BOY SCOUTS

Another of Steven’s passions was the Boy Scouts. He desperately wanted
to earn the 21 merit badges necessary to become an Eagle Scout, but he
had few talents and no athletic ability. For example, at a summer camp he
demonstrated the proper way to sharpen an ax and sliced open one of his
fingers. He did, however, become his troop’s first Eagle Scout, and in high
school he became a member of the Boy Scout Honor Society, the Order of
the Arrow. In 1989, he was awarded the Distinguished Eagle Scout Award
from the National Council of the Boy Scouts of America at their national
jamboree. Spielberg believes in the values that scouting teaches, and he
sees earning badges as a way to learn how to set goals and achieve them,
but he left his position on its advisory board in April 2001. According to
an article by Margaret Downey in July 2001 on the “Scouting for All” Web
site, Spielberg said, “ ‘The last few years in scouting have deeply saddened
me to see the Boy Scouts of America actively and publicly participating in
discrimination. It’s a real shame.’ With that, Spielberg announced that he
had decided to quit the advisory board of the Boy Scouts of America after
having been a member for 10 years. He had also donated money to fund
camps, helped write the guidelines for a cinematography merit badge, and
was honored by the Scouts several years prior at the group’s quadrennial
jamboree. He was also featured prominently in promotional material for
the group. All that has come to an end thanks to Spielberg’s consideration
of the ethics involved in supporting a group that practices discrimination.
Spielberg said he will continue to encourage the group to ‘end this intoler-
ance and discrimination once and for all.’ ”8
DISCOVERING THE CAMERA

The Spielbergs enjoyed trips to the White Mountains. At one point,
Leah Spielberg gave her husband an 8mm camera with which to film their
trips, but his results bored young Steven, who complained until his father
gave him the camera. The trips then became directed and choreographed
mini-movies: when and how to pack and unpack, when and how to exit
the car, anything to turn a mundane experience into something interest-
ing. When Steven was 11, his father threatened to take away his train
set because he kept wrecking the cars. The boy realized that to keep the
trains and continue the train-wreck experience, he could film the wreck.
He called this, his first movie, The Last Train Wreck.
The Boy Scouts offered only a photography badge, but Steven con-
vinced his scoutmaster to let him make a movie instead. With the help
of his family, he filmed The Last Gun (aka The Last Gunfight, aka The Last
Shootout) at Scottsdale’s Pinnacle Peak Patio restaurant, chosen because it
had an old stagecoach. In this, his first movie with a plot, the stagecoach
driver is killed by bandanna-wearing, cap-pistol-carrying desperados who
also rob a passenger (sister Anne) of her jewelry box. The film premiered
in 1959 in front of his fellow Boy Scouts, and Steven earned not only his
merit badge but also the cheers from a real audience—something he took
to immediately.
The usual Steven Spielberg productions starred family, friends, and
pets. A Day in the Life of Thunder (aka This Is a Dog’s Life), made in 1958,
was about a very muddy cocker spaniel named Thunder being washed by
the girls and was told from Thunder’s point of view. By the time the boy
had made several movies, he knew that filmmaking was his future. “I had
learned that film was power.”9 In fact, the shy little boy with poor grades
6 STEVEN SPIELBERG
who saw himself as a geek with a big nose was so transformed each time he
got behind a camera that he became not only outgoing but demanding.
Arnold and Leah Spielberg encouraged their children to pursue their
interests, but they also taught them to help with the expenses. One way
Steven earned money for film was by whitewashing the neighbors’ citrus
trees—sometimes 30 trees a day—for 75 cents a tree. The family also helped
him by showing rented movies to the neighborhood kids on summer Sun-
day nights. Arnold brought home a projector from work and rented the
movies. Steven printed tickets that the girls sold door-to-door during the
week. Leah made popcorn and sold it in brown paper sacks. The girls sold
candy. Arnold hooked up speakers, and Steven covered the projector with
a box so that its noise would not distract the audience. The film’s images
were shown through a hole in the box and onto a hanging bed sheet. He
showed the movies he made as “shorts.” Since it was not legal for the fam-
ily to profit from the venture, they used what they needed to buy more sup-
plies and film and then donated the profits to the Perry Institute, a home
for mentally handicapped children. Not only did the activity make the
money young Steven needed to buy film, but the events were publicized in
the local newspaper. His mother called him “Cecil B. DeSpielberg.”10
Ready to learn more, Steven asked his father for more sophisticated
equipment and received a movie camera with a three-turret lens (stan-
dard, wide-angle, and telephoto). One of the first movies he made with
his new camera was Fighter Squad (1960), inspired by his love of World
War II, which was inspired by his father’s World War II experiences. The
young Spielberg must have been born with the “It never hurts to ask”
gene, because he was never shy about asking people to help him in his
ventures—and people rarely turned him down. (Trivia: He once got a
hospital to close off the wing that included its emergency room so that he
could film there.) For Fighter Squad, he convinced the Phoenix airport to
let him use a real B-51. He had a friend put on Arnold Spielberg’s bomber
jacket and goggles and then put the friend into the pilot seat of the plane.
Steven took a close-up shot of the stick being pulled back then cut to
footage of a plane going into a climb. He cut back to a close-up of the pilot
“grinning sadistically,”11 then to a close-up of the pilot’s thumb hitting the
button. The scene ended with footage of a plane with its guns ablaze.
Steven also filmed high school football games and a gag documentary
about a school outing. Sister Anne says, “The moment he started a proj-
ect, it was like the Pied Piper. Everybody in the neighborhood wanted to
have something to do with it,”12 and even his sisters, always first in line,
had to compete for parts, the winner chosen according to Steven’s mood.
Even the kids who ignored Steven in school competed to be in his films.
The problem, he says, was that they enjoyed it at first, but then grew
bored. During the school year, they could work only on weekends, and as
the boys grew older, most of them preferred to spend time with girls and
cars. When some did not return, Steven had to rewrite and reedit. “That
was a major problem,” he says. “It still is a major problem!”13And while
he remembers being unpopular, Anne says that many girls thought he
was cute “in a nerdy way.”14 Steven says about himself, “I was skinny and
unpopular. I was the weird, skinny kid with acne. I hate to use the word
wimp, but I wasn’t in the inner loop. I never felt comfortable with myself,
because I was never part of the majority.”15 After purposely losing a race
to a mentally retarded boy, he was often called “Retard.”16 He refers to the
incident as “the height of my wimpery” and says, “I’d never felt better and
I’d never felt worse in my life.”17 Sometimes he compares his youth to an
American sitcom, “The kind that ABC buys for a season before they drop
it.”18 When he found the courage to take a girl to the drive-in (in the
fifth grade with his father driving), the girl put her head on his shoulder,
and his parents later lectured him about promiscuity. In a scene partially
recreated in E.T., Steven got sick while dissecting a frog in biology class.
He left the room and stood in the hall with the other “weak-stomached
students”19 who, to his dismay, were all girls. Gawky kids often find that
they can make people laugh. Since Steven was not into comedy, he used
his movies instead. (Trivia: Spielberg says that actor Eddie Deezen looks
like he, Spielberg, did in school.)
RELIGION
Spielberg once called his family “storefront kosher”20 because they did
not practice their faith on a strict or regular basis. They did light candles
on the Sabbath, went to temple on Friday nights and High Holy days, and
Steven was bar mitzvahed in an Orthodox synagogue. But for most of his
formative years, Steven was the only Jew he knew outside of his family,
and each time the family moved, he had to assimilate again. Even though
it was his mother’s idea to live in gentile neighborhoods, Steven resented
his father for causing the moves. It was easy for his father, he says, “My
father assimilated into the gentile world of computers, and that’s a very
Wasp world.”21 The young boy was so desperate to be like the gentile kids
that he even duct-taped his nose down to flatten it, and every Christmas
he begged his dad to hang Christmas lights so their house would not be the
only one on the block without them. He was even ashamed of his beloved
grandfather with his long white beard who prayed in the corner of their
home wearing a long black coat and a black hat. And he certainly did not
8 STEVEN SPIELBERG
like it when his grandfather called him by his Hebrew name, Schmuel.22
Steven had heard bits and pieces about relatives killed in Poland and the
Ukraine but he was too young to appreciate such sacrifices.
WINNING
Using Camelback Mountain Desert in Phoenix as North Africa,
Steven filmed his first fully scripted movie in 1962. Escape to Nowhere was
a 40-minute film about German Field Marshall Erwin Rommel fighting
the Americans. Both parents wore fatigues and took turns driving a Jeep.
Neighbor boys played both Americans and Germans, and because there
were so few German helmets, boys would put one on, run by the camera,
and then hand their helmet to someone else. Arnold Spielberg provided
fireworks and what appeared to be explosions. Escape to Nowhere won first
prize in the Arizona Amateur Film Festival. The prizes were a 16mm movie
camera and some books on making movies. Steven promptly donated the
books to his high school’s library and traded in the camera for an 8mm
Bolex and sound system. He learned that he could send cut footage to East-
man Kodak where a magnetic strip was placed on the film so he could add
sound. He also learned that he could shoot, rewind, and shoot again. Now
he could make double exposures, make people disappear, and turn “beauti-
ful young women . . . into ghoulish nightmares.”23 When he purchased a
polarizer, he could fade in and fade out. He filmed master shots on one roll of
film, close-ups on another, and action/trick shots on a third. He would break
down the film and hang the separate shots on his homemade cutting rack
and then tape onto each scene its description and location in the film. In an
interview many years later, Spielberg said, “I remember doing things at 16
that I was later surprised to see being done in 35mm in the movie theater.”24
Where did he learn all of this? It just seemed natural, he says.
It was with this new camera that Steven began making Firelight, his first
feature-length movie and the one some say showed his “true potential as
a filmmaker.”25 Inspired by the meteor shower he had watched with his
dad so many years before, Steven wrote about aliens abducting earthlings
for an extraterrestrial zoo. As before, he filmed on weekends during the
school year using family, friends, and local college students. Anne was
the typist and script girl, and Nancy was the star of the movie, the per-
son abducted and killed by aliens. Steven’s father invested in the film,
rigged the lights, and built the set and anything else his son needed. His
mother’s serving cart became the dolly on which Steven sat holding the
camera while Anne pushed him to where he wanted to go. But the topper
may have been the special effects: 30 cans of cherry pie filling cooked in a
pressure cooker until the lid blew off—instant gore! He filmed toy trucks
and paper-mache mountains so they looked life-sized, and he did all of his
own editing and splicing. The problem came in the summer when Steven
needed to dub in the sound and many of the kids were busy elsewhere.
He had to persuade them to recite their lines while trying to match their
words to their scenes in the movie. Firelight was complete with soundtrack
and sound effects. (Steven is self-taught on clarinet and organ so he made
his own score.) Arnold Spielberg rented the Phoenix Little Theater for
the night of March 24, 1964. Leah put the letters on the marquee and sold
tickets for one dollar. The movie cost $400 and brought in $600. (Sadly,
little of Firelight remains today.)
CALIFORNIA
But the very next day, the Spielbergs moved once again, this time to
Saratoga, California. Arnold Spielberg’s talent had earned him yet an-
other promotion, and they were now moving to the area that would soon
be known as “Silicon Valley.” Moving never got easier, says Steven.
A “C” student all through high school, the only reading that Steven
enjoyed was film magazines, science-fiction stories, and MAD magazine.
He was particularly bad in math and admits he still cannot perform frac-
tions. Although his father helped with his movie making, he continued
to hope that Steven would go to college and even got him up early every
morning to help him with math—another reason that Steven resented his
father. Father and son often argued and, as happens in so many families,
they were estranged for a number of years and then became good friends.
After this move, the young man ignored filmmaking to concentrate on his
studies. “I was trying to get out of high school, get some decent grades, and
find a college,”26 he says. But life got harder for the young man, because it
was in Saratoga that he experienced true anti-Semitism for the first time.
In school, students hit him, threw pennies at him, and called him “Jew.”
Once someone threw a cherry bomb between his legs while he sat on the
toilet. Another time someone ground his face in the dirt. Being treated
differently because of his religion scared and angered him. After he had
twice come home with a bloody nose, his mother began picking him up
after school. “To this day,” says Spielberg, “I haven’t gotten over it, nor
have I forgiven any of them.”27 (Nor will he put up with anti-Semitism.
At a car dealership, he placed an order for a car, drove away, and then
learned that his salesman said, “I just got a Jew to pay full price for a
car!”28 Spielberg called and cancelled his order and refused to change his
mind even when the dealership’s owner apologized.)
10 STEVEN SPIELBERG
DIVORCE
These were not good years for the Spielberg family. The personality dif-
ferences between Arnold and Leah finally took their toll, and the move to
California capped it. Writer Alan Vanneman describes the breakdown as
“a slow-motion spiral to disaster and divorce—long periods of silence and
avoidance punctuated by bitter arguments that left Steven and his three
younger sisters trembling.”29 There was also Leah Spielberg’s relation-
ship with Bernie Adler, Arnold’s assistant at General Electric. When the
Spielbergs separated in 1966, Arnold moved to Los Angeles. (On April 6,
1997, he married Bernice Colner.) Leah and the kids moved to Phoenix
where she married Bernie in 1967. (Trivia: Marrying Adler took Leah
back to her Orthodox roots. She and Bernie opened a kosher deli in Los
Angeles called the Milky Way. Whenever her son is in town filming, she
sends a “Tuna Stuffer” to him for lunch. He also loves the cabbage rolls.)
The divorce was traumatic for Steven, which is why the topic occurs in
so many of his movies. And though his parents and sisters adored him,
Spielberg has said, “I always felt alone for some reason. My mom had her
agenda, my dad his, my sisters theirs. E.T., which certainly defines loneli-
ness from my own perspective, is a lot about how I felt about my mom and
dad when they finally got a divorce.”30
UNIVERSAL STUDIOS
There is a story, supposedly perpetuated by Spielberg himself, that
during a visit to Universal Studios he left the tourist tram and struck out
on his own and then began going to the Universal lot every day. No one
stopped him because he wore a suit, carried a briefcase, and adopted the
air of someone who had the right to be there. For three months he hung
around movie directors, writers, and editors. He even used an empty of-
fice and put his name and room number on the building’s directory and
gave his extension to the switchboard. Eventually, he was stopped and
questioned by Chuck Silvers, assistant to the editorial supervisor for
Universal TV.
The truth is that Steven’s dad asked a friend to ask Chuck Silvers to
show his son around the studio’s postproduction offices. Silvers agreed and
spent a day with Steven showing him around and talking with him about
making movies. During the school year, the two corresponded, and Silvers
gave the young man an unpaid job as a clerical assistant in the editorial
department during the summers of 1964 and 1965. Instead of his own of-
fice, however, he shared a space with the company’s purchasing agent and
spent much of his time helping her with orders. He also made deliveries
around the lot and took great advantage of it. Not only did he see Alfred
Hitchcock, he ate lunch with Charlton Heston and Cary Grant. He spent
much of his time in the editing rooms learning from the experts and even
helped edit a popular television western. He soon became friends with
Tony Bill, a young actor turned producer/director who showed interest
in Spielberg’s work. Bill introduced Spielberg to Francis Ford Coppola
and took him to an acting class taught by actor/director John Cassavetes.
“I got off on the right foot,” says Spielberg, “learning how to deal with
actors as I watched Cassavetes dealing with his repertory company.”31 He
even worked as a production assistant on the Cassavetes film Faces.
After he graduated from Saratoga High School in 1965, Steven moved
in with his father and applied to the film schools at the University of
Southern California and to the University of California at Los Angeles,
but both turned him down because of poor grades. He finally enrolled at
California State College at Long Beach (CSLB), which had no film school
but was located near Los Angeles and Universal Studios. (Spielberg is also
honest enough to say that college was a way to evade the Vietnam draft.)
It was around this time that he went to the Nuart and Vagabond theaters
in Los Angeles and discovered many of the movies that he had not been
allowed to see growing up. In fact, most of Spielberg’s film education be-
fore and since has been from watching late-night movies on television.
He arranged his classes so he could spend three days a week at Universal,
but after awhile he attended so few classes that his father asked Silvers to
encourage Steven to go to school. Silvers told the senior Spielberg that
movie studios required only talent, not degrees. When Steven learned
that producers would preview only 16mm or 35mm movies, he took a job
in the college cafeteria to earn the money to buy a 16mm camera and film
and then spent weekends making movies with college buddies as actors.
In later years, his professors would remember him as the kid with cameras
hanging around his neck who was always filming and writing. During the
divorce and soon after, Arnold Spielberg and his son became close, both
sharing their sadness, but it bothered Arnold that his son did not take
education seriously. The two grew estranged again, and Steven moved
into an apartment with a classmate.
BREAKING INTO THE BIG TIME

By 1967, Spielberg was ready to make his “calling-card film,” the one
he would show to Universal executives to prove he could handle a cam-
era, lighting, and actors. Slipstream was a simple 35mm story about bicycle
12 STEVEN SPIELBERG
racing starring Tony Bill. Spielberg’s roommate, Ralph Burris, wanted to

become a movie producer and decided to let Spielberg’s film be his spring-
board, while Arnold Spielberg contributed equipment and financing.
Serge Haginere and Allen Daviau, Spielberg’s cameramen, spent week-
ends in the desert and in Santa Monica filming racing footage from dif-
ferent angles. Unfortunately, rain prevented the final weekend’s shooting
and time was up for the crane and equipment operators, so Slipstream had
to be cancelled. But when Spielberg found another aspiring young pro-
ducer who wanted to back a short film, he began working on Amblin’ on
July 4, 1968, with Daviau as director of photography and himself as writer
and director. Amblin’ is a simple story about a young man and woman
who fall in and out of love as they hitchhike from California’s desert to
its ocean. Again, friends and family helped out with only a film credit as
payment but, for a change, the film had nothing to do with Steven’s child-
hood. Only 26 minutes long, the movie scored big with Chuck Silvers and
Sid Sheinberg, president of Universal Television, who offered Spielberg
a $275/week seven-year contract to direct television programs with the
chance of directing movies. Spielberg quit college without emptying his
locker! (Note: On May 31, 2002, Spielberg graduated from California
State University Long Beach with a bachelor’s degree in film and elec-
tronic arts. Wearing a cap and gown, he marched in the commencement
ceremony with his fellow graduates, but when he crossed the stage, the
band played the Indiana Jones theme music.)
But he had not read the contract before signing it and soon found that he
was being paid for doing nothing, so he returned to Sheinberg and told him
he wanted to work. Sheinberg called producer William Sackheim (known
for guiding young talent) and told him to use Spielberg in the television se-
ries Night Gallery. When the grateful young man asked Chuck Silvers how
he could possibly repay him for contacting Sheinberg, Silvers told him to do
two things: always help young moviemakers and always give him (Silvers) a
hug each time they meet. Spielberg continues to keep those two promises.
On December 12, 1968, the Hollywood Reporter announced, “Spielberg, 21,
is believed to be the youngest filmmaker ever pacted by a major studio.”32
NOTES
1. Quoted in Susan Goldman Rubin, Steven Spielberg: Crazy for Movies
(New York: Harry N. Abrams, 2001), 9.
2. Quoted in Fred A. Bernstein, “Steven Spielberg’s Mother. An Interview
with Leah Adler,” The Jewish Mothers’ Hall of Fame (New York: Doubleday, 1986),
www.fredbernstein.com/articles/.
3. Ibid.
4. Library of Congress, “Tribute to Mr. Arnold Spielberg,” U.S. Senate, April 6,
2001, www.thomas.loc.gov/.
5. Quoted in John Baxter, Steven Spielberg: The Unauthorised Biography
(London: HarperCollins, 1996), 20.
6. Quoted in Bernstein.
7. Quoted in Frank Sanello, Spielberg: The Man, The Movies, The Mythology
(Dallas: Taylor, 1996), 118.
8. Margaret Downey, “Spielberg Finally Convinced to Leave BSA,” Scouting
for All, July 2, 2001, www.scoutingforall.org.
9. Quoted in Sanello, 9.
10. Quoted in Joseph McBride, Steven Spielberg: A Biography (New York: Simon
and Schuster, 1997), 11.
11. Steve Poster, “The Mind Behind Close Encounters of the Third Kind,” Ameri-
can Cinematographer, February 1978, reprinted in Steven Spielberg Interviews, Lester
D. Friedman and Brent Notbohm, eds. (Jackson: University Press of Mississippi,
2000), 57.
12. Quoted in Rubin, 6.
13. Quoted in Tony Crawley, The Steven Spielberg Story: The Man Behind the
Movies (New York: Quill, 1983), 16.
15. Quoted in Zac Champ, “The Steven Spielberg Directory,” www.scruffles.
net/ (accessed July 5, 2006).
16. Quoted in Crawley, 13.
17. Quoted in Champ.
19. Champ.
22. Quoted in CNN.com, “Hollywood’s Master Storyteller. Steven Spielberg
Profile,” www.cnn.com/, accessed July 5, 2006.
25. Crawley, 16.
28. Quoted in ibid.
29. Alan Vanneman, “Steven Spielberg: A Jew in America,” Bright Lights Film
Journal, August 2003, www.brightlightsfilm.com/, (accessed July 5, 2006).
30. Quoted in “Hollywood’s Master Storyteller.”
Chapter 2
FROM TV TO FILM,
1969–1977
PROFESSIONAL DIRECTING DEBUT:

NIGHT GALLERY
Although Spielberg was anxious to make feature movies, he eagerly asked
questions of everyone around him to learn as much as possible from tele-
vision. His first assignment was an episode of Night Gallery titled “Eyes”
starring film legend Joan Crawford. Movies made for television were in-
troduced by Universal in 1964, and even today they are often pilots for
prospective television series. Night Gallery was such a project. (It was also
three rather spooky stories compacted into two hours.) Spielberg was
thrilled to work on the series because of his admiration for its creator,
writer, and host Rod Serling of Twilight Zone fame, but he was “terrified”1
to direct Crawford, a woman who intimidated almost everyone. An ac-
tress since the early days of movies, Crawford was making her television
debut. At first she disliked the idea of such a young director, but she soon
relied on him much more, says Spielberg, that he expected. He was 21 and
she was 65, but they soon became friends. Barry Sullivan was the actor
in the movie and helped the young director when he could. To repay the
kindness, Spielberg hired Sullivan twice in later years. When Spielberg
asked Sheinberg if he could work on a project about younger people, he
was told, “I’d take this opportunity if I were you.”2
Work began on February 3, 1969. At first the crew did not take the
young director seriously and thought he might be part of a publicity stunt,
but that changed when they saw that he was always prepared and carried
storyboards with him throughout the production. And though he disliked
16 STEVEN SPIELBERG
the script, he used his talent with the camera to make it more interest-
ing. In his biography of the director, Frank Sanello writes that the Night
Gallery episode is considered a “treasure trove” of Spielberg’s “signature
style of filmmaking,” which he would “later perfect in his blockbusters and
masterpiece: the use of wide-angle lenses, lots of dolly and crane shots,
and dramatic lighting to maximize the overall visual impact.”3 And while
zoom lenses were something new on the filmmaking scene, Spielberg pre-
ferred tracking shots so that the camera moved toward the actors. He
also used some innovative cutting techniques. The show aired on NBC
on November 8, 1969, to mixed reviews. While one reviewer criticized
the director’s youth, Joan Crawford told a reporter from the Detroit Free
Press, “Go interview that kid because he’s going to be the biggest direc-
tor of all time.”4 But Spielberg believed that he had done an “awful job”5
and took a leave of absence. During his time off, he wrote screenplays,
but when none were accepted, he was ready to return to directing—even
television. He directed episodes of Marcus Welby, M.D. (ABC), Columbo
(NBC/ABC), Name of the Game (three series shown alternately) (NBC),
Owen Marshall, Counselor at Law (ABC), and another episode of Night
Gallery. He particularly enjoyed directing the first and last episodes of a
short-lived series, The Psychiatrist, because he was allowed to give input
and incorporate his own ideas. He is especially proud of an episode with
Clu Gulager in which Gulager’s character is a golfer dying of cancer whose
golfing buddies come to visit him. It was Spielberg’s idea to have the
friends give Gulager a box in which they had placed the 18th hole with a
flag in it. Gulager then improvised by squeezing the dirt on himself while
tearfully telling his friends that it was the best gift he had ever received.
Spielberg also enjoyed directing Peter Falk and watching the actor create
his character in the pilot of Columbo, but soon he was so bored that he
says he felt more passion making home movies.
BREAK-OUT TELEVISION MOVIE: DUEL

When Spielberg’s feelings were so low that he began to reconsider his
career choice, Universal bought the rights to Duel. Written by Richard
Matheson, Duel is about David Mann, a traveling salesman who unknow-
ingly angers a truck driver who first rides his tail then tries to kill him.
Mann even stops and calls the police, but he cannot shake off the truck.
When Spielberg read the script, he vividly remembered how he felt the first
time he drove the Los Angeles freeways, and he persuaded the producers
to let him direct it. Shooting began on September 13, 1971, in Soledad
Canyon, California. Dennis Weaver had been on television in other roles
F ROM TV TO FILM, 1969–1977 17
and was currently in McCloud (NBC) playing a deputy marshal from Taos,
New Mexico, who fights crime in New York City. But, according to the
International Movie Database, it was Dennis Weaver’s acting in Touch of
Evil (1958) that convinced Spielberg that he would be perfect for the role
of David Mann. Weaver, however, wanted his character to challenge the
truck, but Spielberg convinced him that it was better that Mann be a fairly
unconfident individual who would never consider such a challenge.
Spielberg also used a trick perfected by Alfred Hitchcock to create
suspense: the fear of the unknown. Hitchcock once described this theory.
“A bomb is under the table, and it explodes: That is surprise. The bomb is
under the table but it does not explode: That is suspense.”6 Spielberg was
also very careful to choose a truck with a bulkhead up front so it would
hide the driver and make the truck seem driverless. He included smaller
disconcerting incidents—such as keys falling out of locks—to show how
technology was disrupting society. He actually wanted the movie to have
no dialogue, but the producers vetoed the idea. Since the movie is about
a chase, Spielberg made elaborate storyboards by having an artist make
a map that looked as if a helicopter had photographed the entire chase
route including scene indicators. The long mural was wrapped around
Spielberg’s hotel room, and he checked off scenes as they were filmed.
Production ran over schedule by three days but stayed in the $3 million
budget. It aired November 13, 1971, as an ABC Movie of the Weekend and
earned very good reviews. While Spielberg received the biggest career
boost—Cecil Smith of the Los Angeles Times dubbed the young direc-
tor “the wunderkind of the film business”7—everyone connected with the
movie profited with better earning power. The movie so impressed famed
director David Lean, one of Spielberg’s idols, that he is to have said, “Im-
mediately I knew that here was a very bright new director.”8 With Duel,
writes biographer Tony Crawley, Spielberg “literally changed the face,
pace and close-cropped confines of the still infant TV-movie genre and
helped mature it into an occasional art-form.”9 Two years later Duel was
released as a feature film in Europe and made Spielberg a director “of
immense potential in Europe.”10 Universal earned at least $6 million
there and sent Spielberg on a publicity tour. Among the awards won by
Duel and/or its director: “Special Mention” at the twelfth Monte Carlo
Television Festival; Grand Prix of the first French Festival du Cinema
Fantastique (January 1973); the jury’s Gariddi a’Oro award as Best Opera
Prima (first film) at Taormina’s Festival in Italy (summer 1973); and the
Picture-of-the-Month Trophy in West Germany. The Italians tried to
get the young director to admit that the truck in Duel represented the
“all-powerful, all-crushing forces of the capitalist Establishment”11 but he
18 STEVEN SPIELBERG
would not agree. Duel was shown in American theaters in 1983. (Trivia:
Only in the theatrical version can you see Spielberg in David Mann’s
backseat. He was giving directions to Dennis Weaver.) Spielberg says,
“Television taught me how to be a professional within a very chaotic busi-
ness.”12 Tony Crawley quotes Spielberg as saying that television “taught
me to think on my feet. To plan my movies, do my homework, make sure
I knew what I was doing every day before coming on the set.”13 As Crawley
adds, Spielberg learned that television is about speed—quick work with
no time for special shots. He also learned about cannibalism, the common
practice of incorporating footage from other films; but when Spielberg
learned that scenes from Duel were used in an episode of the television
series The Incredible Hulk in 1978, he had all of his contracts rewritten,
adding a clause to prevent it from happening to any of his films.
After Duel, Spielberg began shooting another made-for-television movie,
Something Evil, for CBS. Darren McGavin and Sandy Dennis starred in the
story about a couple moving into a haunted farmhouse. The film’s photogra-
pher, Bill Butler, would later film Jaws for Spielberg, and Carl Gottlieb, who
acted in the movie, would later help Spielberg write Jaws. Even Spielberg
has a small part in the movie. The film aired January 21, 1972. Spielberg’s
next TV movie was Savage (aka Watch Dog aka The Savage Report). An-
other pilot for a television series, this show starred the husband and wife
team Martin Landau and Barbara Bain, who had been very successful in
Mission Impossible (CBS, 1973/ABC, 1989–1990). In Savage Landau plays
a television reporter and Bain his producer. They try to uncover secrets on
a nominated Supreme Court judge played by Barry Sullivan. The movie
aired on March 31, 1973, on NBC, but was not picked up as a series. Steven
Spielberg was only 25 but already concerned that he was being typecast as
an “episodic director.”14 He was ready to make a feature film.
SPIELBERG’S FORGOTTEN MOVIE: ACE ELI

AND RODGER OF THE SKIES
Spielberg had been sending his own stories and scripts to studios with-
out any luck until producers David Brown and Richard D. Zanuck bought
his story, Ace Eli and Rodger of the Skies, for 20th Century Fox. But the
two men were soon fired because of the studio’s big losses and replaced
by Elmo Williams. When studios change production chiefs, they usually
drop newly purchased projects, but Spielberg was fortunate that Williams
kept his. Williams did not, however, want Spielberg to direct the movie.
Ace Eli and Rodger of the Skies is a sweet old-fashioned movie set during the
1920s starring Cliff Robertson, Patricia Smith, and Eric Shea. Robertson
plays a husband and father with dreams of being a barnstorming pilot

traveling the country and taking people for rides in his plane. The movie,
released in April 1973, received terrible reviews and made barely enough
money to cover the costs. One wonders how much different it might have
been had Spielberg directed it.
DIRECTING HIS FIRST FEATURE FILM:

THE SUGARLAND EXPRESS
Brown and Zanuck thought highly of Spielberg and helped him di-
rect his first feature film, The Sugarland Express. In May 1969, Spielberg
read a newspaper article about a wife who helped her husband escape
from prison. The two took a patrolman hostage and then led a massive
high-speed chase as they attempted to retrieve their children from fos-
ter parents. In the story he developed with Hal Barwood and Matthew
Robbins, Spielberg softened the characters to make them easier for audi-
ences to accept. As he had done with Duel, he used a room-wrapping
mural/storyboard with which to follow the route of the motorcade. He
used toy cars to plan camera angles. There were 90 police cars in the real
chase in Texas, but since his budget allowed for only 40, he used different
techniques to add the extra 50 cars. He used natural lighting to give the
feeling of a documentary and added more realism by using the real prison
pre-release center near Sugarland, Texas. To shoot the cars while they
were moving, he anchored the camera to a platform on a track. He was
also able to film inside the police cars because of a new compact camera
just developed by California’s Panavision Corporation. When Spielberg’s
sister, Anne, visited the set, she found her brother filming from the roof
of a chicken restaurant, and they silently acknowledged to each other
that he had made it to the big leagues. (Trivia: Spielberg purchased the
hijacked Texas Department of Public Safety patrol car and the revolving
neon chicken sign that stood atop the restaurant.)
For his leading lady (Lou Jean Poplin), Spielberg chose Goldie Hawn,
who had won an Academy Award for her supporting role in Cactus Flower
in 1969 and was tremendously popular on the NBC television variety series
Rowan & Martin’s Laugh-In. William Atherton was chosen as her husband,
Clovis Michael Poplin, and Ben Johnson was chosen to play Captain Har-
lin Tanner. To write the music, Spielberg chose John Williams—probably
one of the best decisions he would ever make. Spielberg’s lifelong love of
movies includes movie music. In fact, when he and his sisters played their
home version of Name That Tune (NBC, 1953–1954/CBS, 1954–1959),
they often used movie soundtracks. Because of this, Spielberg was familiar
20 STEVEN SPIELBERG
with Williams’s work, something that impressed the composer. In turn,

Williams admired Spielberg for his memory, energy, vitality, and kind-
ness. (The world is familiar with this dynamic duo, but many may wonder
how they perform their magic. As Spielberg shows the film to Williams,
he describes what music he thinks would be appropriate in which scenes.
“But once Johnny sits down at the piano, it’s his movie, it’s his score. It’s
his original overdraft, a super-imposition.”15) When The Sugarland Express
opened on April 5, 1974, it received “outstanding reviews.”16 Pauline Kael
of the New Yorker wrote, “This is one of the most phenomenal debut films
in the history of movies.”17 The movie even won the Best Screenplay
Award at the 1974 Cannes Film Festival. But good reviews and awards do
not assure box-office success, and The Sugarland Express failed in that area.
Some believed that the audience had a hard time seeing Goldie Hawn
play a serious role. Whatever the reason, Spielberg promised himself that
he would “hook”18 the audience in his next film.
JAWS
Among Spielberg’s numerous phobias and fears are water and the things
hidden beneath its surface. What better way to overcome this fear than
to make a film on the ocean about the sea’s greatest killer and thereby
pass on his fear to the audience? This was exactly his plan after reading
Peter Benchley’s novel Jaws. When a young girl is found killed by a shark
off the coast of Amity, a coastal vacation town in New England, Mayor
Larry Vaughn (Murray Hamilton) and Police Chief Martin Brody (Roy
Scheider) argue about closing the beaches. Brody calls in shark expert
Matt Hooper (Richard Dreyfuss) and shark hunter Quint (Robert Shaw)
to find and kill the shark. (Spielberg originally wanted Jon Voight for
Hooper and Lee Marvin for Quint.) Spielberg also hired Lorraine Gary
to play Brody’s wife, a decision that pleased her husband, Sid Sheinberg.
Although producers David Brown and Richard D. Zanuck originally had
another director in mind for the film, Spielberg begged for it. He knew
right away that he wanted Roy Scheider to play Brody and that he wanted
to give Brody his (Spielberg’s) own fear of water. But that was just the
beginning of how Spielberg entwined his personal life into the movie. His
cocker spaniel, Elmer, is Brody’s dog in the film. His father, Arnold, is one
of the people on the beach. A little boy sings “Do You Know the Muffin
Man?” which was one of Spielberg’s favorite childhood songs. He also
included a scene showing Boy Scouts working for their merit badges in
swimming, and lastly, he used his favorite location, the suburbs, by show-
ing ordinary people on vacation.
Benchley attempted two screenplays before Spielberg hired friend and

screenwriter Carl Gottlieb. The two men rented a house on Martha’s
Vineyard so they could work on the script each night for the next day’s
shooting. This allowed for much improvisation from the cast, something
Spielberg enjoys and encourages. In fact, much of Jaws was ad-libbed by
the actors who met in Spielberg’s house to rehearse. Production on the
movie began on May 2, 1974, before there was even a script, a cast—or a
shark. Spielberg hired Bob Mattey to build the shark, the same Bob Mattey
who built the giant squid in the Walt Disney film 20,000 Leagues Under
the Sea. There were actually three sharks made. All three were named
Bruce (Trivia: Bruce is Spielberg’s lawyer’s name), and all three were divas.
Bruce #1 sank. Bruce #2 exploded. Bruce #3 filmed the movie but was ex-
tremely uncooperative. His eyes crossed and his jaws did not always close
correctly. But Spielberg is an expert at making lemonade out of lemons
and made a better film because of Bruce’s foul nature by using the Alfred
Hitchcock trick he had previously used in Duel: the threat of the shark. He
knew that the threat would create more suspense than would too many
appearances of a mechanical shark. It certainly worked, especially when
coordinated with the shark’s theme music, now as internationally recogniz-
able as that of the shower scene music in Hitchcock’s Psycho. Even when
the shark strikes, the audience often sees the character’s reaction and/or
the damage inflicted instead of the shark itself. In Jaws there are occasions
when the camera is on Brody’s face as he sees, or thinks he sees, something
happening or about to happen. In those scenes, the audience takes its cue
from Brody. There are even some false alarms, but false alarms work to
placate the audience, thus leaving them easier to scare. In his book The
Great Movies II, Roger Ebert writes about one of the scenes that adds sus-
pense. While Brody is looking at books on sharks, the audience is looking
over his shoulder at “page after page of fearsome teeth, cold little eyes, and
victims with chunks taken out of their bodies.” Spielberg, writes Ebert, is
“establish[ing] the killer in our minds.”19 The director’s favorite scene is
one of the most haunting and one that makes the shark even more fright-
ening, yet the shark is nowhere to be seen. The three main characters are
sitting in the boat’s cabin drinking, comparing scars, laughing, and telling
stories. But the cabin turns deathly quiet when Quint starts telling the
others about being a sailor on the USS Indianapolis when the ship sank
at the end of World War II. Those who survived the sinking floated for
days without food or water. Surrounded by sharks, he saw one friend after
another pulled under and wondered if he would be next.
Years later Spielberg watched Jaws and said that it was “the simplest
movie I had ever seen in my life. It was just the essential moving, working
22 STEVEN SPIELBERG
parts of suspense and terror, with just enough character development that
at one point in the movie you hate Schieder and you hate Shaw and you
hate Dreyfuss . . . then you like them again.”20 The movie, he says, was “all
content [and] experiment.”21 Richard Dreyfuss recalls the filming being the
most “intense”22 of his career. It was also intense for Spielberg, who not
only almost quit, he was almost drowned, was almost crushed between two
boats, and was almost chewed up by a propeller. As for filming, the weather
and water changed so often that it was hard to match shots from one day
to the next, and when Spielberg wanted the three main characters to ap-
pear to be far out and alone in the ocean, tourists brought their boats by to
watch. In the scene where the boat’s cabin fills with water, Roy Scheider
so feared a real accident that he took his own axe and hammer in case he
had to free himself. To top it off, Zanuck and Brown wanted to use real
sharks. Cast and crew became anxious to go home and some began calling
the film “Flaws.”23 Spielberg says that “four days out of seven”24 he was sure
he was making a “turkey,”25 and he feared that his once-promising career
was already finished. There were even rumors that Universal executives
were threatening to cancel production. Had it not been for what they saw
in each day’s raw footage, they might have. No one had taken a film 100
days over schedule, especially a director whose first film had failed at the
box office. There were many days when Spielberg sat in the boat waiting
for a scene to be ready and thinking that he was wasting time and effort and
that his vision could not be realized. It was during those moments that he
swore he would never again film on water.
Thankfully, he habitually overshoots so his editors always have more
than enough film to work with. This gave the editor of Jaws, Verna Fields,
the ability to put together a terrific movie. But Spielberg is a perfectionist
and known for “tinkering,”26 so even though the preview audiences rated
the movie higher than 99 percent, there was a part of the movie that
Spielberg felt dragged a bit. Cast and crew went to Verna Fields’s home
and filled her swimming pool with powdered milk to make the water look
murky as it does off of Martha’s Vineyard. He added a sunken rowboat and
had a corpse’s head pop out of it thus making one of the most frightening
scenes in the movie.
Steven’s sister, Anne, sat with him at the special screening for distribu-
tors who, she says, usually sit “stone-faced.”27 That night, however, they
“were going wild.”28 On a personal level, she saw the movie as a rite of
passage for their family. “For years he [Spielberg] just scared us. Now he
gets to scare the masses.”29 Richard Dreyfuss was similarly surprised at the
film’s premier in New York City (June 1975) when Spielberg received a
standing ovation and the crowd responded to the movie with cheers and
applause, something he had never witnessed. The reaction was the same
everywhere, and the movie broke all box-office records. Only two weeks
after its release, Jaws became the most successful movie in history up to that
time and the first to reach the $100 million mark. More than 67 million
Americans went to see it that first summer. Roger Ebert writes that Jaws “is
one of the most effective thrillers ever made.”30 The movie created a fear of
sharks comparable to the fear of showers created by Psycho. It became the
first summer “blockbuster”31 and made summer the movie season. At first,
Spielberg thought it was a “fluke,”32 but later he said, “I realized we made
a movie that was just super-intense and somehow struck a chord around
the world.”33 Jaws had immediately become the epitome of the adventure
movie and the goal for which all future adventure movies still strive. Its
characters were each totally different, yet they all “held their own with the
shark.”34 In 2006, the movie was named the number one “When Animals
Attack” film by the Sydney Morning Herald.
The movie was nominated in the Best Motion Picture category at the
Academy Awards, and editor Fields and composer Williams each went
home with an Oscar. Each of the three main actors—Dreyfuss, Scheider,
and Shaw—became hot properties, but Steven Spielberg became “the
hottest property in Hollywood.”35 As always, there were some people who
believed that he had peaked and who jealously called the movie “com-
mercial drivel.”36 Jaws continues to have a hold on the world’s population,
and it is impossible to find a mention of summer movies without it. An in-
augural Jaws Fest was held in Martha’s Vineyard, Massachusetts, for a week
beginning June 3, 2005. The chamber of commerce made the area look
like Amity Island and planned numerous events. The timing coincided
with the release of the thirtieth-anniversary edition of the movie, which
was shown on a beachside screen. The book’s author, Peter Benchley, was
among the more than 2,000 people who attended. Spielberg was there
via a videotaped introduction to the movie. He was, and is, quick to give
much of the credit for the movie’s success to John Williams.
When Benchley died in February 2006, Spielberg credited him with a
project that was so successful that it gave him artistic freedom in his mov-
ies. But with the success of Jaws, not only did he have artistic freedom,
he had plenty of money. While he told a reporter that he was now worth
$4 million, he did not include the money made from a recently updated
contract that his agent, Guy McElwaine, had renegotiated before Jaws so
that Spielberg would receive an additional 5 percent profit. As Sanello
writes, “tens of millions of dollars in excess of the paltry $4 million.”37 But
how did he spend the money? Buying cars and dating starlets? His produc-
tion editor for Close Encounters of the Third Kind, Julia Phillips, writes that
24 STEVEN SPIELBERG
Spielberg did enjoy driving around theaters showing Jaws to take pictures
of the long lines. “He is so blatant in his excitement for himself,” she
writes, “that his is adorable.”38 And he did attract his fair share of group-
ies and girls. “After Jaws,” says the director, “I did cut loose a little. I only
went a little crazy because I was too busy to become a real hedonist.”39
Among others, he dated Victoria Principal and Sarah Miles, but he says
that he did not actively seek out women and parties. He kept the same car
and the same house and did not take the time to travel or pursue spending
his money. In fact, he was spending some of his time with the businessmen
of Hollywood learning about distribution. And he did not hesitate when
asked to speak to a UCLA film class. He took no bodyguards or entourage,
just his good friend and director, Brian De Palma. They arrived before the
teacher and waited in the hallway until he arrived. The “hottest property
in Hollywood”40 told students how he directed a few scenes, but he also
told them that success was a lot of luck and being prepared for when that
luck finds you. He had been ready, he told them, since he was 18.
CLOSE ENCOUNTERS OF THE THIRD KIND

How would you top Jaws? Steven Spielberg turned to aliens. Many years
ago Arnold Spielberg told his young son that if aliens exist, he thinks they
are friendly and visit earth to share knowledge. This is probably why Close
Encounters of the Third Kind introduced friendly aliens, not the horrifyingly
cruel ones shown in movies made in the 1950s. “I have tried,” Spielberg
says, “to take interspace relationships out of the science fiction closet and
give them an aura of respectability.”41 He also wanted audiences to think
about their relationship with the universe. The movie was inspired by
Spielberg’s childhood movie, Firelight, and the Disney song, “When You
Wish upon a Star,” from Pinocchio. “I pretty much hung my story on the
mood the song created, the way it affected me emotionally,”42 he says. He
was still filming Jaws in 1974 when he got the idea for Close Encounters,
and his script for it “was stalled”43 at Columbia, because he could not get
the $12 million he needed to make it. After the release of Jaws in 1975,
he could get whatever he wanted. One of the images most identified with
Close Encounters is a little boy looking out a big open door. The image,
says Spielberg, sums up his work. What is outside that door? Promise or
danger? Since this was his first entry into science fiction, he credits much
of the movie’s believability to Dr. J. Allen Hynek, his technical adviser.
Hynek was a nonbeliever of unidentified flying objects (UFOs) who stud-
ied accounts and became a believer. It is he who developed the three
levels of encounter: visible sighting, physical evidence, and contact. Is
Spielberg a believer? He says that there are just too many people with
believable experiences to ignore. He does, however, believe more in the
second form of contact than the third.
Close Encounters of the Third Kind is about several people who see a UFO
and then find themselves drawn to Devil’s Tower in Wyoming, where they
meet friendly aliens. Richard Dreyfuss knew right away that he wanted to
play the main character, Roy Neary, but Spielberg wanted Steve McQueen.
McQueen liked the script but said he could not cry on film. When Spielberg
said he would cut the crying out of the movie, McQueen told him that it
should be left in the movie but he could not do it. Dustin Hoffman, Al
Pacino, and Gene Hackman also turned down the role; James Caan said
he would make it for $1 million upfront and 10 percent of the gross. In the
meantime, Richard Dreyfuss was actively campaigning for the role. When he
reminded Spielberg that Neary should be childlike and that he, Dreyfuss, was
the “everyman” actor that Spielberg prefers, Spielberg relented. “Richard’s
so wound up in a kind of kinetic energy. He’s as close an actor to Spencer
Tracy as exists today. I also think he represents the underdog in all of us.”44
Spielberg appreciates actors like Dreyfuss “who will go out on a limb, even to
the point of embarrassing himself, to be different, to do something unusual,
to not be Richard Dreyfuss, but to be the person that the writer intended
him to be.”45 One of the actresses who read for the role of Neary’s wife was
Meryl Streep. Although she was not a big star at the time, she already had a
presence that intimidated both Dreyfuss and Spielberg. Teri Garr got the role
after Spielberg saw her in a coffee commercial and thought that she was the
everyday housewife. Melinda Dillon was cast on a Thursday and expected on
the set the following Monday. The little boy, Cary Guffey, who had no act-
ing experience, was chosen when the casting director saw him in his niece’s
daycare center. Since the three-year-old usually completed his scenes in just
one take, Spielberg had a T-shirt made for him with his new nickname on it:
“One-Take Cary.”46 Perhaps the biggest casting coup for Spielberg was getting
one of his idols, French director Francois Truffaut, whose participation, says
Spielberg, added more class and nobility to the movie. And, of course, after
John Williams’s huge success with the magical notes for the shark’s theme
in Jaws, Spielberg asked him to do it again for Close Encounters. He wanted
earthlings and aliens to communicate with lights, colors, and music—a spe-
cific five notes of music. (Two bits of Trivia: Spielberg actually re-edited the
movie to match Williams’s score; and Spielberg’s dog was with the humans
when they were released from the mother ship.)
Spielberg used storyboards and 65mm film to maintain picture quality
for the special effects. He chose Douglas Trumbull for his special visual ef-
fects director because Trumbull had worked on 2001: A Space Odyssey, a
26 STEVEN SPIELBERG
1968 science fiction movie that has become a cult classic with science fiction
aficionados. He chose Vilmos Zsigmond, the cinematographer he used on
Sugarland Express, to be the director of photography. Spielberg also used a
new device, a digital live-action recording system that locks the camera’s
movements into a disc for reuse. As with Jaws, Close Encounters was not with-
out its share of problems. It took six attempts to find the right screenplay, five
months to film, and one year to edit due to the more than 350 special effects.
(The editing process takes usually about half that time.) Another problem
was finding a soundstage that was large enough. They finally located a diri-
gible hangar in Alabama. Richard Dreyfuss wanted 5 percent of gross earn-
ings but was talked out of the demand by producer Julia Phillips. Spielberg
insisted on tight security so television producers could not make a quick
rip-off of the idea. Lastly, it was hard for Spielberg to release his hold on the
film because he always finds areas to improve, but he was forced to get the
movie ready for release before he was satisfied because financially strapped
Columbia Pictures needed a Christmas hit. Of course, there were those who
predicted that the movie would flop, and Vogue magazine even wrote it up as,
“preposterous, trivial, simple-minded, shallow, and steeped in pretension.”47
On the other hand, the New Republic’s Stanley Kauffmann wrote that it
was, “breathtaking, stunning, dazzling, moving, and brilliant,” and “one of
the most overpowering, sheerly cinematic experiences I can remember.”48
Opening in November 1977, Close Encounters of the Third Kind was a huge
success and, as Time reviewer Frank Rich wrote, it was proof that Spielberg’s
reputation “is no accident.”49 Spielberg received his first Best Director Acad-
emy Award nomination for Close Encounters but lost to Woody Allen for
Annie Hall. Years later, he said that Close Encounters is the one film that dates
him, that he can see how much he has changed and how optimistic and
naïve he was then. He can no longer be the dreamer he used to be because
he has seven children who must be raised in the practical world. And would
he do what Roy Neary does in the movie, leave his family for the chance of a
lifetime? No way. Carina Chocano writes for the Los Angeles Times that Close
Encounters and Jaws are “marked by a sly baby-boomer antiestablishmentari-
anism that is hard to imagine him [Spielberg] embracing now.”50
NOTES
2. Quoted in Tony Crawley, The Steven Spielberg Story: The Man Behind the
Movies (New York: Quill, 1983), 21.
3. Sanello, 32.

5. Ibid.
6. Quoted in Roger Ebert, The Great Movies II (New York: Broadway Books,
2005), 204.
8. Ibid.
9. Crawley, 23.
10. Crawley, 23–24.
11. Crawley, 24.
13. Quoted in Crawley, 22–23.
15. Quoted in Mitch Tuchman, “Close Encounter with Steven Spielberg.”
Film Comment, January–February 1978, reprinted in Steven Spielberg Interviews,
Lester D. Friedman and Brent Notbohm, eds. (Jackson: University Press of
Mississippi, 2000), 50.
16. Rubin, 35.
18. Rubin, 35.
19. Ebert, 206.
20. Quoted in Richard Combs, “Primal Scream.” Sight and Sound, Spring
1977, reprinted in Steven Spielberg Interviews, Lester D. Friedman and Brent
Notbohm, eds. (Jackson: University Press of Mississippi, 2000), 36.
21. Ibid.
23. Ibid.
24. Ibid.
25. Ibid, 39.
26. Sanello, 53.
28. Ibid.
29. Ibid.
30. Ebert, 204.
31. International Movie Database, “Trivia for Jaws” (1975), www.imdb.com
(accessed September 22, 2005).
32. Quoted in Susan Royal, “Steven Spielberg in His Adventure on Earth.”
American Premiere, July 1982, reprinted in Steven Spielberg Interviews, Lester D.
Friedman and Brent Notbohm, eds. (Jackson: University Press of Mississippi,
2000), 98–99.
33. Ibid.
34. Quoted in Peter Biskind, “A World Apart.” Premiere, May 1997, reprinted
in Steven Spielberg Interviews, Lester D. Friedman and Brent Notbohm, eds.
(Jackson: University Press of Mississippi, 2000), 198–199.
28 STEVEN SPIELBERG
35. Sanello, 57.

36. Sanello, 55.
37. Sanello, 58.
39. Ibid.
40. Sanello, 57.
41. Sanello, 64.
43. Sanello, 63.
44. Quoted in Tuchman, 50.
45. Quoted in Steve Poster, “The Mind Behind Close Encounters of the Third
Kind,” Steven Spielberg Interviews, Lester D. Friedman and Brent Notbohm, eds.
(Jackson: University Press of Mississippi, 2000), 63.
46. International Movie Database, “Trivia for Close Encounters of the Third
Kind (1977),” www.imdb.com (accessed September 22, 2005).
48. Ibid.
50. Carina Chocano, “Movies: The Director’s Art; To think like the masters;
For Steven Spielberg, it takes a vicious alien attack to restore Dad as the head of
the family.” Los Angeles Times, July 10, 2005, E1. www.proquest.umi.com.
Chapter 3
DIRECTOR/PRODUCER,
1978–1983
FIRST PRODUCING PROJECT: I WANNA

HOLD YOUR HAND
According to author Tony Crawley’s book about Spielberg published in
1983, the success of Jaws—both by Spielberg and editor Verna Fields—put
Universal Studios in the mood to give new directors their big break. In his
lifelong promise to help young filmmakers, Spielberg decided to help Uni-
versity of Southern California (USC) graduates Robert Zemeckis (direc-
tor) and Bob Gale (writer/partner) by choosing their script, I Wanna Hold
Your Hand, to be the first movie he would produce. Universal’s production
chief, Ned Tanen, agreed to the project, but only if Spielberg promised
to take over the directing duties if Zemeckis proved unable. Tanen also
wanted Nancy Allen and Susan Kendall Newman in the film. (Allen is
the former wife of director Brian De Palma, and Newman is the actress/
producer daughter of Paul Newman.) Released in April 1978, the movie
is a light-hearted look at the way the Beatles affected teenagers in 1964
in their first visit to the United States. The movie lost more money than
any Universal film in three years. According to author Crawley, neither
original nor new Beatles fans seemed to care.
THE BOMB: 1941

With two huge hits under his belt, some say that Spielberg had a right
to make a bomb, which he did. True, The Sugarland Express had not
done well at the box office, but it had been well received by critics. In
30 STEVEN SPIELBERG
the case of 1941, however, neither the box office nor critics had much
good to say. Perhaps it was a bad year for movies. Francis Ford Coppola,
Michael Cimino, and John Landis were all being berated for their movies
Apocalypse Now, Heaven’s Gate, and Blues Brothers respectively. The plot
of Spielberg’s movie was based in reality. After the Japanese attack on
Pearl Harbor, the city of Los Angeles thought it had been invaded by the
Japanese. In fact, in February 1942, a Japanese submarine had surfaced off
the coast of Santa Barbara and fired missiles, all of which missed, at the
Richfield Oil Refinery. Two nights later, a Japanese surveillance plane
flew over Los Angeles. It is easy to see why the city became alarmed. It is
also easy to see why some of the events might make good comedy, such as
the civil defense wardens shooting out porch lights and neon signs. This
is what Zemeckis and Gale thought after they read about the events in
old newspapers. Executive producer and director John Milius described it
as “a multi-million-dollar Three Stooges movie”1 and says that he could
find no one to buy the script. Eventually, he gave the project to Spielberg,
who had wanted to make a comedy for a long time. Spielberg was also in
the mood for something lighthearted after Close Encounters of the Third
Kind. When he read the script by Zemeckis and Gale, he said it was like
reading a MAD magazine. He liked the nuttiness of the time “when we all
lost our minds, thought we were being invaded by Japanese commandos,
[and] spent every last bullet shooting at clouds for eight hours straight . . . .
I just laughed myself sick.”2 MGM owned the rights to the project, but
Spielberg did not want to work for them, so he took the project to Uni-
versal Studios, who did not want to put up the needed $20 million. That
quickly changed, however, when studio heads saw the dailies of Close
Encounters and realized that they were about to have a megahit. Univer-
sal then agreed to co-finance 1941 with Columbia Studios. But even as
he began the project, Spielberg says that his inner voice was warning him
against it. He knew that comedy was hard to perfect and that he had no
experience with it. Chris Hodenfield was a writer for Rolling Stone in 1980
when he interviewed Spielberg about 1941. In his opinion, Spielberg left
behind the art of suspense, put in too many characters, and moved the
film along too quickly. It was a steady and continuous “slam-bang,” he
writes, with no “slow burn, the double take, the dreadful anticipation,
the witty rejoinder.”3 Making movies, says Spielberg, is an unnatural
business, almost like fighting a war with the director as the commanding
officer. In the case of 1941, he admits that he was not able to control his
troops, that most of the actors wanted to be as crazy as stars John Belushi
and Dan Ackroyd. Spielberg took full blame for the movie’s failure but
added, “If we don’t take chances, we never learn how to fail.”4 The movie
DIRECTO R/PRODUCER, 1978–1983 31
needed $70 million to break even, and in the year 1979–1980, it brought
in $90 million. After making so much money for the studios with Jaws
and Close Encounters, Spielberg was offended that the studio heads pub-
licly criticized 1941 after the sneak preview, and he made no movies for
them for three years. There was one reviewer who enjoyed the movie.
David Denby of New York magazine wrote: “He’s made a celebration of
the gung-ho silliness of old war movies, a celebration of the Betty Grable/
Betty Hutton period of American pop culture.”5
RAIDERS OF THE LOST ARK

As a child unable to see movies as often as he wanted, Steven Spielberg
made up for lost time every chance he got and, like most boys, could not
get enough of serials such as Commando Cody. George Lucas also loved
the old serials. The two men were in Hawaii when they got the idea to
capture that youthful excitement, enthusiasm, and intensity by making an
action-adventure movie “with a cliffhanger every second.”6 They differed,
however, on what type of characters and setting they wanted. Spielberg
wanted a James Bond–type, but Lucas wanted “to make a homage to Sat-
urday matinee serials”7 but also something with a supernatural sense. They
combined their ideas, and Indiana Jones, a professor of archaeology, was
born. But Jones is not a superhero and often gets into trouble, thus lend-
ing humor to the movie. Spielberg and Lucas had also decided that they
would make a three-movie series, and perhaps a fourth movie. (Trivia:
(1) Jones is named after Lucas’s malamute, Indiana, who was also the pro-
totype for Chewbacca in Star Wars; (2) Indiana’s original last name was
Smith.) The two men had the basic plot down in three days and then gave
it to Lawrence Kasdan to write. The first of the series was titled Raiders
of the Lost Ark. Its plot? “Indy” is hired by the United States to find the
Ark of the Covenant before the Nazis do. The ark is valuable because its
contents, the original Ten Commandments, are alleged to have amazing
powers. Paramount’s Michael Eisner was the only studio executive willing
to take the risk after the failure of 1941, believing that Spielberg would
not fail twice.
As always, Spielberg wanted lesser-known actors, and his first choices
were Amy Irving and Harrison Ford. But he and Amy had just broken
up, so he hired Karen Allen. Lucas vetoed Ford because he had already
featured the actor in American Graffiti (1973) and Star Wars (1977). Lucas
liked Ford; he just did not want the same actor in all of his movies. Tom
Selleck was chosen, but the filming dates interfered with his contract to
star in CBS’s Magnum, P.I. (1980–1988), so Ford was hired. Spielberg and
32 STEVEN SPIELBERG
Allen disagreed about her character. Spielberg saw her as a “damsel in

distress” while Allen saw her as someone much tougher. Allen once told a
magazine writer that Steven Spielberg “is the kind of director who plans it
all out in his head and the people he works with are just there to fulfill his
plan.”8 Although she later tried to take back her words, Spielberg never
hired her again (although it is rumored that she may appear in the fourth
Indiana Jones movie). Casting Director Mike Fenton said that he would
never again send Spielberg anyone with an ego because Spielberg “doesn’t
have an ego, and he just doesn’t have time for that sort of thing.”9
Filming began in Tunisia in North Africa in 1980 with London as
the home base. Spielberg, Lucas, and Ford enjoy working together, and
Spielberg is quick to say how much he learns from Lucas, especially about
saving money with “creative shortcuts, how to give an audience an eye-
ful with illusions [sic] of grandeur.”10 One example is wanting 2,000 extras
but achieving the same effect with 700 extras, miniatures in the back-
ground, and a wide-angle lens. “He makes working fun,” says Ford about
Spielberg. “He’s so secure about what he’s doing.”11 But things were not
always pleasant. For one thing, Spielberg had to disregard his phobia of
snakes, because there were thousands of them. More seriously, most of the
cast were plagued by stomach ailments caused by living in a foreign coun-
try. Harrison Ford suffered horribly, so much in fact that it created the
humor in the now-classic scene where Indy declines to fight with the large
man wielding a saber. Because Ford desperately needed to hurry things
along, he asked Spielberg how they could do so, and the director jokingly
answered that Indiana could just shoot the man, so that is what he did.
According to the bonus material in The Adventures of Indiana Jones DVD
set, almost everyone got sick during the filming, and the heat was so in-
tense that it was hard to breath. To take care of himself, Spielberg ate only
canned foods from Britain.
In his book, The Great Movies II, Roger Ebert describes Raiders as non-
stop action, villains, exotic locales, dangerous and yucky animals, reptiles,
danger, humor, guns, spiders, magic, whips, and machetes. He also writes
that the movie gave Spielberg a chance to “stick it to the Nazis”12 and
that Nazi symbols are destroyed throughout the movie. (Trivia: (1) The
submarine used in the movie is the same one used in Das Boot, along with
the World War II submarine pen and Nazi insignia; (2) the trick coat
hanger was Spielberg’s idea.) The boulder, which weighed 300 pounds and
was 12 feet high, almost crushed Harrison Ford in one of the 10 takes.
In addition to teaching Spielberg how to control movie costs, Lucas
helped Spielberg become a better businessman in other ways. “I person-
ally would have never been so audacious,” Spielberg says. “George made
me realize what I deserved.”13 After the studio earned back its produc-
tion costs, it earned 60 percent of the gross up to the first $100 million.
After that, the studio split the earnings 50-50 with Lucas and Spielberg.
Had the movie failed, Lucas still would have received $4 million for his
producer’s fees and Spielberg would have earned $1.5 million for direc-
tor’s fees. The movie finished ahead of schedule and under budget, and as
of 1996, it grossed $363 million. Although Eisner’s colleagues had been
“furious”14 when he made the original deal, they were certainly happy
afterward, because Raiders made their stockholders $187 million in one
week. There were still, of course, those who said that Spielberg’s movies
were “big on plot, but short on character,”15 but most critics agreed with
Time magazine’s Richard Schickel, who writes, “so strong is the imag-
ery, so compelling the pace, so sharply defined are the characters, that
one leaves . . . with the feeling that, like the best films of childhood,
it will take up permanent residence in memory.”16 Schickel also writes
that Raiders is, “an object lesson in how to blend the art of storytelling
with the highest levels of technical know-how, planning, cost control
and commercial acumen.”17 Spielberg sees Raiders as a salute to the old
serials without putting them down. “All the humor in the movie had to
come from the characters, not the situation,” and he admits that his vil-
lains were “cardboard Nazis.”18
POLTERGEIST
Probably the most interesting Spielberg producing story is about
Poltergeist, the ghost movie that Spielberg had wanted to make since
he was a child. “Poltergeist is what I fear,” he says, “and E.T. is what I
love. One is about suburban evil and the other is about suburban good.”
He adds, “I had different motivations in both instances: In Poltergeist I
wanted to terrify and I also wanted to amuse—I tried to mix the laughs
and the screams together.”19 He also included his own fears of clowns and
trees outside windows. Spielberg wrote and produced the movie but did
not direct it. He offered that job to Tobe Hooper, the director of the cult
classic, The Texas Chain-Saw Massacre, which Spielberg loves. Unfortu-
nately for Hooper, it was to the studio’s advantage to promote the film as
a Spielberg movie, and, according to author Frank Sanello, Spielberg did
not do much to repudiate it. He did the casting, which is usually left to the
director, and he proudly insists that he was the “hands-on producer.”20 He
says, “That was my production. I was very involved from the beginning.”21
Frank Marshall co-produced the movie and calls Spielberg the “creative
force”22 behind it. To make matters worse, the star of the movie, Craig
34 STEVEN SPIELBERG
T. Nelson, publicly stated that Hooper “had not been allowed into the
editing room.”23 Hooper was in a quandary. As Sanello writes, Poltergeist
was the number-two film of the summer, and that is something an up-and-
coming director definitely wants on his resume. But how do you argue with
Steven Spielberg? The question was finally taken to the Directors Guild,
and Tobe Hopper was declared the director. As for the editing, Hooper
told Sanello, “I was in the editing room for ten weeks. There’s very little
difference between my cut and Steven’s. I like the final cut very much . . . .
The differences were just too minor.”24 Spielberg later took out a full-page
ad in Daily Variety to send Hooper a letter complimenting his directing
and thanking him for allowing him, Spielberg, so much leeway with the
production. The letter, according to Sanello, was “part of a secret Directors
Guild settlement that allowed Spielberg’s name to be featured in movie
trailers in letters twice as big as Hooper’s. That plus $15,000.”25
E.T. THE EXTRA-TERRESTRIAL

By the time of the completion of Raiders, Spielberg felt that he had
lost the reason he wanted to make movies. He had always enjoyed stories
about relationships, and he realized that once again he had been sucked
into action-adventure. That would change with E.T. the Extra-Terrestrial,
the movie to which Spielberg has said he most relates. There are two dif-
ferent stories about how/when the movie was conceived. One states that
during an especially lonely time in his life, Spielberg wanted someone to
talk with who needed him as much as he needed him or her. The other
story is that he got the idea when filming the scene in Close Encounters
when the spaceship’s door closes. Both theories lead to the same resulting
thought: What if one of the creatures in Close Encounters was left behind
and became the friend of a lonely little boy on earth? The little boy took
on aspects of Spielberg’s childhood: a lonely boy who felt left out and had
siblings he sometimes fought with and parents who got divorced. (He even
included a scene in which the star, Elliott, releases frogs in science class—
something Spielberg did when he was in school.) The director wanted a
special friend to help the little boy get through these rough spots in his
life. He wanted a child’s vision with the least possible amount of adult in-
teraction. The family lived in a ranch house in a suburban neighborhood
because Spielberg grew up in such a neighborhood and because he sees
suburbia as the place where the territories between children and adults are
most distinguished. Where else can children hide secrets, and what bigger
secret to hide than a friend from outer space? Spielberg shared these ideas
with screenwriter Melissa Mathison, whose script for The Black Stallion
he had enjoyed. Before she began writing the script in October 1980, she
asked a group of children what powers they think an alien should have.
She was surprised at two of their answers—the powers of telekinesis and
healing—so she gave those powers to Elliott and E.T. Their psychic con-
nection is exemplified in the movie when E.T. gets drunk while alone at
home and Elliott acts as if he is drunk when he is away at school and has
not been drinking. Spielberg sold the idea to Universal even while he was
editing Raiders, and by the time he lost his second Best Director Oscar,
he was filming it. Although he believes that storyboards and rehearsals
are necessities for action movies, he also believes that they can stifle inti-
mate movies and the spontaneity of children. He even shot the movie in
sequence to make it seem real—as if the events really were unfolding to
everyone. This made the actors bond more tightly to their fellow actors
and to the story, so much so that when E.T. is dying and when he leaves,
the cast and crew were really heartbroken.
But a month before shooting there was still no Elliott. Spielberg just
could not find the right child. Producer Kathleen Kennedy says that you
can almost tell if a child is right for a part when the child enters the room.
There is something in their carriage and character that does or does not
fit the role. They heard about 11-year-old Henry Thomas from Jack Fisk,
who had directed Thomas in Raggedy Man. When Thomas’s first reading
with Spielberg did not go well, the director told him to think about his
dog dying. Thomas was superb and even cried in the scene. According to
legend, Spielberg said, “Okay, kid, you got the part!”26 (Trivia: Thomas
ad-libbed the scene with his toys and E.T. after he was given the direc-
tion to “introduce” the toys to the alien.) Drew Barrymore, Spielberg’s
goddaughter, had auditioned for Poltergeist, which Spielberg produced in
1982. While she was not right for that movie, Spielberg kept her in mind
for something else, which turned out to be E.T. Evidently, Barrymore wove
intricate and expressive stories to the director, which fit the personality of
Gertie. As for the older brother, Michael, Spielberg says that Robert Mac-
Naughton, who had previous stage experience, was the anchor to the fam-
ily. Peter Coyote’s clumsiness had lost him the role of Indiana Jones, but
Spielberg wanted the trait for the role of “Keys” in E.T. Lastly, Dee Wal-
lace Stone was chosen as the children’s mother. The roles of adults were to
be very low-key, but Stone was so much like a kid herself that her presence
helped, rather than hurt, that feeling. According to Stone, “Steven is a
master at casting. He watches people and has a real talent for taking their
quality and putting them in the role that’s right for them.”27 Eighteen years
later the entire cast reunited to celebrate the release of the newly edited
DVD, and Henry Thomas (Elliott) and Drew Barrymore (Gertie) recalled
36 STEVEN SPIELBERG
the director’s methods. Thomas remembered pep talks before each scene
and playing video games during breaks. Barrymore remembered Spielberg’s
gentle way of talking to her when she needed to cry in a scene. Although
Dee Wallace Stone seemed to have only good memories at the reunion,
several years before she had had some critical things to say about the mak-
ing of the movie. Spielberg, she says, was obsessed with secrecy before the
movie’s release and even made everyone sign a promise not to divulge
anything about it. She was also disappointed that she was not only refused
star billing but was left out of the movie’s advertisements. When Stone’s
career did not fare well after E.T., she was asked if she had been blacklisted
by Spielberg. She declined to comment.
The character of E.T. was, like Bruce in Jaws—three different E.T.s.
Unlike Bruce, however, all three of the E.T.s worked. They were made
by Carlo Rambaldi, the same man who made the alien puppet for Close
Encounters. One E.T. could walk by itself; one could show facial expres-
sions; and one was a suit worn by short actors. To allow for E.T.’s cables,
interior sets were built on 10-foot elevated floors. Spielberg credits his
director of photography, Allen Daviau, not only with making E.T. come
alive but with making E.T. loveable and believable. Daviau accomplished
this by making sure that E.T. was never shown in harsh lighting. And
finally, John Williams added his magic with his now-recognizable score.
M&Ms were the candy of choice in the movie when Elliott entices E.T.,
but the Mars company turned down the offer. The Hershey Food Com-
pany had just introduced Reese’s Pieces and gladly lent their product to
the movie. The result? Sales for the new candy increased by 65 percent
when the movie came out. (Trivia: In the original version, police carried
guns. Spielberg so disliked the image that he used computer graphics to
delete the weapons for the movie’s re-release.)
E.T. the Extra-Terrestrial premiered at the Cannes Film Festival in
France in May 1982. Kathleen Kennedy said, “You couldn’t even hear the
end of the movie because people were on their feet stomping and yelling.
And this huge searchlight started to sweep the top balcony to find us, and
Steven stood up. It was one of the most amazing experiences.”28 Spielberg
was presented to Queen Elizabeth when E.T. premiered in London; when
he gave a special screening to President and Mrs. Reagan, he says that
Nancy was crying toward the end of the film while the president “looked
like a 10-year-old kid.”29 Once again, a Steven Spielberg movie had bro-
ken all box-office records, grossing $700 million before merchandising—
another financial market into which Spielberg had recently entered. E.T.
earned at least $1 billion in movie-related items, with Spielberg getting
10 percent of each item sold. He also had full approval of the products
before they were put on the market. In 1985, Spielberg spoke out against
videos, but when fans clamored for E.T., he realized their profitability and
relented in 1988. He received 50 percent of the video’s profits, eventu-
ally making $70 million from video sales alone. The video was released
again during the film’s twentieth anniversary, this time with “Behind the
Scenes” among the bonus features. The Rolling Stone wrote, “At 34, Steven
Spielberg is in any conventional sense the most successful movie director
in Hollywood, America, the Occident, the planet Earth, the solar system
and the galaxy.”30 Nominated for nine Oscars, the movie won best music,
best sound effects, and best special effects. Spielberg was again nomi-
nated for best director but lost to Richard Attenborough (Gandhi), who
said that he believed E.T. to be the more “exciting, wonderful, innova-
tive piece of film.”31 The movie was extraordinary in other ways as well.
One report is that an autistic child spoke his first words after seeing the
movie. (True or not, it’s a great tale.) Spielberg saw it as “a celebration of
friendship and love and promoting understanding between races and cul-
tures.”32 Time reporter Richard Corliss wrote, “A miracle movie and one
that confirms Spielberg as a master storyteller of his medium . . . . A per-
fectly poised mixture of sweet comedy and ten-speed melodrama, of death
and resurrection, of a friendship so pure and powerful it seems like an ide-
alized love.”33 Spielberg was quite happy with the results of the movie and
with the cleansing effect it had on his childhood memories. “I’m not into
psychoanalysis, but E.T. is a film that was inside me for many years and
could only come out after a lot of suburban psychodrama. . . . With the
exception of Close Encounters, in all my movies before E.T., I was giving
out, giving off, things before I would bring them in. There were feelings
I developed in my personal life . . . that I had no place to put.”34 Spielberg
also discovered how much he loved working with children and realized
that he wanted to be a father. From the very beginning, everything about
the movie fell into place, which he saw as a sign that it was the right
movie at the right time.
TWILIGHT ZONE THE MOVIE

Sadly, the huge success of E.T. was followed by tragedy during the film-
ing of Twilight Zone The Movie, released in 1983. Four directors filmed four
episodes, all but one being remakes of episodes from the original televi-
sion series, Twilight Zone (CBS, 1959–1987). Spielberg directed the second
segment, “Kick the Can,” which tells the story of an old man who visits a
retirement home and gives the residents back their youthful bodies. But it
was while John Landis was directing his segment that a helicopter crashed
38 STEVEN SPIELBERG
into star Vic Morrow and two Asian child-actors, Renee Chen and My-ca
Dinh Le, killing all three instantly. Morrow’s daughters filed a lawsuit in
1982, alleging that drugs and alcohol were used on the set. Authors Stephen
Farber and Marc Green write that in November 1983, the Morrow daugh-
ters received a settlement between $800,000 and $900,000. Other lawsuits
were filed, including one by each set of the parents of the children who
were killed. (Information about these settlements is unavailable.) On
December 1, 1982, Spielberg signed a sworn statement to the National
Transportation and Safety Board that he had never been on that set. The
set’s chauffeur, Carl Pittman, swore that Spielberg was not only on the set
but had asked him for use of the car after the accident. He later recanted
when he could not identify the director. Everyone else swore that Spielberg
was never on the set, and he was cleared of any wrongdoing. John Landis
was tried and acquitted for involuntary manslaughter. One of the jurors,
Crispin Bernardo, said, “The fact that Landis was acquitted doesn’t mean
he’s not guilty of anything. His acquittal does not mean lack of guilt,
but insufficiency of proof.”35 Other jurors added that had the charge been
violating child labor laws, the verdict would have been guilty. The movie
was budgeted around $10 million, and it made approximately $6,614,000
its opening weekend. Eventually, it grossed around $29,500,000 in the
United States. It was nominated for four different awards but no Oscars.
The only time that Spielberg spoke publicly about the incident was in an
interview with Dale Pollock of the Los Angeles Times on April 13, 1983.
“This has been,” he says, “the most interesting year of my film career. It
has mixed the best, the success of E.T., with the worst, the Twilight Zone
tragedy. A mixture of ecstasy and grief. It has made me grow up a little
more. The accident cast a pall on all 150 people who worked on this pro-
duction. We are still just sick to the center of our souls.”36
NOTES
1. Quoted in Chris Hodenfield, “1941: Bombs Away.” Rolling Stone, January 24,
1980, reprinted in Steven Spielberg Interviews, Lester D. Friedman and Brent Not-
bohm, eds. (Jackson: University Press of Mississippi, 2000), 70.
3. Quoted in Hodenfield, 72.
7. Sanello, 90.
12. Roger Ebert, The Great Movies II (New York: Broadway Books,
2005), 344.
14. Sanello, 92.
15. Sanello, 99.
16. Richard Schickel, “Slam! Bang! A Movie Movie,” Time, June 15, 1981,
reprinted in Steven Spielberg Interviews, Lester D. Friedman and Brent Notbohm,
eds. (Jackson: University Press of Mississippi, 2000).
17. Ibid.
19. Quoted in Sanello, 117–118.
20. Sanello, 118.
23. Sanello, 119.
24. Quoted in Sanello, 119–120.
25. Sanello, 120.
26. Linda Sunshine, ed., E.T. the Extra-Terrestrial: From Concept to Classic. The
Illustrated Story of the Film and the Filmmakers Series (New York: Newmarket
Press, 2002), 37.
27. Quoted in Sunshine, 40.
29. Ibid.
34. Quoted in Michael Sragow, “A Conversation with Steven Spielberg.” Roll-
ing Stone, July 22, 1982, reprinted in Steven Spielberg Interviews, Lester D. Fried-
man and Brent Notbohm, eds. (Jackson: University Press of Mississippi, 2000),
108, 109–110.
35. Quoted in Stephen Farber and Marc Green, Outrageous Conduct: Art, Ego,
and the Twilight Zone Case (New York: Ivy, 1989), 322.
36. Quoted in Farber and Green, 133–134.
Chapter 4
REAL LIFE AND REEL LIFE,

1984–1991
HIS FIRST COMPANY: AMBLIN ENTERTAINMENT

In March 1982, Steven Spielberg almost bought a major studio with
Francis Ford Coppola, Martin Scorsese, Brian DePalma, Michael Powell,
and George Lucas. They bid up to $20 million for Pinewood Studios out-
side of London, but pulled out when the demanded price was raised to $30
million. One wonders what might have happened had these men formed a
partnership. In 1984, Spielberg did form a production company with long-
time friends, co-producers, and husband and wife team Frank Marshall
and Kathleen Kennedy: Amblin Entertainment. With a logo showing
Elliott and E.T. silhouetted against the moon, Amblin is located on the
Universal Studio lot. It is in the southwestern style of architecture and
features its own video arcade, full refreshment stand, kitchen with profes-
sional chef, screening and cutting rooms, a gym, and a wishing well with
its own miniature shark. The walls of Spielberg’s office are covered with
movie posters and Norman Rockwell paintings. He discovered Rockwell
when he was a Boy Scout and his troop kept a copy of the painter’s “Spirit
of America.” He began collecting with the original of that painting and
now owns at least 25. The Amblin headquarters is only two stories high
because of Spielberg’s fear of heights and elevators. The company has a
television department, a merchandising division, an animation depart-
ment, and a motion picture department. For the New Yorker, Stephen
Schiff writes that Spielberg pretty much leaves the first two to others and
enjoys the other two—as both a director and producer.
Spielberg says that he enjoys working with animation since “my imagi-
nation is becoming less and less affordable”1 so he has “turned to animation
42 STEVEN SPIELBERG
as a way to free it up.”2 And with all of his success, he says that his children
are most impressed with his cartoon productions, Tiny Toons and Anima-
niacs. In 1988, he and Lucas developed one of the most successful anima-
tion hits, The Land Before Time, and its nine straight-to-video sequels.
Now that he has directed children in movies and become a father several
times over—Max (Spielberg’s), Jessica (Capshaw’s), Sasha, Sawyer, Des-
try, Theo (adopted), and Mikaela (adopted)—Spielberg knows that even
children’s movies must be logical. “When my kids see movies, they’ll buy
anything if it sort of makes sense. But if they’re confused, they get pulled
out of the movie.”3 From Continental Divide to the hugely popular movie
series, Back to the Future, Amblin Entertainment has produced some very
successful and important movies, and there are more to come including
Indiana Jones 4 and Jurassic Park IV, both due out around 2008.
INDIANA JONES AND THE TEMPLE OF DOOM

When Steven Spielberg and George Lucas decided to make the first
Indiana Jones movie in 1977, they also agreed to make two sequels if
not three. Even so, Spielberg would later say that he made Indiana Jones
and the Last Crusade (1989) to make up for Indiana Jones and the Temple
of Doom (1984). Similarly, Lucas’s second Star Wars movie, The Empire
Strikes Back, is much darker than the original, and it was made around
the same time, 1980–1983, as the second Indy movie. Both movies were
darker because they reflected the lives of their creators at the time. George
Lucas had been hit very hard by divorce and the ensuing huge financial
settlement, and Spielberg—still shaken by the deaths on the Twilight Zone
set—was also affected by the Lucas divorce because he had seen their mar-
riage as a rare good one. When it failed, Spielberg said, “I lost my faith in
marriage for a long time.”4
In Temple of Doom, Indiana Jones winds up in a village in India where
everyone is starving, crops will not grow, and all of the children have gone
missing. The people think their travails are because of the theft of a sacred
stone, so Indy sets out to retrieve the stone. He is accompanied by nightclub
singer Willie Scott (Kate Capshaw) and Short Round (Ke Huy Quan). With
a budget of $28 million, the cast and crew covered thousands of miles from
California and Washington State to Sri Lanka and China. And Capshaw,
after beating out 120 other actresses for the role, found herself spending
five months on three continents in not-very-pleasant conditions. In one
scene, she, Ford, and Ke Huy Quan had to walk through 20,000 insects.
(Trivia: Insects are another Spielberg phobia.) They also had to endure
12-hour days in temperatures up to 130 degrees. In one scene, Capshaw was
REAL LIFE AND REEL LIFE, 1984–1991 43
supposed to hold a 14-foot boa constrictor but Spielberg removed the scene
for her. Spielberg was not happy at all with Temple of Doom and says that it
lacks the personal touches and love that he normally puts into his movies.
It was a dark movie with some horrific scenes—children working in mines
and sacrificial pits, for examples. Younger audience members liked it but
their parents were disappointed that George Lucas and Steven Spielberg
would make such a film. Spielberg even had to fight to keep the movie from
getting an “R” rating. The movie opened in the United States on Mary 23,
1984. It was nominated for two Academy Awards and won the Oscar for
Best Visual Effects.
AMY IRVING
Spielberg may not have been pleased with Temple of Doom, but his
relationship with Amy Irving was at a good place. The two first met when
Irving auditioned for the role of Richard Dreyfuss’s wife in Close Encoun-
ters of the Third Kind, but at 22 she was too young for the part. They met
again at a dinner party, started dating, and soon began living together.
They purposely made no movies together because Irving feared that she
would be labeled as Steven Spielberg’s girlfriend, and she wanted success
on her own terms. They broke up in 1979. But in 1983, Spielberg traveled
to India and ran into Irving at a movie site. They both seemed to have
changed—she seemed less competitive and he seemed more open. They
moved in together again. In September 1984, Spielberg told Cosmopoli-
tan magazine, “I’m intolerably happy! I’ve been dedicated to films before.
Now for the first time in my life, I’m committed to another person.”5
Their son, Max, was born on June 13, 1985, and the couple married on
November 27, 1985. Spielberg was 37 and very ready to be a father. All
the movies he had made with children had made him aware of how much
he enjoyed them, but once Max was born, he no longer had the urge to
have children in his movies. The couple built a home in the Hamptons,
bought another in Trump Tower, and built Amblin Studios. In 1986,
Irving went to Israel to make Rumpelstiltskin, and Spielberg went with her.
(Trivia: She did the singing for Jessica Rabbit in the Spielberg-produced
Who Framed Roger Rabbit.) Richard Dreyfuss says of Irving, “She’s protec-
tive of her family and friends. I don’t think she lets a lot of people get to
know her. But if people perceive her as cold, it’s not true. She’s got a real
soft heart. And she can hurt. She’s very vulnerable. There’s a side to Amy
that is so giving and caring.”6 But the relationship just could not make
it, and they divorced in 1989. Of Spielberg’s estimated $1 billion, Irving
received $100 million, a figure that still ranks among the highest marriage
44 STEVEN SPIELBERG
settlements in history. She and Spielberg agreed on joint custody of Max,

and Spielberg stayed home with the child during his custodial periods.
“By the time Max was one, I no longer had any choice. He took first place
and nothing else would do.”7
THE COLOR PURPLE

Happily settled down and glad to be finished with Temple of Doom,
Spielberg wanted something different, and good friend and producer
Kathleen Kennedy gave him a copy of Alice Walker’s Pulitzer Prize–
winning book, The Color Purple. Spielberg really wanted to direct it, but
the story is about a black woman in rural Georgia in the first part of the
twentieth century, and Spielberg was concerned that Walker might not
have confidence in a white director bringing her characters to life. When
Spielberg voiced his concern to Quincy Jones, the movie’s producer, Jones
responded, “You didn’t have to go to outer space to make E.T., did you?”8
then added that the movie should be made by the director who loves it
the most, and that was obviously Spielberg. Alice Walker agreed. She
believed that any director who could make E.T. come so vividly to life
was the right director for her book. At Spielberg’s invitation and encour-
agement, Walker was always on the set to help with revisions. The Color
Purple covers four decades in the life of Celie, who is raped and then has
her baby taken from her. (Trivia: When filming the scene of Celie giving
birth, Spielberg got the call that Max was being born, so he left the set.
The voice of Celie’s crying baby is actually Max Spielberg’s voice.) She is
separated from her only friend and confidant, her sister, and given in mar-
riage to an older man who beats her. From a downtrodden girl who hides
her smile, Celie grows into a strong independent woman who speaks her
mind. As usual, Spielberg chose new or lesser-known actors for most of
the parts. For the part of Celie, he chose stand-up comedienne, Whoopi
Goldberg, who had not previously made a movie but has such an expres-
sive face that the director cut 25 percent of her dialogue. He especially
enjoyed directing her because she is a fellow movie buff who knew what
he meant when he gave her a scene from another movie as his acting
direction. Likewise, Oprah Winfrey was well known from her television
talk show, but had never made a film. Spielberg hired her for her enthusi-
asm, her love of Walker’s book, and her willingness to do anything to get
the part. He and Quincy Jones had seen courage in her on TV. While it
may not seem like it on first glance, Celie is Spielberg’s “everyman.” She is
someone who wants to fulfill dreams, someone who seems ordinary yet ac-
complishes the extraordinary, and someone who overcomes victimization.
New York writer David Blum compared E.T. and Celie: “Both are outsiders
in a strange, cruel world, struggling for freedom.”9
Spielberg was still nervous about the project when production began
in June 1985. For the first time he was making a film about adults—not
aliens, children, or adventurers—and he was afraid he would not be able
to reach the audience. “It’s the risk of being judged—and accused of not
having the sensibility to do character studies,”10 he said in a 1985 inter-
view. Spielberg did not use storyboards for the movie because he wanted
each day to be new and an adventure. The movie’s story was controversial,
but its style was simple, one that used times of day and weather scenes to
show the passing of time—portrayed exquisitely with Allen Daviau’s cin-
ematography. The genius of Quincy Jones and others created an equally
superlative soundtrack. Spielberg took only the required Directors Guild
minimum salary of $40,000, which he used to fund the movie’s overages.
At a cost of $15 million to produce, The Color Purple earned $142 million
in just the United States and Canada, and it was nominated for 11 Acad-
emy Awards. The movie won no Oscars but it did win the Best Actress-
Drama Award from the Golden Globes (for Goldberg) and Best Director’s
Award from the Directors’ Guild of America (for Spielberg). Reviewers
and other Hollywood moguls who had long enjoyed criticizing Spielberg
for being good at making only action-adventure films were not about to
quit criticizing and gave more attention to the fact that Spielberg was
making a “serious” movie than to the quality of the movie itself.
AMAZING STORIES
Spielberg even tried television again when the medium lured him
with an unbeatable deal: $1 million per half-hour episode, a guaranteed
two-year run, full creative control, and no monitoring of his dallies. The
series was Amazing Stories, and it ran from 1985 to 1987. NBC’s head
of programming, Brandon Tartikoff, expected something similar to
Alfred Hitchcock Presents or Twilight Zone, eerie and a bit frightening, but
Spielberg wanted a format that gave other filmmakers a chance to try
television—and several big directors showed up: Martin Scorsese,
Clint Eastwood, Paul Bartel, and Burt Reynolds. Spielberg directed two
episodes—one about a World War II bombing mission, obviously made
with his father in mind. In another episode, “Ghost Train,” he directed
Amy Irving, after their divorce and the only time he did so. Several
other well-known actors appeared in the series: Drew Barrymore, Kevin
Costner, Sid Caesar, Mark Hamill, Sam Waterston, Milton Berle, David
Carradine, Stan Freberg, and Charlie Sheen. Spielberg expected the show
46 STEVEN SPIELBERG
to do very well, but the ratings proved disappointing, constantly sliding

downward. Writer Pauline Kael said that Spielberg was now ripping off his
own movies and that he was awfully young to be “paying homage to him-
self.”11 But Spielberg continued to produce successful movies and, in 1994,
a successful television program, ER, which was still on the air as of 2006.
EMPIRE OF THE SUN

Steven Spielberg’s fortieth birthday coincided with his next venture,
Empire of the Sun, which he says is the “opposite of Peter Pan.”12 Empire is
about “the death of innocence. . . . This was a boy who had grown up too
quickly, who was becoming a flower long before the bud had ever come
out of the topsoil.”13 Spielberg knew that many people had compared his
life to a very long childhood, and he admitted it himself. Turning 40 and
making more serious movies was, for him, a final step into adulthood. The
Los Angeles Times even called Empire of the Sun Spielberg’s “most mature
and searing work to date.”14 Based on a fictionalized autobiography by
J. G. Ballard, signs of Steven Spielberg run through the movie: his love
of the World War II time period, his love of airplanes (even though he is
afraid to fly), and a child’s separation from his parents. The main charac-
ter, Jim, lives in a wealthy colonial neighborhood in Shanghai where he
is accustomed to servants. When the Japanese march into Shanghai on
December 7, 1941, these families are forced into camps but Jim gets sepa-
rated from his parents and spends the entire war in a different camp from
them. Although a horrific idea, Ballard says that it was probably the best
time in his life. He had no parental control and had to depend on his wits
and personality to survive. And though he saw examples of Japanese bru-
tality, he also got to know the Japanese as people and witness their dignity.
His biggest adjustment was to life after the war. A person gets used to their
security, whatever it is, says Ballard, and his security was the camp.
Spielberg had long wanted another movie such as Duel so he could tell
a story almost exclusively through “visual metaphors and nonpretentious
symbolism.”15 One of these is Jim witnessing the explosion over Hiro-
shima: the death of innocence—Jim’s and the world’s. Empire of the Sun
was filmed in London and Shanghai—the first time that a U. S. film com-
pany was allowed to make a movie in the People’s Republic of China.
Allen Daviau was director of photography and Tom Stoppard wrote the
screenplay albeit with Spielberg trademarks such as his love for Norman
Rockwell, whose “Freedom from Fear” 1943 magazine cover goes with
Jim wherever he goes. The actor who plays Jim, Christian Bale, was rec-
ommended to Spielberg by then-wife Amy Irving, who had worked with
Bale in Anastasia: The Mystery of Anna (1986). All Spielberg had to do

to direct the 13-year-old was show him what to do and Bale copied him.
When not filming, the two raced remote-controlled cars. Although mak-
ing the movie was not enjoyable because of the dirty city and the movie’s
sad theme, Spielberg says the filmmaking process itself was the best he had
ever experienced. The movie, released in 1987, received five Academy
Award nominations, but it won none and was a flop at the box office,
earning even less than 1941, grossing only $66 million worldwide and
making no money for the studio. But since Spielberg was assured a per-
centage of the gross, he still made money.
INDIANA JONES AND THE LAST CRUSADE

Even people as powerful as Steven Spielberg do not always get what
they want. After spending five months developing Rainman, Spielberg
had to hand it over, work and all, to Barry Levinson because he was obli-
gated to George Lucas for the third Indiana Jones movie, Indiana Jones and
the Last Crusade. (Trivia: He also wanted to direct Big, but his sister Anne
had co-written the script and he did not want to steal any of her lime-
light.) Again, George Lucas and Spielberg collaborated. Lucas wanted a
story about the Holy Grail and Spielberg wanted a father-son story and a
subplot “that was almost stronger than the actual quest itself.”16 Harrison
Ford liked the idea of the father character as a way to give more dimen-
sion to the Indy character, and they all liked the screenplay by Jeffrey
Boam. Sean Connery was perfectly cast as Indy’s father, and Spielberg
says that it was hard not to laugh at the scenes with both men because
their chemistry and timing were right on target. This third story begins
with a flashback that shows Indy, played to perfection by River Phoenix,
as a Boy Scout on a moving train filled with circus animals. The audience
quickly learns why Indy hates snakes and how he learned to use a whip,
but there were some ego problems. Ford was concerned with the energy
and excitement in the Phoenix scenes and the amount of screen time they
took. Phoenix had portrayed Ford’s son in Mosquito Coast and had, writes
Baxter, “almost stolen [the movie] from under his nose.”17 Lucas appeased
his star by adding more action scenes. Connery, knowing that he was only
12 years older than Ford, was concerned that he appears “at least as potent
as Ford.”18
With a budget of $36 million, filming began on May 16, 1988, in a des-
ert near Almeria, Spain. Other locations included Venice, Jordan, Austria,
Germany, Colorado, New Mexico, Utah, and Texas. The “nasties” in this
movie were rats—about 10,000 of them. Thinking that this would be the
48 STEVEN SPIELBERG
last of the Indiana Jones movies, Spielberg said, “I was going to make
every effort to end the saga with a very unique and very thrilling finale.”19
But making this episode was so much fun that Spielberg finished filming
with a “yes” to a fourth episode if the script is right. Indiana Jones and the
Last Crusade opened May 24, 1989, and grossed $100 million before June
13. Spielberg, Lucas, and Ford had taken gross points instead of salaries,
so their investment yielded very high returns. And while some critics
enjoyed saying that Spielberg had returned to his old formula, Spielberg
enjoyed knowing that there were theaters full of happy people. Author
Baxter agrees. “After the violence and sadism of Temple of Doom, the
tone was light, the humor effective, the characters likeable. . . . The old
formula still worked.”20
ALWAYS
With his love of old movies, it was only natural that Spielberg would
want to recreate one of his favorites, A Guy Named Joe (1943) with Spen-
cer Tracy. Actually, he did not want to remake the movie, but he could
not find a story and script as good as the original. A project Spielberg
had wanted to do for nine years, Always never quite came together even
though it had a superb cast, another “real” people ensemble: Richard
Dreyfuss, John Goodman, Holly Hunter, and Brad Johnson. Spielberg so
enjoyed this cast that he gifted each with a Mazda Miata. While Spielberg
may have been taking a chance with a love story, he was making a super-
natural love story, which was right up his alley. Eight drafts of the script
were written between 1980 and 1985, with four more written in 1985.
The original story took place during World War II, and its main charac-
ter was a pilot. Spielberg updated the movie to current times and made
his main character a flying firefighter. He had discussed the movie with
Dreyfuss during the filming of Jaws, and Dreyfuss desperately wanted the
Tracy/leading role of Pete, the forest-fire pilot. Paul Newman and Robert
Redford also wanted the role, but Dreyfuss was chosen for the usual rea-
sons: He is the everyman with whom audiences can relate. Holly Hunter
plays his girlfriend, Dorinda. The critics hated the movie, but it did fairly
well at the box office when it opened in 1989. Costs came to $30 million
and it grossed $77 million.
A SECOND CHANCE AT MARRIAGE

Spielberg met current wife, Kate Capshaw, when she auditioned for the
part of nightclub singer Willie Scott in Temple of Doom. (Trivia: “Willie”
was Spielberg’s dog’s name.) Capshaw had taught educationally handi-

capped children for two years before going to New York City to look for
modeling and acting jobs. Not a fan of Spielberg’s movies, she almost
decided not to audition for him, but the former soap-opera actress had just
moved to the area with her young daughter and needed the work. Spiel-
berg says that Capshaw is a “natural” comedic actress—a “cross between
Lucille Ball and Ann Southern.”21 In his book, Steven Spielberg: The Un-
authorized Biography, John Baxter writes that Capshaw fell in love with
Spielberg right away, and that Spielberg “was a pushover for the Texan
forthrightness of Capshaw.”22 Rumors abound about their relationship’s
beginnings, but a year after Spielberg and Irving divorced, Spielberg and
Capshaw renewed their relationship. After a prenuptial agreement was
signed—a lesson learned from the Lucas divorce—the couple married on
October 12, 1991, in Spielberg’s Long Island home then repeated their
vows at a civil service the next morning at Guild Hall. A third ceremony
was formal and traditional Jewish Orthodox and was followed by a recep-
tion filled with celebrities. A baby girl, Sasha, was born before their mar-
riage and a son, Sawyer, followed soon after. Later they adopted a foster
child, Theo. (They later had Destry and adopted Mikaela.) Friends say
that Capshaw is “a nurturing, mothering type”23 and that she and her
husband would rather spend time with friends and family than attend
Hollywood parties. Capshaw once asked her husband what had happened
to her career to which he replied, “You weren’t supposed to have a career.
You were supposed to be with me.”24 And though Capshaw still makes the
occasional film, she says that she would rather be Spielberg’s wife than
make a movie. Raised a Methodist, Capshaw converted to Judaism before
their marriage so their son would be born a Jew. She likes the religion
because of its emphasis on family. Spielberg had never been strong in his
faith until Capshaw made it a part of the family, but he has grown in it
ever since, and he is grateful to his wife for providing a warm and nurtur-
ing homelife.
NOTES
1. Quoted in “Steven Spielberg.” Authors and Artists for Young Adults, vol.
24, Gale Research, 1998, reproduced in Biography Resource Center (Farmington
Hills, MI: Thomson Gale, 2005). www.galenet.galegroup.com/servlet/BioRC.
2. Ibid.
3. Quoted in Stephen Schiff, “Seriously Spielberg.” New Yorker, March 21,
50 STEVEN SPIELBERG
4. Quoted in John Baxter, Mythmaker: Life & Work of George Lucas (New
York: Avon, 1999), 343.
8. Quoted in Glenn Collins, “Spielberg films—The Color Purple.” The New
York Times, December 15, 1985, reprinted in Steven Spielberg Interviews, Lester
2000), 122–123.
9. Quoted in “Steven Spielberg,” Authors and Artists for Young Adults,
vol. 24.
10. Quoted in Collins, 120.
12. Quoted in Myra Forsberg, “Spielberg at 40: The Man and the Child.” The
New York Times, January 10, 1988, reprinted in Steven Spielberg Interviews, Lester
2000), 127.
13. Ibid.
15. Quoted in Forsberg, 128.
16. Quoted in Marcus Hearn, The Cinema of George Lucas (New York: Harry
N. Abrams, 2005), 159.
17. Baxter, 376.
18. Ibid.
20. Baxter, 377.
22. Baxter, 338–339.
23. Sanello, 195.
Chapter 5
FROM PETER PAN TO

COMPANY MAN, 1991–1994
In 1990, Steven Spielberg felt “artistically stalled.”1 When he tried to

make more mature films, the critics flailed him and the audiences stayed
away. When he signed with “the most powerful agent in Hollywood, Mike
Ovitz,”2 a studio executive said, “If anybody can finally get Spielberg off
producing his umpteenth knockoff of Jaws and E.T. and directing grown-
up movies, it’s Ovitz at CAA [Creative Artists Agency].”3 Spielberg had
been upset that his people were passing on very good scripts such as Dead
Poets Society and Silence of the Lambs. CAA was to assure him “first crack
at the agency’s 300-plus client list of writers and access to the agency’s
roster of A-list actors.”4
HOOK
Their first collaboration was Hook, about a grown-up Peter Pan.
Spielberg had wanted to make the movie in 1985, but the birth of his
son convinced him that he “couldn’t be Peter Pan anymore. I had to
be his father.”5 But as his family increased, so did his interest in the
fabled character, and when he read the Jim Hart script, he saw how
much it related to today’s busy lifestyle and lack of family time. He
also liked the childlike wonderment mixed with “witty adult satire.”6
And what better movie to show Spielberg’s love of flying? “To me,
flying is synonymous with freedom and unlimited imagination,”7 he
says. Mike Ovitz likes to package movie deals, consolidating the agen-
cy’s actors, directors, and writers, and Hook had been packaged with
another director, but when Spielberg showed interest in the project,
52 STEVEN SPIELBERG
the other director was paid not to make the movie. Although it was
rumored that Spielberg had talked of starring Michael Jackson in the
leading role, it is Robin Williams who portrays the adult Peter Pan
(aka greedy lawyer Peter Banning), who must return to Neverland to
rescue his children from Captain Hook’s clutches. Julia Roberts plays
Tinkerbell and Dustin Hoffman plays Captain Hook. Such big names
went against Spielberg’s love of the “everyman” cast of unknowns. In
fact, he is supposed to have said that he never wanted anyone who
had been on the cover of Rolling Stone, and all three of these stars had
been. Spielberg found himself with an entire group of egos to pacify.
The major stars began clashing right away. Hoffman brought a script
doctor to punch up his lines, while Williams was grossly insecure about
playing to Hoffman. (Eventually, Spielberg, Hoffman, and Williams
became good friends.) Julia Roberts was going through personal prob-
lems, some of which caused production to shut down for a week. Then
there was her highly publicized cancelled wedding to Kiefer Suther-
land followed by a weeklong trip to Ireland with her new boyfriend,
Jason Patric. And then there was being late on the set; one time when
Julia kept the cast and crew waiting she showed up saying, “I’m ready
now.” Spielberg’s reply? “We’re ready when I say we’re ready, Julia.”8
When rumors flew that Spielberg was going to replace Roberts, the
two held a joint press conference to squelch them. After the movie
was completed, Spielberg told 60 Minutes that he would never work
with Roberts again. The actress was hurt and said that she had consid-
ered him a good friend and thought they had finished the production
on good terms. There were other problems—such as making adults fly
convincingly, controlling the large number of children in the cast, and
controlling expenses—but Spielberg had learned that if he worried
about costs while directing, he might compromise his creativity.
Most of the $60 million budget went to the elaborate sets. Studio ex-
ecutives were very pleased with the movie, and preview audiences gave it
a 95 percent approval rating. The head of Tri-Star, Mike Medavoy, said
the movie was “the pinnacle of his achievement. This is his real shot at
the Oscar!”9 Most critics, however, did not agree and called it “bloated”
and “overproduced.”10 One critic, George Perry, wrote that it was “quite
simply the best kids’ film in many years.”11 The movie opened in the
United States in December 1991. At a cost of approximately $70 million
to produce, it recouped its cost and received five Academy Award nomi-
nations. CAA had worked out a very rich deal for Spielberg, Hoffman,
and Williams: 40 percent of gross profits, with Hoffman and Williams
taking nothing up front.
F ROM PETER PAN TO COMPANY MAN, 1991–1994 53
JURASSIC PARK
Steven Spielberg once asked a Harvard psychologist why so many children
are fascinated with dinosaurs. The psychologist said it is because dinosaurs
are “big, they’re fierce . . . and they’re dead.”12 The rights to Michael Crich-
ton’s book about dinosaurs, Jurassic Park, were on the bidding block, and
Crichton chose Steven Spielberg, whom Crichton calls, “the most expe-
rienced and most successful director of these kinds of movies.”13 Spielberg
saw the plot as a sequel to Jaws but on dry land. The movie can also be seen
as a cross between a zoo and a theme park but with inhabitants that are
dinosaurs that have been cloned from a fossil. Preproduction began in 1990
and took two years. Spielberg storyboarded and had artists make sketches
for the more complicated scenes. Special effects genius Stan Winston was
in charge of building the life-size creatures, some of which had “stand-ins”
for various scenes. The 20-foot Tyrannosaurus Rex weighed 13,000 pounds
and was operated by remote control. The full-sized velociraptors were either
a full-sized puppet or a suit worn by an actor. In addition, Spielberg went to
George Lucas’s Industrial Light and Magic (ILM), where computer-gener-
ated images (CGI) were so realistic that some of the models were not used
at all. According to Lucas biographer Marcus Hearn, Lucas said, “when we
put [the dinosaurs] [sic] on the screen everyone had tears in their eyes. It was
like one of those moments in history, like the invention of the light bulb or
the first telephone call.”14 The unofficial word is that using CGI saved the
studio $10 million. To obtain such realism, Spielberg had sent the computer
masters to mime classes to become more aware of their body movements.
They were filmed as each one ran the way a specific dinosaur would have
done and then watched the film to see how their weight shifted, etc. As
Spielberg once said, an audience will believe fantasies if they are made con-
vincingly and seriously. The robots with CGI “mates” were electronically
encoded so that each moved together. Real sounds were collected and then
combined and changed to give each creature its proper voice. The final
products, says Spielberg, “exceeded my expectations. . . . It was everything I
wanted it to be—no less and a lot more.”15
Using computer graphics means that the actors have to act “to” a blue
screen and cannot see the results until the movie is put together. When
actress Ariana Richards (Lex Murphy) saw the movie, she says that the
stampede scene was “breathtaking”16 and that some scenes scared her
even though she had been part of them. The actors who co-starred with
the dinosaurs were Sir Richard Attenborough, Sam Neill, Laura Dern,
and Jeff Goldblum. All are highly respected but without the superstar
status and accompanying egos that Spielberg tries to avoid. Filming
54 STEVEN SPIELBERG
began in Kauai, Hawaii, on August 24, 1992, and ended with a hur-
ricane. Producer Kathleen Kennedy says, “If you’re going to be stranded
with anyone, be stranded with a movie crew. We had generators for
lights and plenty of food and water.”17 Spielberg was so good at enter-
taining the children that they barely realized what was going on. Even
with the hurricane, the movie came in under budget and a few days
early. Jurassic Park was released on June 10, 1993, and soon became the
biggest box-office draw up to that time, and the winner of three Oscars.
SPEAKING OF MONEY
Jurassic Park’s total earnings eventually went up to more than $900 mil-
lion and Spielberg’s final receipts were $294 million. According to Forbes
magazine, this was “the most ever made by ‘a single individual from a movie
or other form of entertainment.’”18 Along with Oprah Winfrey, Spielberg
topped Forbes list of billionaire entertainers in 2005. In 1994, Forbes maga-
zine called him “the first billionaire director.”19 In 2006, the magazine listed
his worth at $2.8 billion. In his 1999 interview with Spielberg, Stephen J.
Dubner writes that Spielberg is “very good at making money. While he is
considered to be courtly in creative matters, his reputation as a negotiator
is far less benign.”20 Spielberg knows that his clout in Hollywood prevents
people from telling him “no,” so he knows that he has to be responsible in
his business dealings. And while he has not taken a salary in many years, he
has “the sweetest of sweetheart deals.”21 For Jurassic Park, Universal received
50 percent of gross earnings. Spielberg received 17.5 percent of that, and 50
percent of Universal’s profits plus reimbursement for production, advertis-
ing, and distribution costs. He then gets 100 percent of Amblin's profits,
since he is the sole owner, then gets 50 percent of video sales, 50 percent
of TV/cable fees, and 50 percent of royalties on the movie’s merchandise
sales. And, writes Dubner, “The movies are only the engine of Spielberg’s
entertainment machine. There are the television shows and cartoons he has
produced, a joint venture to build futuristic video arcades and . . . a Univer-
sal Studios theme park in Orlando for which he is a creative consulant. All
told, he is worth an estimated $2 billion, which has led to many whispers
that his taste for money exceeds his taste for art.”22 And he constantly finds
new venues in which to get involved. His curiosity seems insatiable.
SCHINDLER’S LIST
After his next movie, no one could ever accuse Steven Spielberg of mak-
ing only action-adventure films. “Everything I have done up ‘till now has
really been in preparation for Schindler. I had to grow into that.”23 Of course,
there were detractors who said he was making the movie only to win an
Oscar, but it is unlikely that he would have put himself through such an
emotional roller coaster for an award. “Every day,” says Spielberg, “shooting
Schindler’s List was like waking up and going to hell.” Yet, at the time, he also
said, “I feel more connected with the material than I’ve ever felt before.”24
Oskar Schindler was an industrialist and member of the Czechoslova-
kian Nazi Party during World War II who became wealthy during the war.
He is celebrated because he used that wealth to rescue Jews from concen-
tration camps by giving them jobs in his factory. By war’s end, he had saved
more than a thousand people. In later years he earned the title of Righ-
teous Gentile from the Yad Vashem in Israel. (Yad Vashem is a worldwide
organization that researches the Holocaust to keep alive the memories of
the six million who died.) Thomas Keneally wrote the book, Schindler’s
List, after a chance meeting with one of Schindler’s survivors, Poldek Pfef-
ferberg (who changed his name to Leopold Page), who told Keneally his
story. When Keneally’s book came out in 1982, Spielberg was drawn to it
immediately, but did not feel “emotionally ready to take a chance with the
Holocaust.”25 But he certainly received encouragement to make it. Pro-
ducer Sid Sheinberg bought the rights in 1982 and told Spielberg that
this was a movie that he must make. When Leopold Page met Spielberg
in 1983, he asked him when he was going to make the movie. Even Spiel-
berg’s mother asked him the same question, and between 1982 and 1993
the film was never far from his thoughts. As he mulled over ways to make
the best possible movie, he remembered the taunts and cruel treatment he
had received in high school just because of his faith. One sign that the time
was right to make the movie was when he learned that 60 percent of recent
high school graduates had never heard of the Holocaust. Another sign was
when his wife converted to Judaism and made the religion a regular part of
the family’s practices. Everything was coming together to make Spielberg
not only ready to make the film, but eager to embrace his heritage. “I was
so ashamed of being a Jew,” he says, “and now I’m filled with pride. I don’t
even know when that transition happened.”26
The decision made, Spielberg set out to use his talents to make the
movie he knew Schindler’s List should be. His partnership with composer
John Williams, which started with Sugarland Express, continued. When
Williams saw the first cuts of the movie he told Spielberg that he needed
a better composer. Spielberg’s reaction? “I know,” he told Williams, “but
they’re all dead.”27 Spielberg wanted a documentary feel but had a hard
time convincing the producers that he should film in black and white with
small snippets of color. “Every time I see anything in color about World
56 STEVEN SPIELBERG
War II, it looks too glamorized, too antiseptic. I think black and white is
almost the synonymous form for World War II and the Holocaust.”28 Black
and white, he says, is “completely unforgiving. Black and white is about
texture; it’s not about tone. . . . black-and-white details every single wall,
all the bricks, all the chipped plaster on the facades of these ghetto dwell-
ings.”29 Universal Studios Chairman Tom Pollock saw video sales as the
only way the movie would make a profit, so he begged Spielberg to film the
movie in color. Spielberg agreed with Pollack that the movie would likely
fail at the box office. How could a movie about the Holocaust be entertain-
ing? Even worse to Spielberg—if the movie were entertaining, he would feel
that he had failed. “It was important to me not to set out to please. Because
I always had.”30 But both men were wrong in their expectations. In the
March 21, 1994, issue of the New Yorker, Stephen Schiff writes, “Of course,
the almost unmentionable secret of Schindler’s List is that it does entertain;
that part of its greatness comes from the fact that it moves swiftly and ener-
getically, that it has storytelling confidence and flair. . . .”31 Schiff also notes
that the movie is really not so different from Spielberg’s other work, because
Schindler is the “everyman” character that Spielberg likes to use. Although
Schindler is now seen as a hero, he was a very common and sometimes im-
moral man. Because of characters such as Schindler, writes Schiff, Spielberg
“made it O.K. not to be remarkable by telling us that we already were.”32
Spielberg instructed his director of photography, Janusz Kaminski, to use
a handheld camera for most of the movie. He wanted no modern equip-
ment used—no cranes, dollies, or zoom lenses. He wanted the movie to
be timeless so future audiences would see a World War II movie, not a
World War II movie made in 1993. They shot the film in actual locations
in Krakow, Poland: the Jewish Ghetto, Auschwitz, and even Schindler’s
real factory and apartment. Because the World Jewish Congress refuses
filming inside Auschwitz, Spielberg built an exact replica right outside
the real thing. During preproduction, the director met Branko Lustig,
a Croatian filmmaker and Holocaust survivor, and made him one of the
movie’s co-producers. When filming began on March 1, 1993, producer
Jerry Molen said he believed that a “divine hand”33 had been placed on
Spielberg’s shoulder, because when Spielberg needed snow, it snowed, and
when he wanted it to stop, it stopped. The movie, budgeted at $22 mil-
lion, had 126 speaking parts, approximately 30,000 extras, more than 210
crewmembers, and 148 sets in 35 locations. “Like running an army,”34 says
Spielberg’s spokesperson, Martin Levy. Before shooting began, everyone
met at Auschwitz for a memorial service. “There is an almost consecrated
gravity to this set,”35 writes John H. Richardson in his January 1994 Pre-
mier article. “It is a haunted killing field, and you feel it,” says Spielberg.
“Everybody was extremely edgy the couple of days we shot there.”36

He and a technician had a particularly hard time filming the scene in which
German guards are choosing which female prisoners—stripped naked and
obviously embarrassed and frightened—will live and which will die. The
scene took three days to film. “There was no break in the tension,” says
Spielberg. “Nobody felt there was any room for levity. I didn’t expect so
much sadness every day.” Ben Kingsley says, “The ghosts were on the set
every day in their millions.”37 The extras reported to wardrobe at five o’clock
every morning, and the costumers made sure that the same people wore the
same costume every day. Translators were needed to give directions to the
non-English speakers, of which there were many, yet there were not enough
Polish Jews to fill the parts because there were not enough left due to the
Holocaust. As usual, Spielberg chose actors who were not widely known at
the time. For the main character, Spielberg wanted someone very close in
demeanor to the real man. “Oskar Schindler is the most romantic character
I’ve ever worked with,” said Spielberg. “He romances the entire city of Kra-
kow, he romances the Nazis, he romances the politicians, the police chiefs,
the women. He was a grand seducer.”38 He chose Liam Neeson. Schindler
hires Itzhak Stern (Ben Kingsley) to keep his business records. The antago-
nist is the camp’s commandant, Amon Goeth (Ralph Fiennes), a charming
but deranged killer. Spielberg sees the movie as being a fight between Stern
and Goeth—good and evil—to win Schindler’s soul.
Israeli actress Adi Nitzan tells of the day she went to eat lunch in
the commissary and started to sit with men in Nazi uniforms, but the
contrast of her rags to their dignified uniforms made her want to cry.
Spielberg says that he had the same reaction when he was directing
the uniform-clad actors. “Just think,” Spielberg said, “I’m standing right
here where 50 years ago people were loaded on trucks. If it were not for
a different time. . . ”39 When Liam Neeson complained about the freez-
ing weather, Lustig showed him the tattoo on his arm and reminded
him that he and millions of others had lived through such weather with
barely enough food, clothes, and shelter. But no matter the costume, all
cast and crew were on the same side and participated in a seder. All the
men wore yarmulkes and read from the seder text as Israelis helped the
gentiles understand the service. Says Spielberg, “Race and culture were
just left behind.”40 He did, however, worry about making a hero out of
a Nazi (Schindler) and recalled when the movie Das Boot was released
and the resulting uproar over making German sailors (even non-Nazis)
heroes. Spielberg decided that if such a furor arose with Schindler’s List
he would hold a press conference with some of the survivors. As it hap-
pened, the end of the movie did the trick. Joyous color fills the screen
58 STEVEN SPIELBERG
as the happy faces of the survivors’ and/or their descendents begin de-
scending down a hill. Each person is accompanied by the actor who
portrays him or her in the movie, and each person places a rock on
Oskar Schindler’s grave. When Schindler died in 1974, his will revealed
that he wanted to be buried in the Catholic Cemetery on Mt. Zion in
Jerusalem, and that is where he is. Before the epilogue, the last scenes in
the movie show the survivors using a man’s gold filling to make Schindler
a ring with the inscription, “You save one life, you save the world.”41 (In
real life, the survivors also supported Schindler financially because his
business ventures failed.) At the end of filming the movie, the remain-
ing survivors made Steven Spielberg an exact replica of the ring with
the same inscription. He later made replicas for Sid Sheinberg and Lew
Wasserman at Universal.
Mondays through Fridays Spielberg worked on Schindler, and on week-
ends he continued editing Jurassic Park. Eventually, the race to get Juras-
sic Park to the theaters forced him to give it even more time, so he had
it “fed” to a theater in Krakow. He now filmed Schindler in the daytime,
spent evenings with his family, and then edited Jurassic Park at night.
Spielberg rarely misses having dinner with his family and reading bed-
time stories to his children, and he had brought his entire family with
him—from his wife and children to his parents, his ill stepfather’s en-
tire medical team, and the family rabbi. He and Capshaw wanted the
children to witness the history. He arranged a private screening for his
mother and stepfather but could not watch the movie with them. His
mother cried throughout the viewing and says she knew her son wanted
her impression but she couldn’t speak. “I was totally mute,” she says.
“I thought I would never speak again.”42 She was especially affected by
the scene when the mothers are crying and running after their children
as the children sing, “Oyfn Pripetchik,” a Jewish alphabet song that
Spielberg’s grandmother used to sing to him. The irony is that the title
actually means, “On the Wooden Stove.”43 His sister, Anne, saw the movie
at the Simon Wiesenthal Center/Museum of Tolerance in Los Angeles
and says that people were not just crying, they were sobbing and walking
to their cars in silence. Sister Nancy says that seeing the movie was one of
her proudest moments. In March 1994, Schindler’s List was recognized at
the Academy Awards with seven awards, including Best Picture and Best
Director. In his thank-you address, Spielberg remembered the six million
people who died in the Holocaust. The movie grossed $96 million in the
United States and $321 million worldwide, the highest grossing black-
and-white movie in history. Spielberg’s salary had been only the manda-
tory minimum stipulated by the Directors Guild Union.
THE SCHINDLER/SPIELBERG LEGACY

With his percentage profits, Spielberg founded the Shoah Foundation,
whose founding advisory committee includes the movie’s producers, Jerry
Molen and Branko Lustig. (“Shoah” is Hebrew for “Holocaust.”) So many
survivors wanted to tell Spielberg their personal stories that he realized
they needed a place to do so, and a place where their stories would be
saved forever. The foundation records firsthand accounts and prepares
them so that anyone anywhere can call them up and learn about history
from someone who witnessed it. He knows the importance of hearing the
real voices and seeing the real faces as they speak. And Spielberg wants
these accounts from all survivors, “all those people that the Nazis consid-
ered ‘subhuman’: Jews, Gypsies, Jehovah’s Witnesses, homosexuals, and
others.”44 Thousands of volunteers are trained and then sent to all corners
of the globe to get these stories. They usually begin the interview by ask-
ing for descriptions of the person’s life before the war. This makes the
person comfortable sharing personal information with a stranger before
they describe their wartime experiences. The camera films the interview
in an unobtrusive manner. Each survivor receives a copy of his or her
filmed interview. The original is put in computer format, catalogued, and
then stored in an underground vault. The information is cross-indexed
to aid victims locate lost friends and family members. Spielberg’s dream
and dedication is “to take as many testimonies as is humanly possible and
make their stories available for no fee for those who want it.”45 As of Sep-
tember 2005, almost 52,000 testimonies have been collected in 56 coun-
tries and 32 languages. An interesting aspect of the foundation, too, is
that Spielberg’s father, Arnold Spielberg, is a consultant on the projects.
Spielberg has also produced a CD-Rom with the stories of four survi-
vors, which he gives to teachers, and the Shoah Foundation produced
three documentaries, one of which, Last Days, won an Oscar in 1998. In
2006, Spielberg produced Spell Your Name, in which survivors describe
the World War II Babi Yar massacre in the Ukraine.
DREAMWORKS (SKG)
On October 12, 1994, Steven Spielberg took another large step when
he teamed with Jeffrey Katzenberg and David Geffen to form their own
film, television, music, and interactive software company. A former
president of Disney, Katzenberg had had successes with The Little Mer-
maid, Beauty and the Beast, and The Lion King. Geffen was a music agent
who founded two record companies, Asylum (1971) and Geffen (1980),
60 STEVEN SPIELBERG
and the Geffen Film Company, which produced the movies Beetlejuice
and Interview with the Vampire. Spielberg and Katzenberg teamed up in
1988 to produce Who Framed Roger Rabbit and became partners in Dive!
a family-oriented submarine-shaped restaurant in Los Angeles. (Dive!
went out of business in January 1999.) It was originally Katzenberg’s
idea to form the movie company. Spielberg did not want to leave MCA/
Universal because its president, Sidney Sheinberg, had given him his
first directing job and become the young director’s mentor and friend; but
when Spielberg learned that Sheinberg was leaving MCA, he talked to
the older man about his plans. Sheinberg asked Spielberg why he wanted
his own company, and Spielberg replied, “It benefits me because the idea
of building something from the ground up, where I could actually be a
co-owner, where I don’t rent, I don’t lease, I don’t option but actually
own; that appeals to me.”46 Sheinberg gave his blessing. Now past the
first hurdle, Spielberg and Katzenberg could give into their dreams of creat-
ing “a studio designed from the perspective of filmmakers.”47 The two men
thought of themselves as trailblazers such as those who had formed United
Artists in 1919: Douglas Fairbanks, Charlie Chaplin, Mary Pickford, and
D. W. Griffith.
The second hurdle was Mrs. Steven Spielberg: Kate Capshaw.
Katzenberg was a known workaholic, so Capshaw put down ground rules.
Her husband is available to work only after he takes the kids to school in
the morning; and he must be home by six on weekdays. He must be home
all day every weekend. This is also what Spielberg wants, because his
family is so important to him. He is often described as a family man who
might drive a Porsche, but who drives that Porsche into a 7-Eleven to buy
a Slurpie. Finally, Katzenberg had to convince Spielberg that they needed
David Geffen: “an executive who was schooled in the music business but
who was also a financial wizard with outstanding creative instincts.”48 In
Tom King’s biography of David Geffen, he writes that Steven Spielberg
and David Geffen had a history of “butting heads”49 because Spielberg
had a strong moral conscience while Geffen “had his own ideas of what
was right and what was wrong.”50 But King also writes that Geffen may
be the only person who can speak to Steven Spielberg as an equal, which
helped especially when dealing with finances. Geffen had sold Geffen
Records in 1990 and was enjoying a quiet life, but after some indecision,
he decided to join the other two moguls. When the press nicknamed
them “The Dream Team,” Spielberg suggested that their official com-
pany name be DreamWorks SKG (SKG standing for each man’s last ini-
tial). (Trivia: DreamWorks insured Spielberg’s life for $1.2 billion.) The
logo is a little boy sitting on the moon with a fishing pool—an obvious
Spielberg design. Spielberg’s spokesperson, Marvin Levy, says the boy is

“trolling for ideas.”51
Author Tom King writes that business for the three men did not change
noticeably. Spielberg continued to run Amblin, Geffen was involved with a
record label, and Katzenberg was running a feature/animation department.
In addition, Spielberg had agreed from the beginning that he would still
direct movies for other studios. The studio’s first movie, Amistad (1997)
(see chapter 6), was not a financial success. When Spielberg wanted to
direct Saving Private Ryan (see chapter 6), Geffen went to the head of
parent company Paramount (who owned the script) and told them that
Spielberg would not direct unless DreamWorks got 50 percent of the prof-
its and 50 percent of the distribution rights. The other selling point was
that DreamWorks would split their profits with Paramount on the disaster
movie Deep Impact (1998), which turned out to be the second highest
grossing film in DreamWorks’s first five years. When Saving Private Ryan
turned out to be a huge hit, investor/entrepreneur Paul Allen purchased
more shares of DreamWorks stock and became the company’s largest
stockholder with 24 percent. The SKG men held 22 percent. Spielberg
won the Best Director Oscar for Saving Private Ryan, but the movie lost
out to Shakespeare in Love for best movie. Because of the studio losing the
big award, the DreamWorks/Paramount after-Oscar party was “more like
a wake than a party,”52 writes King.
One of Spielberg’s dreams for the new film company was to build a
studio at a site known as Playa Vista near the Los Angeles International
Airport. In April 1999, DreamWorks signed on to buy the 47 acres for $20
million, but the film company could not get conventional bank financing
to back the construction. The three owners plus entrepreneur Paul Allen
could have raised the money easily with personal funds, but they finally
decided that they did not want to invest so much and backed out. Dream-
Works would not have its large new building. In fact, by mid-2005, the
company was having problems, and talk of selling became headline news.
In their article for Time magazine, Daniel Kadlec and Jeffrey Ressner write
that none of the owners are professional CEOs and that they have made
some mistakes. Stephen Dubner reports that Spielberg told him that “ex-
pectations were too high to begin with.”53 In December 2005, Paramount
Pictures announced that it was buying DreamWorks for $1.6 billion in
cash and debt. (The purchase did not include DreamWorks Animation
SKG Inc.) Then, in March 2006, Paramount announced that it was selling
the films of DreamWorks to billionaire George Soros for $900 million. On
March 12, 2006, a New York Times article describes all of the ins and outs
of the financial dealings and speculates as to whether or not Paramount
62 STEVEN SPIELBERG
made a good deal. Among other suggestions is, “It may be more about im-
ages than numbers. Paramount will have the cachet of being associated
with Mr. Spielberg . . .”54 Not only does the director still have Amblin
Entertainment and a “long-term deal with NBC Universal,”55 but he will
continue to direct and produce some movies for DreamWorks.
NOTES
1. Frank Sanello, Spielberg: The Man, The Movies, The Mythology (Dallas:
Taylor, 1996), 205.
2. Sanello, 206.
4. Sanello, 206.
5. Quoted in Ana Maria Bahiana, “Hook,” Cinema Papers, March–April 1992,
6. Sanello, 208.
7. Quoted in Bahiana, 153.
10. Ibid.
11. Ibid.
12. Quoted in Susan Goldman Rubin, Steven Spielberg: Crazy for Movies (New
York: Harry N. Abrams, 2001), 60.
13. Ibid.
14. Quoted in Marcus Hearn, The Cinema of George Lucas (New York: Harry
N. Abrams, 2005), 174.
15. Quoted in The Making of Jurassic Park, directed by Steven Spielberg. Juras-
sic Park Collector’s Edition, DVD. Universal City, CA: Universal, 2000.
19. Sanello, 218.
20. Stephen J. Dubner, “Inside the Dream Factory,” Guardian Unlimited, March
21, 1999. www.guardian.co.uk.
21. Ibid.
22. Ibid.
26. Quoted in John H. Richardson, “Steven’s Choice.” Premiere, January 1994,

28. Quoted in Bahiana, 156.
29. Quoted in Richardson, 164.
30. Quoted in Stephen Schiff, “Seriously Spielberg.” New Yorker, March 21,
31. Schiff, 176.
32. Schiff, 180.
34. Ibid.
35. Richardson, 158.
41. Ibid.
43. Hebrewsongs, “Oyfn Pripetchik,” www.hebrewsongs.com, accessed May 23,
2006.
45. Quoted in Rubin, 76–77.
46. Quoted in Tom King, The Operator: David Geffen Builds, Buys, and Sells the
New Hollywood (New York: Random House, 2000), 527.
47. King, 528.
48. King, 521.
49. King, 522.
50. Ibid.
52. King, 583.
53. Dubner.
54. Andrew Ross Sorkin, “A Happy Ending for Some, a Comedy of Errors for
Others,” The New York Times, March 12, 2006. www.nytimes.com.
55. Walter Scott, “Walter Scott’s Personality Parade,” Parade Magazine in Seattle
Times, September 11, 2005, 2.
Chapter 6
INTO THE NEW MILLENNIUM,

1994–2001
TAKING A BREAK FROM DIRECTING

With Schindler’s List, Steven Spielberg achieved the serious respect pre-
viously denied him. But it was such an emotional project that he was
tired and needed a break—but a break to Steven Spielberg does not mean
a vacation. As one of the creative consultants to Islands of Adventure,
Spielberg helped create Universal Orlando’s main attraction. Based on
Jurassic Park, the site has a river ride that drops you 80 feet beneath the
open jaws of a Tyrannosaurus Rex. There are shady spots complete with
caves and water cannons and a Discovery Center where you can watch
the hatching of velociraptor eggs. There will also be War of the Worlds de-
struction by the 747 Jetliner. In April 2006, it was announced that there
was to be a “Jurassic Park Institute Tour,” an educational exhibit traveling
through Asia. Spielberg is also producing movies and television programs
for his studio, Amblin.
THE LOST WORLD JURASSIC PARK

When he felt like directing again, he returned to something familiar
and fun: The Lost World Jurassic Park. Spielberg was not a big fan of se-
quels, but producer Kathleen Kennedy encouraged him to make them
after audiences assumed that he had made the inferior sequels to Jaws.
“There’s a proprietary creative interest to protect and ensure the qual-
ity,” she says.1 Spielberg decided that if each sequel is a new story that
can stand on its own with only the characters repeated, then he would
66 STEVEN SPIELBERG
make them, but he knows that his audiences are savvy and expect more
in each sequel. Before Jurassic Park, they wondered if he could make di-
nosaurs. Now they knew he could make them, but what else could he do
with them? (There will never be a sequel to E.T. Spielberg says, “I didn’t
want to do anything that would blemish its memory with a sequel that
would not be—could not possibly be—its superior.”2) One fan who re-
ally wanted a Jurassic Park sequel was an elementary school student who
requested that a stegosaurus be added to the second movie. But, the child
wrote, “Whatever you do, please don’t have a long, boring part at the be-
ginning that has nothing to do with the island.”3 Spielberg did not want
long boring scenes at the beginning either, but he had to explain why
intelligent human beings would return to such a dangerous place, which is
actually one of the reasons that he wanted to make the movie: the idea of
dinosaurs living in the wild. Spielberg sees Jurassic Park as the “failure of
technology and the success of nature,” and The Lost World as the “failure
of people to find restraints within themselves and the failure of morality to
protect these animals.”4 The plot of the The Lost World Jurassic Park: John
Hammond (Richard Attenborough) tells Ian Malcolm (Jeff Goldblum)
that the dinosaurs had been bred on a different island than the one with
the park and that the remaining animals have thrived and multiplied. He
wants Malcolm to research them, but when Malcolm and his group arrive,
they find Hammond’s nephew (Arliss Howard) making plans to take the
animals to a dinosaur park in San Diego.
Spielberg set Michael Crichton up to writing the sequel and then
began working with scriptwriter David Koepp. This time Spielberg used
moving three-dimensional (3D) storyboards so that he could see if some
of his ideas could really be done. He definitely wanted the creatures to be
even better than in Jurassic Park, which meant they had to move more
smoothly and be authentic enough to convince the paleontologist who
helped create them from research to drawing to 3D sculptures to full size.
Computer graphics and puppets were both used, with the former used for
distance/action shots and the latter for close-ups. Real animals were vid-
eotaped and studied to assure even more reality to the movement of the
creatures. By the time The Lost World Jurassic Park was made, the price of
computer graphics was going down and the price of the robotic puppets
was going up. Inner parts of the robots can be saved and used again, but
the rubber skin cannot. Audiences become jaded very quickly, and, says
Spielberg, the magic of movies is making the audience forget it is watching
magic. The movie was filmed in Kauai, Hawaii, and Eureka, California, with
a catholic girls’ school in Pasadena used for Hammond’s office. With 35–45
set-ups per day, it was fast moviemaking. Since Spielberg always knows
INTO THE NEW MILLENNIUM, 1994–2001 67
what he wants and is always prepared, he films one scene while the next
set is going up, so sets are always ready. Since the actors had to play to
blue screens, Spielberg had dinosaur heads stuck onto sticks that were car-
ried by crewmembers so the heads were at the correct height of the real
creature. This enabled the actor to look in the correct direction and at the
correct height. A field of real grass was even grown to make a scene with
running raptors appear more realistic.
The movie’s cost was estimated at $73 million, and its May 1997 open-
ing weekend’s U.S. box office was $92,729,064. It was nominated for the
Academy Award for Best Visual Effects, and most reviewers agree that
the movie is “a beautifully crafted series of nightmarish set pieces with no
other goal in mind than to scare and delight the audience.”5
AMISTAD
Spielberg’s next project was another serious story based on another true
event: the 1839 mutiny onboard the Spanish slave ship Amistad. As the
ship was going from Havana to another port in Cuba, the slaves killed
everyone but the two men who purchased them, saved only on the prom-
ise that they will take the Africans back home. Instead, they took the
slaves to the United States and handed them over to a U.S. Navy ship
near Connecticut. Laws regarding slavery were complicated and changed
many times. In 1839, the international slave trade had been outlawed,
but slavery was still very much in effect. Those who were already slaves or
were the children of slaves were returned to their masters if they escaped.
The Amistad slaves were put on trial. Their defense was that they were
never slaves but were kidnapping victims, but if the state proved that the
Amistad slaves were children of slaves, then they were not kidnapping vic-
tims but murderers. David Franzoni wrote the story from Cinque’s point
of view. He did not want it to be just an antislavery story, especially since
Cinque was never a slave. Steve Zaillian, the writer of Schindler’s List,
was brought in for rewrites because Spielberg likes his realistic dialogue.
Spielberg used little camera movement, so the viewer feels transported
to the nineteenth century. In the book Amistad: “give us free”: A Celebra-
tion of the Film by Steven Spielberg, authors Meredith Maran and Anne
McGrath write that the cast had to be “physically, emotionally, cultur-
ally, and linguistically prepared to reenact a painful time in history.”6 The
chains were real. Some of the scenes were so harsh that some cast and
crew were moved to tears. The movie boasts a high-class cast with Sir
Anthony Hopkins, Morgan Freeman, Matthew McConaughey, and Pete
Postlethwaite. The slave who began the rebellion, Cinque, is played by
68 STEVEN SPIELBERG
Djimon Hounsou. John Williams, as always, composed the music, and

Janusz Kaminski did the cinematography.
The idea for the movie came from actress and choreographer Debbie
Allen who, in 1978, read Amistad I, published in June 1970 for the Howard
University Press. The book’s editors are John A. Williams and Charles
F. Harris. This was the first Allen had heard of the event. In 1984, she
optioned the rights to William Owens’s book, Black Mutiny: The Revolt on
the Schooner Amistad, which was first published in 1953. Allen continued
her show business career for the next 10 years, yet the movie idea was
always in the back of her mind. She continued to research the story while
considering which director would not shy away from its controversial
topic. When she saw Schindler’s List in 1994, she knew that Steven Spiel-
berg was that director, and he agreed with her that the story must be told.
According to the Maran/McGrath book, Spielberg said, “There was one
side of my brain saying, wait two, three, or four years before you do this
story, because everything you do will be compared to Schindler’s List. But
I’ve never planned my career and never made good on phantom conversa-
tions with myself like that. In the end I do what I think I gotta do.”7
Allen’s 10 years of research provided primary information from court
records and newspaper accounts plus the research of historians. This was
the information she and Spielberg wanted to use versus the numerous
books that by this time had been written on the subject. Recreating the
filthy, dehumanizing, and unsanitary conditions of the slave trade, particu-
larly during the voyages, was hard for Allen to witness. For example, those
who survived the trip from Africa to Havana were fed and greased down
to make them look healthier for selling, and men like Cinque fetched
around $450. Prospective buyers sometimes inspected every inch of the
African to make sure he or she was healthy enough for the morning-
to-night work that lay ahead of them. Incarcerated for almost three years,
the men were twice tried and twice found innocent, but the acquittals
were overthrown by President Van Buren. The third trial, and third ac-
quittal, was in front of the Supreme Court in February 1841. The case is
considered a milestone in American history because it gave abolition-
ists ammunition for ending slavery. President Martin Van Buren was furi-
ous, because he was running for reelection and did not want to anger the
southern states who saw the decision as yet another cause for war. But in-
stead of being taken back to their homes, the freed Africans were housed
in Farmington, Connecticut, and used by the abolitionists in meetings
and rallies. Many of the men tired of being taken from place to place and
put on display, often not being allowed to sit with their white compan-
ions and often called “savages.”8 When the abolitionists finally saw how
depressed the Amistad survivors were, they sent them back to Africa in
1842. But it was too late. Their village had been destroyed, and Cinque
never again saw his wife and child. He worked as an interpreter in a mis-
sion until his death in 1879.
Spielberg is sometimes criticized as making historical films such as
Amistad and Schindler’s List to “get his tolerance fix,” and even his partner
at DreamWorks, David Geffen, said that Amistad “was less about slav-
ery than ‘about white people saving black people.’ ”9 But Spielberg has
never chosen his movies according to popular consensus. In the Decem-
ber 1997 issue of Smithsonian, Kenneth Turan quotes the director as say-
ing, “While making [Amistad], I felt I was telling everyone’s story—a story
that people of all nationalities and races should know.”10 He has also said
that he made the movie, in part, for his seven children, two of whom
are African-American. In the November 2005 Smithsonian, Turan writes
that some of the best and most powerful scenes in the movie are played
without dialogue. In his December 1997 review, Ebert writes that Amistad
and Schindler’s List are “about the ways good men try to work realistically
within an evil system to spare a few of its victims,” and the most valu-
able aspect of Amistad, he writes, is that the slaves are given names and
identities and not left as “faceless victims”11 as they are usually portrayed.
Unfortunately, writes Ebert, the result of the real Amistad trial helped
only its defendants and not the millions of slaves in bondage. Amazon.
com reviewer Dave McCoy calls the movie Spielberg’s “most simplistic,
sanitized history lesson,”12 while Fred Harvey of The History Place claims
the movie “is a masterpiece of film making providing a thoroughly reward-
ing entertainment and learning experience.”13 McCoy adds that Spielberg
has, once again, turned the movie into an E.T. experience with title char-
acter Cinque as the “adorable alien: lost, lacking a common language, and
trying to find his way home.”14 He calls McConaughey “a grown-up Elliot
who tries to communicate complicated ideas, such as geography, by draw-
ing pictures in the sand, or language, by having Cinque mimic his facial
expressions.”15 The movie was released in December 1997. With a budget
of approximately $40 million, the movie’s opening weekend brought in
only $4,661,866.
SAVING PRIVATE RYAN

Spielberg moved on to yet another nonfiction story, Saving Private Ryan,
which takes place during Spielberg’s favorite time period, World War II
(“the most significant event of the last 100 years”16). Unbeknownst to
each other, he and Tom Hanks had read the script, which is about a band
70 STEVEN SPIELBERG
of soldiers who land at Normandy on June 6, 1944, and then are sent off
on a mission to find a Private Ryan, who has recently become the sole
surviving son in his family. Knowing that Mrs. Ryan will be receiving
death notices for three of her sons, Uncle Sam wants to make sure that
she gets her fourth son back home. (Private Ryan was really Sgt. Frederick
Niland.) Spielberg didn’t want just another Hollywood war movie or
another action-adventure movie, but an accurate depiction of “combat
from the grunt’s p.o.v. as it is fought inch by inch, bullet by bullet, in all
its arbitrariness and surreality.”17 He wanted the action to be seen through
the eyes of scared young men. Spielberg talked with World War II veterans
who had been there, the men who had stormed the beaches and battled
the Germans all the way to Paris to free France. The first 25 minutes of
the movie depict the beach landings, and it is so difficult to watch that
many veterans cried and many could not watch it at all. With his usual
attention to detail, when Spielberg heard veterans describe the thou-
sands of dead fish and a lone Bible floating in the water, he added them
to the film.
In 1998, Steven Spielberg, Tom Hanks, and their families flew to
England, where a Hatfield (in Hertfordshire) countryside village was
turned into a French village and a beach in Ireland’s County Wexford rep-
resented Omaha Beach. (The two families spent their off-hours in Gorey,
Ireland, at the Marlfield House Hotel.) About 750 extras were borrowed
from the Irish Army, some of whom had worked on Mel Gibson’s Brave-
heart, released in 1995. Some real amputees were fitted with plastic limbs
that were blown off in the battle scenes. For uniform accuracy, Spielberg
located the same company that had made the boots for the real World
War II GIs. Many German uniforms were found in London, some origi-
nal tanks were found in Czechoslovakia, and some original landing boats
were found in a California desert. After the 3,000 uniforms and boots
were made, they were put through an aging process so they would appear
“battle-worn.” Since their Irish beach was not as broad as Omaha Beach,
Spielberg adjusted the camera lenses to produce the illusion of Omaha.
Spielberg wanted the audience to put themselves in the places of those
young men and see the horrors through the innocent eyes of a young man
who likely had never before been in battle. Those who survived the land-
ing did so only by ignoring the dead and dying all around them. Once
they survived, Spielberg wanted the audience to “be” in the Allies’ world,
to be unaware of what the Germans would do next, to be as surprised as
were the characters in the movie. He was inspired by the black-and-white
photos taken by Robert Capa for wartime issues of LIFE magazine, John
Ford’s 1942 documentary, The Battle of Midway, William Wyler’s Memphis
Belle: A Story of a Flying Fortress (1944), and Frank Capra’s Why We Fight,
a series about World War II produced between 1943 and 1945. He wanted
a newsreel feel to the movie, so he used mostly handheld cameras and
toned-down color. He made no storyboards, because he wanted to attack
each scene like a newsreel cameraman following soldiers into battle. The
effect was achieved to such an extent that the camera’s lens was splat-
tered and the camera bounced around just as those used in wartime. He
and cameraman Janusz Kaminski used various tricks to get the result they
desired: different film stock, stripped lenses, flashed film, and desaturated
colors. They also used different shutters and speed changes. Since wide-
screen movies did not appear until the 1950s, they used the 1.85:1 format
because, says Spielberg, it is more like what the human sees. Spielberg
credits his editor, Mike Kahn, with attaining these goals. “His rhythms
are the best in the world, and he tries to throw the audience off of their
expectations,”18 says Spielberg.
To give his actors a concept of what war is really like, Spielberg hired
U.S. Marine Captain Dale Dye (a wounded veteran of three active tours
in Vietnam) to help with the accuracy of the movie and to drill the
actors. He began by putting them through a 10-day boot camp, which
actor Edward Burns says was the worst experience of his life. They hiked
in good weather and bad. They began training at five in the morning.
They slept on the ground, ate rations, and used a latrine. Their source of
heat was tiny metal stoves. And Captain Dye yelled at them all the time.
All of this would be hard enough on non-Hollywood types, but these were
men used to the best life has to offer, and some of them rebelled. Dye re-
sponded, “You’re embodying the souls of the fallen comrades who made the
world safe for democracy. So you’re not going to do that lightly. You’re going
to know the weaponry, you’re going to know the tactics, you’re going to
know the background, and you’re going to know the history.”19 Tom Hanks
endured the camp and adopted his character’s leadership by encouraging
his fellow actors. (The only soldier not put through boot camp was Matt
Damon, who played Private Ryan. Spielberg wanted the others to resent
him and carry that resentment into their acting in the movie.) Spielberg
is known for quick filming, but part of the purpose in doing so on this
movie was to keep the actors in character. “I really wanted to keep all
of the actors off-balance . . . always . . . in combat . . . under fire . . . in
jeopardy. . . . War doesn’t give you a break, and I didn’t want the produc-
ers of Private Ryan to give them one either.”20 As with real soldiers, the
actors became closer to each other and to their characters. They were so
good, in fact, that most scenes were filmed in just three or four takes. Spiel-
berg used no music during battle scenes and very little elsewhere, because
72 STEVEN SPIELBERG
he wanted to show that real war is “silent death.”21 “Sure it’s grim,” says
Hanks, “but it’s brutally honest.”22 Of course, such movies are fodder for
accidents, so Spielberg made sure that only stuntmen were close to the
explosives and made sure to use “crack” safety teams and supervisors. Even
so, there were some injuries, but the saddest occurrence was when a young
actor died in a car crash on his way home.
While Spielberg sees Saving Private Ryan as a chance to introduce World
War II heroes to today’s young people, his main purpose is to honor all
veterans, especially his father, with whom he grew closer during the film-
ing. (Trivia: Arnold Spielberg had told his son about an expression they
used during the war, “FUBAR: Fouled Up Beyond All Recognition,”23
and it became part of the script.) When word got out about the opening
scene, Spielberg feared that it would keep viewers away. In fact, about
halfway through filming, he told his actors not to expect a blockbuster at
the box office but to think of what they were making as a tribute. “We’re
thanking all those guys, your grandparents and my dad, who fought in
World War II.”24 In fact, Spielberg and Hanks did such a good job that on
Veterans Day, 1999, they were awarded the Distinguished Public Service
Award, the Navy’s highest civilian honor. The ceremony took place on
board the USS Normandy in Florida.
Reviews on the movie were mixed. John Simon of the National Review
writes that Spielberg failed to make his characters come to life and that
Saving Private Ryan is no better than many other war movies, that, “Only
as a catalogue of horrors does SPR outdo the rest.”25 Stanley Kauffmann of
the New Republic agrees. “Steven Spielberg’s new film begins as a monu-
mental epic; then it diminishes; and, by its finish, is baffling. . . . Once
the Private Ryan mission starts, the picture becomes a good war movie,
not much more.”26 On the other hand, People magazine writes that Sav-
ing Private Ryan is about whether it is worth risking one life for another.
“Why fight at all? What does any one man owe another? . . . The answers
the movie provides are never pat, jingoistic responses about country and
duty but rather more complicated ones about friends, family and simple
decency.”27 In the end, the review labels the movie as “flat-out great.”28 In
Variety, Todd McCarthy writes that Saving Private Ryan is telling the sto-
ries about war “that fathers never tell their families,” and that the movie is
“second to none as a vivid, realistic and bloody portrait of armed conflict,
as well as a generally effective intimate drama about a handful of men on
a mission of debatable value in the middle of the war’s decisive action.”29
Blogcritics.org writes, “The great power of Saving Private Ryan is how it
simply presents war and the effect of war on the men who must bear it.”30
Spielberg may have worried that the movie might not appeal to audiences,
but he need not have done so. The movie brought in $30 million in its
opening weekend, in July 1998. By Christmas, it had made more than
$180 million. Neither Spielberg nor Hanks took a salary but rather a share
of the movie’s gross proceeds. Tom Hanks’s biographer David Gardner
writes that the money was “an incredible achievement for a 3-hour epic
with an R-Restricted rating, no romance and hideous violence.”31 Of the
film’s success, Spielberg says that he is thrilled. “The people have spoken.
They said they were ready to go back a half-century to a blasphemous
time and have the courage to experience Saving Private Ryan. I think
their courage was remarkable.”32 Regarding Spielberg, Hanks says, “Mak-
ing this movie was like walking into Thomas Edison’s laboratory. You’re
in the presence of this genius who in real life is this badly dressed, neb-
bishy kinda guy who talks in tangents and only vaguely answers a question.
But seeing him on the set, he’s a dynamo, a source of incredible vision
and information that’s hard to keep up with.”33 Saving Private Ryan was
nominated for 11 Academy Awards and received five, including Best Direc-
tor, about which Spielberg says, “I never, ever get blasé about this. This
day is always indelibly tattooed on the frontal lobe of my brain. I’m usu-
ally never nervous about these kinds of things but this always makes me
so nervous.”34 Spielberg and Hanks went on to help finance the D-Day
Museum in New Orleans and co-produce the World War II television
mini-series, Band of Brothers, based on the best-selling book by Stephen
Ambrose, Citizen Soldier.
TOM HANKS
Tom Hanks is someone who knows Steven Spielberg on both profes-
sional and personal levels. They first worked together when Amblin pro-
duced the Hanks movie, The Money Pit, a 1986 slapstick comedy. They
found that they had much in common and have been friends ever since.
Both are products of divorce. Both live in the same neighborhood and
have wives and children who are involved in the same activities. Both
had fathers who served in the military during World War II. They mutu-
ally admire each other’s capabilities and grab onto the better idea, no
matter who had it first. In June 2004, they were interviewed together by
Barry Koltnow of the Orange County Register. When asked what made
their relationship work, Spielberg said that it was because they listen to
each other, have a mutual respect for each other’s opinions, and neither
have egos that come into play. This was proven when Hanks wanted the role
of Amon Goeth in Schindler’s List but Spielberg gave it to Ralph Fiennes.
Hanks says that Spielberg, “sees things that other directors don’t see.”35
74 STEVEN SPIELBERG
Spielberg appreciates Hanks’s “self-deprecating sense of humor.”36 Both

men love what they do and feel grateful to be doing it. Says Spielberg
of Hanks, “His gratitude for his career is not very common in this busi-
ness.”37 Spielberg also proudly calls George Lucas a friend. “You know,
we’ve been friends since 1967, and we’ve never had a fight. It’s the longest
friendship I’ve had in my life.”38
A.I. ARTIFICIAL INTELLIGENCE

In the summer of 2001, Steven Spielberg returned to the world of chil-
dren with A.I. Artificial Intelligence. Told from the main character’s point
of view, the movie—like so many Spielberg movies—shows a child forced
into the cold cruel world. In this case, the little boy is a robot who seeks
love and family. Critic Andrew Sarris writes that the movie is a “haunt-
ing experience” and “an exquisite work of art.”39 Based on a short story
by Brian Aldiss, first published in Harper’s Bazaar in 1969 as “Supertoys
Last All Summer Long,” the screen story was written by Ian Watson and
the screenplay by Spielberg. Famed director Stanley Kubrick met Steven
Spielberg in London in 1979 and asked him to direct his next project,
A.I. Many people saw the two men as too different to work on the same
movie. After all, Kubrick was known for slightly weird films while Spielberg
was known for cozy ones. In reality, the two men had some similarities.
According to the 2004 book, Essential Cinema on the Necessity of Film
Canons, by Jonathan Rosenbaum, both men were “Jewish prodigies and
technical wizards”40 who liked science fiction and war movies. After
Kubrick’s death, Spielberg took on the project, and while he tried to
make it in the vein he thought that Kubrick would have wanted, he
included his style too. This contrast made the film hard for some critics
to categorize and judge instead of just appreciating it for what it was.
The story is about robots that are created to do menial work and evolve
into children for couples who cannot get permission to have their own.
When a couple’s son becomes very ill, they adopt one of the robots and
call him David (Haley Joel Osment). But when their son recovers and
wants David out of the house, the parents must decide what to do. David’s
belief in his favorite story, Pinocchio, causes him to search for a loving fam-
ily. According to Patrick Lee of www.scifi.com, “A.I. is one of the clearest
examples of hard science fiction ever filmed, extrapolating a future based
on real science and employing its intriguing premise as a potent meta-
phor for the human condition.”41 And while the movie fuses Kubrick’s
“austerity” with Spielberg’s “sentimentality,” Lee writes that the movie
is “moving without being cloying, and thought-provoking without being
off-putting.”42 Spielberg’s use of atmospheric lighting and John Williams’s

music, Lee writes, blend with Kubrick’s “languid pacing, formal composi-
tion and occasionally detached point of view.”43 He adds that Williams’s
score is sometimes reminiscent of one of Kubrick’s favorite composers,
Gvorgy Ligeti. Spielberg uses special effects in such a natural way that
they seem natural to the story. Lee concludes his review by saying that the
movie is bound to become a science fiction classic. Famed movie critic
Roger Ebert calls the movie “both wonderful and maddening” because it
is “one of the most ambitious films of recent years, filled with wondrous
sights and provocative ideas, but it miscalculates in asking us to invest our
emotions in a character that is, after all, a machine.”44
The movie won five awards from the Academy of Science Fiction, Fan-
tasy and Horror Films, USA: Best Music (Williams), Best Performance by
a Young Actor (Osment), Best Science Fiction Film, Best Special Effects,
and Best Writing (Spielberg). Other actors in the film are Jude Law,
William Hurt, Frances O’Connor, Sam Robards, and Brendan Gleeson.
At an estimated cost of $90 million to make, the movie opened on July 1,
2001, and made $29,352,630 its first weekend. In April 2006, Carnegie
Mellon University announced the robots that will be inducted into their
Robot Hall of Fame in June, and “David” was one of them. “In A.I., the
android boy David provides an important template for thinking about
robot/human relationships,” said psychologist Sherry Turkle, director of
the MIT Initiative on Technology and Self. “I think that the problem he
sets up with his adoptive mother, Monica—that we love the machine we
nurture—is a significant model for an important psychological dynamic in
contemporary robotics.”45
NOTES
1. Quoted in Peter Biskind, “A World Apart.” Premiere, May 1997, reprinted
in Steven Spielberg Interviews, Lester D. Friedman and Brent Notbohm, eds.,
(Jackson: University Press of Mississippi, 2000), 197.
2. Ibid.
3. Quoted in Susan Goldman Rubin, Steven Spielberg: Crazy for Movies (New
York: Harry N. Abrams, 2001), 66.
4. Quoted in Biskind, 200–201.
5. Joseph McBride, “The Lost World Jurassic Park.” www.boxoffice.com (ac-
cessed May 2, 2006).
6. Meredith Maran and Anne McGrath, eds., Amistad: “give us free.” A
Celebration of the Film by Steven Spielberg (New York: Newmarket Press, 1998),
49–50.
7. Quoted in Maran, 16.
76 STEVEN SPIELBERG
8. Quoted in Maran, 36.

9. Quoted in Stephen J. Dubner, “Steven the Good.” The New York Times
magazine, February 14, 1999, reprinted in Steven Spielberg Interviews, Lester D.
2000), 235.
10. Quoted in Kenneth Turan, “Steven Spielberg,” Smithsonian, November
2005, 110.
11. Roger Ebert, “Amistad,” December 12, 1997. www.rogerebert.suntimes.
com.
12. Dave McCoy, “Review of Amistad (1997).” www.amazon.com (undated
electronic work).
13. Fred Harvey, Review of Amistad, The History Place, December 20, 1997,
www.historyplace.com.
14. Harvey.
15. McCoy.
16. Quoted in Stephen Pizzello, “Five-Star General,” American Cinematogra-
pher, August 1998, reprinted in Steven Spielberg Interviews, Lester D. Friedman
17. John Simon, Review of Amistad, National Review, December 31, 1997.
18. Quoted in Pizzello, 213.
20. Quoted in Pizzello, 214.
22. Quoted in David Gardner, Tom Hanks: The Unauthorized Biography
(London: Blake, 1999), 200.
24. Quoted in Kenneth Turan, “Crossroads: Steven Spielberg,” Los Angeles
Times, December 28, 1998, reprinted in Steven Spielberg Interviews, Lester D.
2000), 222.
25. John Simon, “Review of Saving Private Ryan,” National Review, August 17,
1998, 52(1). www.web7.infotrac.galegroup.com.
26. Stanley Kauffmann, “Saving Private Ryan,” New Republic, August 17, 1998,
24(1). www.web7.infotrac.galegroup.com.
27. People Weekly, “Reviews of Saving Private Ryan,” August 3, 1998, 25(1).
www.web7.infotrac.galegroup.com.
28. Ibid.
29. Todd McCarthy, Review of Saving Private Ryan, Variety, July 20, 1998, 45(1).
30. Samuel James, Review of Saving Private Ryan, May 27, 2006. www.
blogcritics.org.
31. Gardner, 203.
32. Quoted in Gardner, 204.

35. Quote in Barry Koltnow, “The Misfits: Hanks and Spielberg never fit
in—which is why they’re friends,” Orange County Register, June 16, 2004. www.
infotrac.galegroup.com.
36. Quoted in Koltnow.
37. Ibid.
38. Quoted in Sean Smith, “King of the Worlds; Spielberg Talks about Mov-
ies, Terror and Wonder, and Why the Oprah Thing Bothered Him—But Only a
Little.” Newsweek. June 27, 2005, 58. www.web2.infotrac.galegroup.com.
40. Jonathan Rosenbaum, Essential Cinema: On the Necessity of Film Canons
(Baltimore: Johns Hopkins University Press, 2004), 272.
41. Patrick Lee, “A.I. Artificial Intelligence.” www.scifi.com (accessed January 30,
2006).
42. Ibid.
43. Ibid.
44. Roger Ebert, “A.I. Artificial Intelligence,” June 29, 2001. www.rogerebert.
suntimes.com.
45. Carnegie Mellon University Department of Media Relations, “Carnegie
Mellon University Announces 2006 Inductees Into Robot Hall of Fame,” April 19,
2006. www.roboticonline.com.
Chapter 7
THE LEGEND CONTINUES,

2002–2005
MINORITY REPORT
Spielberg’s next project, Minority Report, finally brought him together with
Tom Cruise. Both men had long wanted to work together, and moviego-
ers had long wanted to see what magic the two would produce. Based on
the 1956 short story by Philip K. Dick, the story was adapted and updated
to the year 2054. A science fiction and detective story in one, Minority
Report is about a group of investigators who try to prevent crimes by ar-
resting the potential perpetrators before they commit the crime. Spielberg
has long been intrigued with the idea of knowing the future. Although
the movie was a winner at the box office, it received mixed reviews. On
Variety’s Web site, critic Todd McCarthy writes that there was not enough
action for thrill seekers yet it was not different enough for “highbrows.”1
He also writes that the movie was Spielberg’s “darkest and most socially
relevant”2 but did not have the box office appeal expected of a Spielberg/
Cruise combination. On the other hand, Times critic Richard Corliss
writes that the movie did achieve the balance between the thrill seekers
and highbrows and is Spielberg’s best “entertainment film”3 since Raiders
of the Lost Ark. Roger Ebert writes that Minority Report shows Spielberg
at his best. He calls the movie a “triumph” and “a film that works on
our minds and our emotions.”4 J. Hoberman of the Village Voice thinks
the movie is entertaining and the “least pretentious genre movie Steven
Spielberg has made in the decade since Jurassic Park.”5 But Hoberman
likes the sweetness for which Spielberg is known and prefers that the di-
rector stay away from social commentary. Peter Travers of the Rolling Stone
80 STEVEN SPIELBERG
praises the acting of Colin Farrell, Tom Cruise, and Samantha Morton,
and says that the movie is “laced with dark humor and powered by a topi-
cal idea.”6 He writes that Spielberg uses technology and suspense to its
best, but that the ending is too predictable and that the film raises moral
questions but does not answer them. “Final report: Good, yes; great, no.”7
Writing for scifi.com, Cindy White calls Minority Report “that rare kind of
high-concept film that marries a well-told story with eye-popping visual
effects. Engaging from the very first scene, it grabs the audience and never
lets go.”8 Minority Report’s budget was approximately $102 million. In its
opening weekend of June 23, 2002, it made $35,677,125; and by October
2002, its gross proceeds in the United States were $132,014,112. The film
was nominated for one Academy Award and won four Saturns, including
Best Picture, from the Academy of Science Fiction, Fantasy and Horror
Films, USA.
CATCH ME IF YOU CAN

From a futuristic drama, Spielberg went back in time to the 1960s
for a comedy/drama, Catch Me If You Can, which came out during the
Christmas season of 2002 and starred two of Hollywood’s best: Tom Hanks
and Leonardo DiCaprio. The idea came about when DreamWorks bought
the story by Frank W. Abagnale, Jr., a man who had successfully passed
himself off as an airline pilot, a lawyer, and a doctor—all before the age
of 21. As he read the story, Spielberg says that it was easy to see how
Abagnale’s charm made it possible to pull off his hoaxes. “I have always
loved movies about sensational rogues—they break the law, but you just
have to love them for their moxie.”9 The director likes DiCaprio’s creativ-
ity and his striving for perfection, and DiCaprio likes Spielberg’s ability
to bring out the best in his actors. One reason that Hanks signed on to
play Carl Hanratty, the FBI agent who tracks down Abagnale and finally
catches him, is because Hanratty recognizes the sadness and potential in
the young man. He sees him as someone who is redeemable and, sure
enough, Abagnale serves his time and then becomes a member of the FBI.
As do most of his movies, Catch Me If You Can appealed to Spielberg’s
own history. The young Abagnale was a child of the 1960s who was raised
in a suburban neighborhood and heartbroken when his parents divorced.
He was so torn by the divorce and trying to decide which parent he should
live with that he ran away. When he made a lot of money, he thought it
would bring his parents back together and impress his father (Christopher
Walken), who is charming but broke. The fact that Abagnale was not an
adult when he performed his amazing stunts is another familiar Spielberg
THE LEGEND CONTINUES, 2002–2005 81
trait: boys forced into manhood. “This story,” says Spielberg, “could only
have taken place in an age of innocence . . . in the sixties there was a
community of trust. That innocence was something all of us are nostalgic
about.”10 Not only did the plot remind Spielberg of his parents’ divorce
but also the fabled story of his time spent on the Universal lot when he
was just a teenager (see chapter 1).
The story was sold for movie rights before it was written. When Frank
Abagnale, Jr., appeared on various talk/news programs, audiences re-
quested his book, but there was no book. He sold his story in 1978 to
producer Bud Yorkin, who optioned it to producer Hall Bartlett in 1986.
The story and its various screenplays bounced around the movie industry
until Abagnale decided that he wanted it back if Bartlett did not agree to
purchase it. By selling it to Bartlett for around $250,000, Abagnale lost
control over his story and earned no more money from it. As happens in
Hollywood, the story bounced around some more even after DreamWorks
purchased it. But as soon as DiCaprio signed on to the project, it picked
up momentum. Spielberg gave Abagnale a cameo spot in the film and
hired him as a consultant. DiCaprio spent time with Abagnale to learn
his habits and mannerisms. He was amazed at the man’s subtlety, eye con-
tact, charm, energy, and intelligence combined with the appearance of
success and power. When Abagnale saw that both stars and the director
were genuinely concerned with making a good movie, he once again grew
excited about his own story.
The magic of good moviemaking is often subtle, and this movie is full of
details that the audience does not realize it sees. The 1960s are everywhere—
bold colors, stylish clothes—and it was the era when merchandise be-
came glamorous, when people were glamorous and dressed up to attend
a movie or go out to eat. In Catch Me If You Can, the clothes and sets
become brighter as DiCaprio’s character grows bolder. DiCaprio, who
likes period films because they give so much freedom, had 100 wardrobe
changes. The movie’s production designer, Jeannine Oppewall, says that
the film started out with 186 sets. “We shot in 60 days in two countries,
four metropolitan areas—most days it felt more like running a marathon
than designing a film.”11 But her crew did such a good job that it won the
Excellence in Production Design for a Contemporary Film Award from
the Art Directors Guild in 2003. Christopher Walken and John Williams
were nominated for Academy Awards, and Walken won the Best Support-
ing Actor Award from the British Academy of Film and Television Arts
Awards (BAFTA), the Screen Actors Guild (SAG), and the National
Society of Film Critics Award, USA (NSFC). Usually typecast as cold
and cruel, Walken shines as a hapless but loving father figure to DiCaprio.
82 STEVEN SPIELBERG
Spielberg says that Walken “has some of the best natural instincts of any-
one I’ve worked with.”12 In his December 23, 2002, movie review in the
New Yorker, David Denby calls it a true holiday film. Catch Me If You Can
opened on December 29, 2002. At an estimated cost of $52 million to
make, it made $30,082,000 in its first weekend. By April 20, 2003, the
movie had grossed $164,435,221. Spielberg says that making the movie
was like “a breath of fresh air.”13
THE TERMINAL
Spielberg and Hanks teamed up again for The Terminal. Two other
members of the ensemble cast are Catherine Zeta-Jones and Stanley Tucci.
Hanks plays Viktor Navorski, a citizen from the tiny European county of
Krakozhia, who has come to the United States to keep a promise to his de-
ceased father. He has barely arrived at JFK Airport before he learns that his
country has gone through upheaval and no longer exists, which means that
he no longer has a home country, and his passport is no longer valid. He
cannot leave the airport. As always, Hanks plays the innocent and naïve
character beautifully, and his first moments of trying to discern what has
happened are quite sad. He does not need pity, however, as he is probably
the most resourceful person alive. While he continues daily attempts to
get a visa, he becomes friends with the airport staff and even finds ways to
make money for food. There is even the hint at a romance with Zeta-Jones.
The airport, says Spielberg, is still “the only place where the melting pot
theory still works, when you’re stuck with each other, waiting in line,”14
and the cacophony of sights and sounds becomes Viktor’s America. Saint
Paul Pioneer Press reviewer Chris Hewitt writes that when Viktor yearn-
ingly gazes outside the huge plate-glass windows, “America remains a place
of hope and possibility.”15 As with Catch Me If You Can, The Terminal paid
amazing attention to detail. Production designer Alex McDowell created
an entire world for Viktor inside an airport terminal, and Spielberg tried
to film it all. For example, there is a scene where Viktor is starving so he
makes himself a sandwich of crackers and catsup. The holes in the crack-
ers were purposely made larger so that enough catsup would seep through
to provide an image of a “pop art painting.”16 Hewitt sums up the movie.
“The hoped-for effect is a stop-and-smell-the-Starbucks experience for
Viktor, and for audiences, because great things can happen while you’re
waiting for whatever you’re waiting for.”17 While the New Yorker writes that
Spielberg did not “exploit the situation of a trapped man for the desperate
nightmare that it really is,”18 Philip Wuntch of the Dallas Morning News
calls the movie “joyous” and writes, “It confirms Steven Spielberg as a
personal filmmaker and Tom Hanks as an inventive comic actor.”19 The

Art Directors Guild awarded their Excellence in Production Design Award
to Alex McDowell and his crew; and BMI Film & TV Awards gave their
Film Music Award to John Williams. The movie opened on September 9,
2004, and made $77,872,883 in that first weekend. It cost approximately
$60 million to make.
WAR OF THE WORLDS

Steven Spielberg and Tom Cruise teamed up again in the $128 million
remake of the 1953 War of the Worlds. (Trivia: Two stars of the earlier film,
Gene Barry and Ann Robinson, make cameo appearances.) But why a re-
make at all? In 1953, the United States and the Soviet Union were in a
Cold War that so scared people that many built fallout shelters, and school
children routinely practiced duck-and-cover drills. Everyone lived in con-
stant fear of nuclear war, which made the era ripe for science fiction movies
about creatures transformed into monsters due to radioactive fallout and
about creatures from outer space. With the attack on the United States
by terrorists on September 11, 2001, Spielberg believed that it was time
for a remake, but with some changes. As Owen Gleiberman writes in his
review for Entertainment Weekly, what scares the 2005 audience is not the
alien itself but the “fiery fulfillment of our collective nervousness about the
fate of the future.”20 Spielberg says that such movies also show that human
beings come together when there is a common enemy. Carina Chocano,
a film critic for the Los Angeles Times, writes about the obvious references
to September 11: “Terrified residents rush through the streets covered in
ash and dust; handmade missing-person posters line the sidewalks; commer-
cial airliners fall from the sky, to be instantly scavenged by predatory news
media; pieces of clothing rain down from above.”21 Even Dakota Fanning’s
character asks, “Is it the terrorists?”22
Cruise was anxious to play a blue-collar father figure instead of his usual
bigger-than-life hero. While Anthony L. Cuaycong writes in the July 1,
2005, issue of BusinessWorld Manila that Tom Cruise’s “star power . . . pre-
vents him from being anything but heroic,”23 Owen Gleiberman writes
that the time was right for Cruise to play the part because he has been
around long enough and is old enough not to play a hero but a dad who
loves his kids but has not been a good parent. Unlike most science fiction
movies made in the 1950s, this one does not show scientists or politicians,
something that the New Yorker’s David Denby misses. But Spielberg omit-
ted them on purpose, opting for a story about one family’s survival. Execu-
tive Producer Paula Wagner says that the story shows that human beings
84 STEVEN SPIELBERG
are sometimes more dangerous to themselves than are extraterrestrial

invaders—and one that shows that a father’s most important job is being
the best father he can be. As always, Spielberg knows that using the “ev-
eryman” character allows the audience to relate to the movie. The movie
also stars Tim Robbins as survivalist Harlan, Justin Chatwin as Cruise’s
son Robbie, and Dakota Fanning as daughter Rachel. Soren Andersen
writes about Fanning’s effect on the movie in his review for the Tacoma,
Washington, News Tribune. “Steven Spielberg puts Fanning’s azure orbs
front and center in the frame to drive home the human dimension of the
threatened extermination of humanity. It’s an effective strategy.”24 The
U.S. Marines in the movie are real. The tanks they use are real. Spielberg
asked them how they would actually react in such a situation and then
listened and utilized what he could of their response. After their scenes
were completed, the director posed for pictures with them and thanked
them with huge cakes.
Storyboards were used to help cast and crew know what to expect and
when. Especially when using special effects, the actors need to know how
to react to digital images that they cannot see. Spielberg worked closely
with Dan Gregoire, the previsualization supervisor, and the art depart-
ment to make sure that all the ideas were going to work before they were
filmed—much less expensive than wasting film. Along the same line,
scenes requiring digital effects were filmed first so that the special-effects
people could work on them while the rest of the movie was being made.
Likewise, scenes filmed on the East Coast were shot first so the West Coast
sets would be ready when needed. Although there was a rush to get the
movie out, Spielberg did not skip on anything that would improve the
picture. Tom Cruise says, “He really understands storytelling and what’s
important.”25 Cruise also says that it is a tribute to Spielberg’s storytelling
ability that the actors and story “work” even before the special effects are
added. Spielberg says that he never wants to do an all green-set movie
because he gets new ideas when he walks onto a new set. He fears that
building real sets is becoming a lost art, and that eventually there will be
entire movies made via computer imagery with no physical or emotional
contact with anyone. “Now that terrifies me,” he says. “It crosses a moral
boundary to me. . . . Collaboration is what makes being a director an elec-
trifying experience.”26 Spielberg did not want War of the Worlds to look
like science fiction, so he kept the lighting as natural as possible to obtain
the most realistic look. Spielberg’s crew has been together for many years
because they work so well together. His director of photography, Janusz
Kaminski, ASC, says that Spielberg’s talent kept the film from feeling
“over stylized.”27 Other War of the Worlds crew members are Production
Designer Rick Carter, Composer John Williams, Special Effects Expert

Dennis Muren, and Stunt Coordinator Vic Armstrong. Spielberg filmed
the crowd scenes first, as he usually does, to get the adrenaline flow-
ing and to build momentum. Filming on the East Coast with its freez-
ing temperatures was pretty miserable, especially those scenes filmed on
the water, but the local extras were very good-natured. They portrayed
the citizens trying to escape the aliens by getting on a ferryboat. Now
refugees, they wore multilayers because they could take only what they
could wear and carry. The actual boat sequences were digitized or filmed
in a tank in Los Angeles. The boat was real but smaller than a normal
ferryboat. In another scene, a plane crashes and its engine falls into
Cruise’s character’s house. Spielberg had to buy and then destroy a real
airplane for the sequence. He wants lasting images in his movies, some-
thing audience members will not forget. In this case, it is the image of
a 747 crashing into an ordinary neighborhood. Throughout the movie,
Spielberg purposely shows no body parts. This goes back to his Jaws days,
when he learned that less is more. By not showing body parts, Spielberg
says that the audience will “see things that aren’t really there.”28 Hindu
Businessline’s Shyam G. Menon writes that once the first tripod (the alien)
appears, “The next 10 minutes is gripping footage shot through a panic-
stricken camera. Such deliberate camera work and retention of a human
atmosphere runs through the entire film, giving a classical touch to the
exhausted work of sci-fi imagery.” Spielberg is able, writes Menon, “to give
personality to aliens.”29 Gleiberman writes that the aliens seem like some-
thing from dreams, a terror that “is far away and close up at the same time,
which may be why the movie collides so forcefully with our anxieties.”30
Spielberg also uses, writes Gleiberman, the same “stop-and-go rhythm of
foreboding threat”31 that he used in Jaws and Saving Private Ryan. In his
review for the Wall Street Journal, Joe Morgenstern writes that “the movie
provides a plethora of pitiless aliens, with their destructive, tripod-shaped
machines” that create “a planetary hell.”32
Does Spielberg think there are aliens? Yes, ever since he got his first
telescope and began searching the night sky. “This movie’s been a real
trip for me,” he says. “It’s the first time I’ve really jumped with both eyes
open and both feet directly into the center of a science fiction horror
film.”33 (He says that he still wants to make a real science fiction movie
where nothing is earthly.) Producer Kathleen Kennedy says that War
of the Worlds might be seen as the third—and darkest part—of a Close
Encounters-E.T. trilogy, that “the edgier darker story has always been some-
where inside him.”34 Tom Cruise calls War of the Worlds “E.T. gone bad.”35
A. O. Scott of the The New York Times writes that the movie is “a reminder
86 STEVEN SPIELBERG
that Mr. Spielberg . . . is still capable, 30 years after Jaws, of making really
scary movies.”36 Morgenstern writes that “Spielberg has put the summer
back in summer movies.”37 Made at an estimated budget of $132 million
War of the Worlds made $77,061,953 in its opening weekend (July 4, 2005)
and $234,280,354 by that November. It received three Academy Award
nominations, and Dakota Fanning won a Saturn for the Best Performance
by a Younger Actor from the Academy of Science Fiction, Fantasy, and
Horror Films USA.
MUNICH
War of the Worlds was one of two Spielberg movies nominated for 2006
Academy Awards. The host of the awards, comedian Jon Stewart, had fun
with the famous director. “Steven Spielberg is here. . . . A best-director
nomination for Munich, a tremendous film, and I congratulate you, sir.
From the man who also gave us Schindler’s List. Schindler’s List and Munich.
I think I speak for all Jews when I say I can’t wait to see what happens
to us next. Trilogy!”38 Spielberg remembers watching the 1972 Olympics
when 11 Israeli team members were kidnapped and executed by the
Palestinian terrorist group Black September. Munich tells the story of the
Israelis who pursued and killed those terrorists at the direction of Israeli
Prime Minister Golda Meir. Five men were chosen to carry out the order
called the “Wrath of God,” and eventually 10 Palestinians were killed.
In an article for the Los Angeles Times, Rachel Abramowitz writes that
Israel still has not “formally claimed responsibility”39 and that the subject
is still a sore one in the country. In his review for the The New York Times,
David M. Halbfinger writes that by making the movie, Spielberg “could
jeopardize his tremendous stature among Jews both in the United States
and in Israel.”40 Since he did not want to be the cause of any problems
in the Middle East, the director sought advice from former president Bill
Clinton, former American diplomat Dennis Ross, former White House
spokesman Mike McCurry, and Hollywood spokesman and crisis commu-
nicator Allan Mayer. Spielberg is always secretive about upcoming projects
and was even more so with Munich, but in hopes of lessening any problems,
he sent simultaneous short statements to the The New York Times, Ma’ariv
(an Israeli newspaper), and Al Arabiya (an Arab television network).
Co-producer Barry Mendel is also someone who remembers the
1972 Olympics, and when he saw a documentary about the revenge
taken by the Israelis, he knew that it would be a great story. To learn
more, he read different accounts but was most fascinated by George
Jonas’s Vengeance: The True Story of an Israeli Counter-Terrorist Team,
first published in 1984. Although Mendel says that the book’s informa-
tion cannot be proven, Jonas’s source is supposed to be one of the five
members of the actual revenge team. And because Spielberg is always
more interested in the human element, it is these men who are the
focus of Munich. The result, writes Seattle Times movie critic Moira
Macdonald, is a “smart, mesmerizing and often angry film,”41 and that
Spielberg shows the humanity in every character in the movie. Munich
is another of Spielberg’s movies in which he did not depend on sto-
ryboards because he wanted every day to be new. One of the movie’s
stars, Daniel Craig, says that it is obvious that Spielberg loves actors by
the way he responds to their suggestions and takes advantage of unex-
pected moments. Another one of the stars, Eric Bana, agrees and was
surprised at how easily Spielberg would change a shot if it meant mak-
ing a better movie. On Universal’s Munich Web site, cinematographer
Janusz Kaminski says how easy it is for him to work with Spielberg, that
after making 10 movies together, they have established trust and under-
standing. He comments that in Munich Spielberg once again shows his
genius for using the camera to create atmosphere. In this case, it is sus-
pense made by using reflections in cars and around corners. Spielberg
also incorporated the footage of the old actual news footage, which
Barry Mendel collected, thinking that it would “ground this movie in
realism as nothing else possibly could.”42
While Munich was nominated for five Academy Awards, the movie and
its director came under fire from some for being anti-Semitic and from
others for a controversial bedroom scene. Laura King, Jerusalem Bureau
Chief for the Los Angeles Times, wrote her review from Jerusalem, where
the movie was not drawing very big crowds. Israel still carries out tar-
geted assassinations, writes King, and some in Israel’s spy organization have
not been pleased with the movie. Although Entertainment Weekly’s Owen
Gleiberman criticizes the movie for some of its content, he called Munich,
“spectacularly gripping and unsettling . . . grave and haunted . . . yet its
power lies in its willingness to be a work of brutal excitement.”43 Spielberg’s
camera seems “to be everywhere at once” and “John Williams’ score is
like a telltale heartbeat.”44 One scene is even called “Hitchcockian”45 yet
the characters are made human with their humor and nitpicking. Roger
Ebert calls the movie “an act of courage and conscience.”46 Spielberg
and his producers want the movie to ignite discussions about how to
deal with terrorism and hope that the movie shows that no matter which
response is taken, there will be consequences. More than anything else,
Spielberg wants the movie to be an honor to the fallen athletes so they
will never be forgotten. Made at an estimated cost of $75 million, Munich
88 STEVEN SPIELBERG
made $6,040,860 in its opening weekend of December 25, 2005. By March

26, 2006, the movie had grossed $47,379,090.
NOTES
1. Todd McCarthy, Review of Minority Report, www.variety.com, reprinted
in Film Studies, Warren Buckland, ed. Teach Yourself, 2nd ed., Series (Chicago:
McGraw-Hill, 2003), 165.
2. Ibid.
3. Richard Corliss, “No Artificial Intelligence; Just Smart Fun,” Time,
November 1, 2002, reprinted in Film Studies, Warren Buckland, ed. Teach Your-
self, 2nd ed., Series (Chicago: McGraw-Hill, 2003), 171.
4. Roger Ebert, “Review of Minority Report,” Chicago Sun-Times online,
June 6, 2002, reprinted in Film Studies, Warren Buckland, ed. Teach Yourself,
2nd ed., Series (Chicago: McGraw-Hill, 2003), 172.
5. J. Hoberman, “Private Eyes,” Village Voice, February 16, 2002, reprinted
in Film Studies, Warren Buckland, ed. Teach Yourself, 2nd ed., Series (Chicago:
McGraw-Hill, 2003), 169.
6. Peter Travers, Review of Minority Report, Rolling Stone, July 18, 2002.
www.rollingstone.com.
7. Ibid.
8. Cindy White, “Review of Minority Report,” www.scifi.com (accessed
January 30, 2006).
9. Quoted in Nestor U. Torre, “DiCaprio, Hanks and Spielberg Work Well
Together,” Philippine Daily Inquirer, Asia Africa Intelligence Wire, February 1,
2003. www.web7.infotrac.galegroup.com.
10. Quoted in Catch Me If You Can: A Steven Spielberg Film. Introduction by
Frank W. Abagnale (New York: Newmarket Press, 2002), 13.
11. Quoted in Lisa Hirsch, “Design Kudos Catch hobbits, (Art Directors
Guilds Production Design Awards Banquet).” Daily Variety, February 24, 2003,
4(2). www.find.galegroup.com.
12. Quoted in Tom Sinclair, “Christopher Walken: Catch Me If You Can,”
Entertainment Weekly, February 21, 2003, 45. www.find.galegroup.com.
13. Quoted in Catch Me If You Can, “Bonus Features.” DVD, directed by
Steven Spielberg. Universal City, CA: Dreamworks Home Entertainment,
2002.
14. Quoted in Chris Hewitt, “Spielberg’s The Terminal: Pay Attention to
the Nuts,” Saint Paul Pioneer Press (via Knight-Ridder/Tribune News Service),
June 14, 2004. www.infotrac.galegroup.com.
15. Ibid.
16. Ibid.
17. Ibid.
18. David Denby, “Wanderers: The Current Cinema,” New Yorker, July 5,
2004, 99–101. www.proquest.umi.com.
19. Philip Wuntch, “The Terminal,” Dallas Morning News (via Knight-Ridder/
Tribune News Service), June 15, 2004. www.infotrac.galegroup.com.
20. Owen Gleiberman, Review of Munich, Entertainment Weekly, January 17,
2006. www.ew.com.
21. Carina Chocano, “Movies: The Director’s Art: To think like the masters;
For Steven Spielberg, it takes a vicious alien attack to restore dad as the head of
the family,” Los Angeles Times, July 10, 2005, E1. www.proquest.umi.com.
22. Quoted in Chocano.
23. Anthony L. Cuaycong, “Courtside,” BusinessWorld Manila, July 1, 2005, 1.
www.proquest.umi.com.
24. Soren Andersen, “War wins some battles: Steven Spielberg’s take on H. G.
Wells’s War of the Worlds is effectively scary but breaks no new ground,” The News
Tribune (Tacoma, WA), July 1, 2005, South Sound Edition, F24. www.proquest.
umi.com.
25. Quoted in “We are not alone,” Special Features, War of the Worlds DVD,
directed by Steven Spielberg. 2-disc limited edition. Universal City, CA: Dream-
Works Home Entertainment. 2005.
26. Quoted in Sean Smith, “The King of the World, Spielberg talks about
movies, terror and wonder, and why the Oprah thing bothered him—but only a
little,” Newsweek, June 27, 2005, 58. www.infotrac.galegroup.com.
27. Quoted in “We are not alone.”
28. Ibid.
29. Shyam G. Menon, “War of the Worlds—a great spectacle,” Businessline,
Chennai, July 1, 2005, 1. www.proquest.umi.com.
30. Gleiberman.
31. Ibid.
32. Joe Morgenstern, “Spielberg Comes Home; In Intense War of the Worlds,
Family Values Trump Effects; Cruise and Dakota Fanning Anchor a Surprisingly
Human Drama; Beat Reinvents a Cult Classic,” Wall Street Journal, Weekend
Journal, Eastern Edition, July 1, 2005, W1. www.proquest.com.
33. “We are not alone.”
34. Quoted in “We are not alone.”
35. Ibid.
36. A. O. Scott, “The Boys of Summer: 30 Years Later,” The New York Times,
late edition, East Coast, July 10, 2005, 2.18. www.proquest.umi.com.
37. Morgenstern.
38. USA Today, “Some of Jon Stewart’s Oscar Lines,” March 5, 2006. www.
azcentral.com/, accessed Aug 25, 2006.
39. Rachel Abramowitz, “War over, Spielberg moves on; As his blockbuster
takes theaters, he’s wrapped up in the aftermath of the ’72 Munich killings,”
Los Angeles Times, July 1, 2005, E1. www.proquest.umi.com.
40. David M. Halbfinger, “Next: Spielberg’s Biggest Gamble,” The New York
Times, July 1, 2005, E1. www.proquest.umi.com.
41. Moira Macdonald, “Munich: A story of murder and unfathomable ven-
geance,” Seattle Times, December 23, 2005. www.seattletimes.newsource.com.
90 STEVEN SPIELBERG
42. Munich Web site, www.munichmovie.com (accessed March 11, 2006).

43. Gleiberman.
44. Ibid.
45. Ibid.
46. Roger Ebert, “Review of Munich,” December 23, 2005. www.rogerebert.
suntimes.com.
Chapter 8
AWARDS AND FAME,

GOOD WORKS, FUTURE
PROJECTS, ACCLAIM
AWARDS
Steven Spielberg has been a major motion picture force since the re-
lease of Jaws in 1975. In 2006, both Munich and War of the Worlds were
nominated for a total of eight Academy Awards. Although neither
movie won an Oscar, eight of Spielberg’s movies have received a total
of 28 Academy Awards: Jaws, Close Encounters of the Third Kind, Raid-
ers of the Lost Ark, E.T. the Extra-Terrestrial, Indiana Jones and the Last
Crusade, Jurassic Park, Schindler’s List, and Saving Private Ryan. He has
also directed nine actors in Oscar-nominated performances, although
none has yet to win under his watch: Liam Neeson, Ralph Fiennes,
Anthony Hopkins, Tom Hanks, Melinda Dillon, Whoopi Goldberg,
Oprah Winfrey, Margaret Avery, and Christopher Walken. And when
the American Film Institute (AFI) chose its top 100 movies, five of
Spielberg’s made the top 75: Schindler’s List (#9), E.T. the Extra-Terrestrial
(#25), Jaws (#48), Raiders of the Lost Ark (#60), and Close Encounters of
the Third Kind (#64).
Spielberg himself has received numerous awards, including, in 1998,
“the Bundesverdienstkreuz mit Stern (the highest civil distinction the Fed-
eral Republic of Germany has to give away) for his sensible representation
of Germany’s history in his movie Schindler’s List (1993).”1 In 2004, he
was made a knight of the Legion of Honor of France by President Jacques
Chirac and also received the Cavaliere di Gran Croce, Italy’s highest
award, “for his work to preserve Holocaust history through his films.”2 In
May 2005, he was inducted into the Science Fiction Museum and Hall of
92 STEVEN SPIELBERG
Fame (SFM) in Seattle, Washington. In July 2006, he was honored at the

42nd Chicago International Film Festival with the Gold Hugo Lifetime
Achievement Award “in recognition of his outstanding 33-year career in
the film industry.”3 On November 20, 2006, in New York City, he re-
ceived the International Emmy Founders Award at the 34th International
Emmy Awards Gala. This award “is presented for outstanding work that
crosses cultural boundaries and reflects the commonality of the human
experience.”4 He ended 2006 by being honored on December 26 at the
Kennedy Center Celebration of the Performing Arts.
FAME
Steven Spielberg’s very name is used to exemplify movies, power, and
wealth. Dominic Wills, Tiscali Entertainment, even wrote that “Spielberg
is now a kind of cinematic brand-name.”5 An online Business Week article
used him to show the desirability of the RX 400h Lexus: “You’ve gotta
figure Steven Spielberg can afford to buy any kind of car he pleases. So,
it says something that he and many other Hollywood luminaries have
rushed out to buy the new Lexus RX 400h . . .”6 In a feature about ex-
pensive cowboy boots at www.forbes.com, Neal Santelmann writes that
John Williams ordered a pair of boots for Spielberg—with inlaid color
images of Spielberg, his wife, and their seven children. Charlotte Observer
critic Lawrence Toppman writes about a documentary about Hurricane
Katrina: “She had more impact than any Hollywood power players, from
George Lucas to Steven Spielberg . . .”7 And it is almost impossible to
watch much television without seeing spoofs of Spielberg’s work. More
than 100 shows are listed as doing so at www.imdb.com. A Daily News
Tribune Web site article tells of Amon Shorr, a young moviemaker who
helped found the SurDeis Film Festival. Shorr became enamored with
movies when he was 10 years old and saw Jurassic Park. “It was the first
time I realized where movies come from,” he said.8 Like Spielberg, Shorr
began making films when he was in the eighth grade with his father’s
camera. He is just one of the people Spielberg has inspired. Another
person Spielberg has influenced is especially important to him—his son
with Amy Irving, Max, who is now 21. Max has worked as a designer
for the movie Trespasser (1998), a miscellaneous crew member for The
Rage: Carrie 2 (1999), and an actor in Catch Me If You Can (2002).
When he was 17, he attended a filmmaking workshop run by the New
York Film Academy and wrote, produced, directed, shot, and edited his
first movie, Snap Shot. (The movie is not expected to be released to the
public.)
AWARDS AND FAME 93
DOWNSIDE OF FAME
Being successful can create expensive, disagreeable, and even night-
marish situations. In addition to those in the media who are handsomely
paid to stalk celebrities, there are numerous individuals and Web sites
devoted to spotting them and telling the world where they were and what
they were doing. Spielberg was even stalked by a man who threatened to
rape him. Although the man was sentenced to 25 years to life, the direc-
tor is now forced to maintain tight security wherever he goes. And there
are other problems. After Spielberg and DreamWorks acquired the movie
rights to a new novel, How Opal Mehta Got Kissed, Got Wild and Got A
Life, by Kaavya Viswanathan, they found out in 2006 that the work was
plagiarized from another book. Then there was the very successful tele-
vision mini-series, Into the West, which Spielberg produced for TNT in
2005. Not only did some of the Native American extras file complaints
against DreamWorks, saying that they had endured hardship conditions,
but in 2006, the father of one of the girls filed a $325,000 lawsuit against
Turner Films and the movie’s hairstylist saying that his daughter’s hair was
cut, which went against tribal customs.
Success also breeds jealousy. Spielberg is often thought of as being
“aloof,” “demanding,” and even “vaguely unpleasant.”9 But for those who
know him well, these are just the rants of people who are envious or who
do not know him personally. “I’m not a bully,” he says, “and I don’t give
orders. I’m very collaborative, but what I try to do is inspire in people who
are collaborating that they’ve got to collaborate with me better than they
have ever collaborated with anybody before. And so in that sense I’m
demanding. I expect the best of anybody who works here.”10 Producer and
friend Kathleen Kennedy says that much of the criticism is because he is
impatient. He thinks so far ahead that everyone else seems to lag behind.
Because of this, he demands that his crew does exactly what he says so no
time is wasted and he does not lose the vision in his head. Kennedy also
thinks that Spielberg has trouble communicating his feelings and trusting
people and wonders if part of it is a desire to be alone with his creative
side, in which he is most comfortable.
GOOD WORKS
Along with his numerous film awards, Spielberg has been recognized
for his philanthropic work. Even before Jaws, he gave the contest awards
and net proceeds from his home movies to charities and his high school.
When he began making really big money, he began making really big
94 STEVEN SPIELBERG
contributions. In 1985, he donated $100,000 to the Planetary Society for

its Mega-channel Extraterrestrial Assay system that Harvard’s telescope
uses “to detect radio signals from distant civilizations.”11 He also serves on
its board of directors. His donation to pediatric medicine at the Cedars-
Sinai Medical Center in West Hollywood was so significant that there is
now a Steven Spielberg Pediatric Research Center in the Steven Spielberg
Building. He gave the University of Southern California the money to
create a scoring stage for “first-time producers, writers, and directors inter-
ested in furthering their understanding of film.”12 In 2003, he and his wife,
Kate Capshaw, bought eight acres of land in Brentwood, California, to
save it from commercial development. It was given to the Sullivan Canyon
Preservation Association so residents can continue to exercise their horses
there. In 1999, Spielberg received the first David Yurman Humanitarian
Award. The award is a bronze sculpture of an angel and was given to the
director as recognition of his work in the arts and his contributions to
society. The award was presented at the GQ Magazine Men of the Year
Awards in New York. The sculpture’s designer, David Yurman, designs
such awards to raise money for charities, and then he and his wife donate
a portion of their proceeds back to charities. To help with the recovery in
New Orleans after Hurricane Katrina hit there in 2005, Spielberg donated
$1.5 million. He gave the same amount to help those suffering from the
tsunami that hit Indonesia in December 2004. The philanthropic ven-
tures of which he is most proud are offshoots of Schindler’s List: The Shoah
Foundation (see chapter 5) and the Righteous Persons Foundation. The
second one is funded by receipts from the movie, and so far $37 million
has gone to Holocaust and Jewish-community projects.
When a much younger Spielberg met Steven J. Ross, a former chair-
man of Time Warner, Ross became a father figure and remained so until
his death in 1992. Before meeting him, Spielberg had made donations,
but always with his name attached. Ross showed him that it was more
gratifying to give without recognition. He got the same message from his
rabbi, who told him that giving to get recognition “goes unrecognized by
God.”13 Ever since, Spielberg still gives, but wants recognition only if it
will help the charity get more contributions. One such charity is Star-
light Starbright Children’s Foundation, of which he is Foundation Chair-
man Emeritus. Formerly two separate foundations, the two merged in July
2004. Spielberg was a co-founder of the Starbright Foundation and in
2005 was recognized for his “tremendous impact on the lives of seriously
ill children and their families.”14 The foundation is all about helping seri-
ously ill children and their families “through imaginative programs that
educate, uplift their spirits, foster a sense of community and help alleviate
AWARDS AND FAME 95
the pain and fear of prolonged illness.”15 The 2005 dinner and auction
raised $1.5 million. Spielberg has gotten other big names, such as Norman
Schwarzkopf and Troy Aikman, to invest time and money in this orga-
nization. Regarding Starbright’s work, Spielberg says, “It’s not just about
entertainment; it’s unleashing the power of entertainment and emerging
technologies to develop new tools to help these kids heal!”16 In May 2006,
Forbes announced its list of the most generous celebrities. Spielberg, Oprah
Winfrey, and Angelina Jolie topped the list.
FUTURE PROJECTS
In June 2005, Newsweek writer Sean Smith asked Spielberg about retir-
ing. Spielberg replied, “I’ve often asked myself that question, and my an-
swer comes back the same way every time: I love it. Being a moviemaker
means you get to live many, many lifetimes. It’s the same reason audiences
go to movies, I think. When my daughter Sasha was 5 years old, we would
be watching something on TV and she’d point to a character on screen
and say, ‘Daddy, that’s me.’ Ten minutes later a new character would come
on screen and she’d say, ‘No, Daddy. That’s me.’ Throughout the movie
she would pick different people to become. I think that’s what we all do.
We just don’t say it as sweetly.”17 Several years before that he had said that
he felt “driven to work on the projects that I want to work on. . . . The
minute I feel I have achieved my goals, then I’ll probably stop. But I don’t
know what my goals are. And I just love the work too much to lay back on
the laurels that other people bestow on me. . . . There are a lot of different
things I haven’t done yet.”18
And he appears to be doing them now. In Spring 2006, rumors were
going around that the director was taking a year off, yet within months
announcements came out that he is going into reality television with
The Apprentice producer Mark Burnett. Spielberg has always felt a duty
and desire to help new talent and says that this show will give him a
chance to do more. On the Lot will narrow down a nationwide search to
16 contestants. The 16 will be divided into two teams and each team will
produce a short movie in a designated genre each week with one person
working as director. The contestants will have professional writers, ac-
tors, and crew available to them. Judges will be a studio audience and a
panel that will include a movie executive and a film critic plus a weekly
guest. The judges will view the films and the audience will vote. The
film receiving the fewest votes will lose that week, and its director will
be eliminated from the program. Not only will the winner meet Steven
Spielberg, he/she will get his/her own office on the DreamWorks studio
96 STEVEN SPIELBERG
lot and a development deal. The show will be produced by Mark Burnett
Productions, DreamWorks Television, and Amblin Television.
Spielberg is also getting more involved in computer games, trying them
out and tweaking them. When he was shown a game that was a spin-off
from Jurassic Park and The Lost World, he told the designers not to make
it too bloody because it will bother the parents. But since he hates to
leave anyone with hurt feelings, he praised them for their work on one
of the dinosaurs. The game is based on his animated production, Small
Soldiers, and the related toys are doing well at the cash registers although
the film did not. In October 2005, Spielberg announced that he was
teaming with the Los Angeles office of Electronic Arts, Inc. (EALA) to
develop three games. (Electronic Arts is the offshoot of the DreamWorks
Interactive studio that was sold to Electronic Arts in 2000.) “Having
watched the game industry grow from a niche into a major creative force
in entertainment,” says Spielberg, “I have a great deal of respect for EA’s
understanding of the interactive format.”19 In March, 2006, the Gamasutra
Web site announced that the first of the games will have a World War II/
British Special Operations Executive (SOE) theme. EALA’s vice presi-
dent and general manager, Neil Young, says that their relationship with
Spielberg is “focused exclusively on producing original, new intellectual
property.”20 Spielberg keeps an office at EALA and is there every week.
“The thing that’s wonderful about him,” says Young, “is that he’s almost
egoless. He’s clearly reached the point where he just doesn’t need to do
anything other than just contribute creatively”21
Spielberg also worked with Pinnacle Systems, Inc., and the LEGO
Company to design the LEGO & Steven Spielberg MovieMaker Set,
which lets children bring their LEGO designs to life. The set includes
a PC Movie Camera, props, more than 400 LEGO pieces, and a book of
movie-making tips. According to the article released by the PR newswire
in November 2000, there are also guidance notes from Spielberg himself.
The product became available in U.S. stores November 1, 2000, and
worldwide in April 2001. In 2000, the product received the Best Interac-
tive Children’s Award and the Best Interactive Learning Award from the
British Academy of Film and Television Arts Interactive Entertainment
Awards.
In April 2006, it was announced that Spielberg and director Zhang Yimou
will co-design the opening and closing ceremonies for the 2008 Beijing
Olympics.
Spielberg is also one of the names behind the animated summer
2006 hit, Monster House. He is also working with Doris Kearns Goodwin
on a project about Abraham Lincoln that will star Liam Neeson; and
AWARDS AND FAME 97
he is producing Transformers, a much-anticipated movie to come out the

summer of 2007. He is also producing Clint Eastwood’s next movies, Red
Sun, Black Sand (aka Letters from Iwo Jima) and Flags of Our Fathers. Red
Sun, Black Sand is described as “the Japanese companion piece”22 to Flags
of Our Fathers. It will be shot entirely in Japanese.
As for the long-awaited Indiana Jones and Jurassic Park sequels, they
are both in the pre-production stages as of fall 2006. Harrison Ford will
star as the aging Indy and has suggested that Virginia Madsen be his lead-
ing lady. Otherwise, there are rumors galore: Sean Connery will return
as Indy’s father; Natalie Portman will play Indy’s daughter; and previous
Indy heroines, Karen Allen and Kate Capshaw, will have cameos. Spielberg
will direct and George Lucas and Frank Marshall will produce. As for Jurassic
Park IV, since it is expected to be in production at the same time as the Indy
movie, Spielberg will likely be producer only.
ACCLAIM
“What separates Spielberg from lesser directors,” writes Cindy White
for scifi.com, “is the attention to detail.”23 Spielberg has “directed, pro-
duced, or executive produced seven of the thirty top-grossing films of all
time . . .”24 writes the Broadway World News Desk. He has received the
Fellowship of the Academy Award from the British, an award previously
given only to Alfred Hitchcock, Charlie Chaplin, and David Lean. In
1995, he was honored by AFI with the Life Achievement Award. Their
tribute address reads in part, “The youngest recipient of this award, Spielberg
is one of the finest talents of his generation and the most commercially
successful filmmaker in the history of the cinema.”25 Also in 1995, he re-
ceived the John Huston Artists Rights Award for contributions to artists’
rights and his work to prevent film alteration. He topped Alfred Hitch-
cock in 1999, when an Entertainment Weekly poll named him the best
director of the twentieth century. In 2001, he was made a Knight of the
Order of the British Empire (KBE) by the Queen for his contribution to
the British film industry. In November of that year, he accepted the 10th
Annual Britannia Award from the British Academy of Film & Televi-
sion Arts in Los Angeles (BAFTA L.A.). Since the award was renamed
the Stanley Kubrick Britannia for Excellence in Film that year, BAFTA.
LA wanted Spielberg to be its first recipient. He received the award from
Prince Andrew, the Duke of York. In June 2005, he was voted “cinema’s
greatest director”26 by the readers of Britain’s Empire magazine. This put
him one notch above the British-born Hitchcock. In his biography of the
director, John Baxter writes, “His mastery of cinema technology . . . is
98 STEVEN SPIELBERG
innate and effortless, his innocent flair and enjoyment disguising the com-
plexities of what he knows.”27 When he accepted the Gold Hugo Award
from his pal, Tom Cruise, on July 15, 2006, Spielberg said, “Every time
I go to something like this, it really reminds me that I haven’t made my
Lawrence of Arabia yet—I haven’t made my Grapes of Wrath yet. It makes
me hungry. I will go home from this with a healthy appetite to keep work-
ing.”28 Considering the movies that Steven Spielberg has made, it is hard
to imagine that the best may still be to come.
NOTES
1. International Movie Database, “Biography for Steven Spielberg,” www.
imdb.com (accessed Sept 22, 2005).
2. BBC News, “Spielberg honoured at Rome Awards,” April 15, 2004, www.
newsvote.bbc.co.uk.
3. Hollywood.com, “Spielberg to Receive Lifetime Achievement Award,”
May 10, 2006, www.hollywood.com.
4. WorldScreen.com, “Spielberg to Receive International Emmy Founders
Award,” New York, April 24, 2006, www.worldscreen.com.
5. Dominic Wills, “Steven Spielberg Biography,” December 15, 2005, www.
tiscali.co.uk.
6. Thane Peterson, “Hybrid Heaven in a Lexus,” Business Week Online
Reviews, March 8, 2006, www.businessweek.com.
7. Lawrence Toppman, “Nature will take film fest by storm,” Charlotte Observer,
April 2, 2006, www.thestate.com.
8. Quoted in Christopher Rocchio, “Pursuing a dream: City native founded
SurDeis Film Festival,” Daily News Tribune, April 4, 2006, www.dailynewstribune.
com.
9. Quote in Frank Sanello, Spielberg: The Man, The Movies, The Mythology
10. Quote in Sanello, 175.
11. Derrick Feldmann, “Steven Spielberg,” Graduate paper. The Center on
Philanthopy at Indiana University, 2005.
12. Feldmann.
13. Quoted in Stephen J. Dubner, “Steven the Good,” The New York Times
Magazine, February 14, 1999, reprinted in Steven Spielberg Interviews, Lester
2000), 234.
14. CSR Wire, “Starlight Starbright Children’s Foundation Announces Gala
Event Honoring Chairman Emeritus Steven Spielberg, March 17, 2005, www.
csrwire.com.
15. Ibid.
16. Quoted in Feldmann.
AWARDS AND FAME 99
17. Quoted in Sean Smith, “The King of the World: Spielberg talks about
movies, terror and wonder, and why the Oprah thing bothered him—but only a
little,” Newsweek, June 27, 2005, 58, www.infotrac.galegroup.com/.
18. Quoted in Peter Biskind, “A World Apart,” Premiere, May 1997, re-
printed in Steven Spielberg Interviews, Lester D. Friedman and Brent Notbohm,
19. Quoted in Etonline.com, “Steven Spielberg’s Got Game,” October 14,
2005, www.et.tv.yahoo.com/.
20. Quoted in Brandon Sheffield, “EALA’s Neil Young on Emotion, IP, and
Overtime,” Gamasutra Features, May 22, 2006, www.gamasutra.com/.
21. Quoted in Sheffield.
22. Quoted in Stax, “Ra’s Seeing Red: Watanabe, Clint team up,” IGN Film
Force. March 10, 2006, www.filmforce.ign.com/articles.
23. Cindy White, “Review of Minority Report,” www.scifi.com/.
24. BWW News Desk, “Steven Spielberg to Remake Mary Poppins Film?”
www.broadwayworld.com/.
25. American Film Institute, “Steven Spielberg: Life Achievement Award
1995 Tribute Address,” 1995, www.afi.com/, accessed April 4, 2006.
26. UPI News Track, “Spielberg voted top director,” United Press Interna-
tional, June 2, 2005, www.infotrac.galegroup.com/.
27. John Baxter, Steven Spielberg, The Unauthorised Biography (London:
HarperCollins, 1996), 7.
28. Quoted in Stephen M. Silverman, “Tom Cruise Surprises Steven Spielberg,”
July 17, 2006, www.people.aol.com/.
APPENDIX A
FILMS DIRECTED BY STEVEN SPIELBERG

1. Interstellar (projected 2009)
2. Team of Rivals (aka Lincoln Biopic) (projected 2008)
3. Indiana Jones 4 (projected 2008)
4. Munich (2005)
5. War of the Worlds (2005)
6. The Terminal (2004)
7. Catch Me If You Can (2002)
8. Minority Report (2002)
9. A.I. Artificial Intelligence (2001)
10. The Unfinished Journey (1999)
11. Saving Private Ryan (1998)
12. Amistad (1997)
13. The Lost World Jurassic Park (1997)
14. Steven Spielberg’s Director’s Chair (1996) (VG)
15. Schindler’s List (1993)
16. Jurassic Park (1993)
17. Amazing Stories: Book One (1992) (V) (segment “The Mission”)
18. Hook (1991)
19. The Visionary (1990) (V) (segment “Par for the Course”)
20. Always (1989)
21. Indiana Jones and the Last Crusade (1989)
22. Empire of the Sun (1987)
102 APPENDIX A
23. The Color Purple (1985)
24. Amazing Stories
“The Mission” (1985) TV Episode
“Ghost Train” (1985) TV Episode
25. Indiana Jones and the Temple of Doom (1984)
26. Twilight Zone The Movie (1983) (segment 2)
27. E.T. the Extra-Terrestrial (1982)
28. Raiders of the Lost Ark (1981)
29. 1941 (1979)
30. Close Encounters of the Third Kind (1977)
31. Jaws (1975)
32. The Sugarland Express (1974)
33. Savage (1973) (TV)
34. Something Evil (1972) (TV)
35. Duel (1971) (TV)
36. Owen Marshall: Counselor at Law
“Eulogy for a Wide Receiver” (1971) TV Episode
37. Columbo: Murder by the Book (1971) (TV)
38. The Psychiatrist
“Par for the Course” (1971) TV Episode
“The Private World of Martin Dalton” (1971) TV Episode
39. The Name of the Game
“Los Angeles 2017” (1971) TV Episode
40. Night Gallery
“Make Me Laugh” (1971) TV Episode
41. Marcus Welby, M.D.
“The Daredevil Gesture” (1970) TV Episode
42. Night Gallery (1969) (TV) (segment “Eyes”)
43. Amblin’ (1968)
44. Firelight (1964)
45. Escape to Nowhere (1962)
46. Fighter Squad (1960)
47. The Last Gun (1958)
Source: www.imdb.com, “Steven Spielberg,” accessed December 6, 2006.

APPENDIX B
FILMS PRODUCED BY STEVEN SPIELBERG

There are many films produced by the Amblin and DreamWorks SKG
studios that were not personally produced by Mr. Spielberg. They are not
listed here.
There are also Spielberg-produced episodes of the animated programs
that are not listed here.
1. The Talisman (executive producer)

2. Interstellar (producer) (projected 2009)
3. Disturbia (2007) (executive producer)
4. The Pacific War (mini) TV Series (executive producer)
5. Jurassic Park IV (pre-production) (executive producer)
6. Nine Lives (2007) (mini) TV Series (executive producer)
7. On the Lot (2007) TV Series (executive producer)
8. When Worlds Collide (2008) (producer)
9. Team of Rivals (aka Lincoln Biopic) (projected 2008) (producer)
10. Transformers (2007) (executive producer)
11. Flags of Our Fathers (2006) (producer)
12. Letters from Iwo Jima (aka Red Sun, Black Sand) (2006) (producer)
13. Spell Your Name (2006) (executive producer)
14. Monster House (2006) (executive producer)
15. Munich (2005) (producer)
16. Memoirs of a Geisha (2005) (producer)
17. The Legend of Zorro (2005) (executive producer)
104 APPENDIX B
18. Into the West (2005) (mini) TV Series (executive producer)

19. The Terminal (2004) (producer)
20. Voices from the List (2004) (V) (executive producer)
21. Catch Me If You Can (2002) (producer)
22. Taken (2002/I) (mini) TV Series (executive producer)
23. Men in Black II (2002) (executive producer)
24. Band of Brothers (2001) (mini) TV Series (executive producer)
25. Jurassic Park III (2001) (executive producer)
26. A.I. Artificial Intelligence (2001) (producer)
27. Saving Private Ryan (1998) (producer)
28. The Mask of Zorro (1998) (executive producer)
29. Deep Impact (1998) (executive producer)
30. Amistad (1997) (producer)
31. Men in Black (1997) (executive producer)
32. The Lost Children of Berlin (1997) (executive producer)
33. Twister (1996) (executive producer)
34. Survivors of the Holocaust (1996) (TV) (executive producer)
35. Balto (1995) (executive producer)
36. Pinky and the Brain (1995) TV Series (executive producer)
37. Tiny Toon Adventures: Night Ghoulery (1995) (TV) (executive
producer)
38. Casper (1995) (executive producer)
39. A Pinky & the Brain Christmas Special (1995) (TV) (executive
producer)
40. ER (1994) TV Series (executive producer) (1994)
41. The Flintstones (1994) (executive producer) (as Steven Spielrock)
42. “I’m Mad!” (1994) (executive producer) (Animaniacs short
feature)
43. “Tiny Toon Adventures: Spring Break Special” (1994) (TV)
(executive producer)
44. “Tiny Toons Spring Break” (1994) (TV) (executive producer)
45. “Yakko’s World: An Animaniacs Singalong” (1994) (V) (ex-
ecutive producer)
46. SeaQuest DSV (1993) TV Series (executive producer) (1993–
1995)
47. Schindler’s List (1993) (producer)
48. We’re Back! A Dinosaur’s Story (1993) (executive producer)
49. Animaniacs (1993) TV Series (executive producer)
50. Class of ’61 (1993) (TV) (executive producer)
51. SeaQuest DSV (1993) (TV) (executive producer)
APPENDIX B 105
52. “It’s a Wonderful Tiny Toons Christmas Special” (1992) (TV)

(executive producer)
53. “Tiny Toon Adventures: How I Spent My Vacation” (1992)
(V) (executive producer)
54. An American Tail: Fievel Goes West (1991) (producer)
55. Tiny Toon Adventures (1990) TV Series (executive producer)
56. Arachnophobia (1990) (executive producer)
57. Gremlins 2: The New Batch (1990) (executive producer)
58. Back to the Future Part III (1990) (executive producer)
59. Joe Versus the Volcano (1990) (executive producer)
60. Always (1989) (producer)
61. Back to the Future Part II (1989) (executive producer)
62. Dad (1989) (executive producer)
63. The Land Before Time (1988) (executive producer)
64. Who Framed Roger Rabbit (1988) (executive producer)
65. *batteries not included (1987) (executive producer)
66. Empire of the Sun (1987) (producer)
67. Innerspace (1987) (executive producer)
68. Amazing Stories (executive producer)
69. An American Tail (1986) (executive producer)
70. The Money Pit (1986) (executive producer)
71. Young Sherlock Holmes (1985) (executive producer)
72. Back to the Future (1985) (executive producer)
73. The Goonies (1985) (executive producer)
74. Gremlins (1984) (executive producer)
75. Twilight Zone The Movie (1983) (producer)
76. Poltergeist (1982) (producer)
77. E.T. the Extra-Terrestrial (1982) (producer)
78. Continental Divide (1981) (executive producer)
79. Used Cars (1980) (executive producer)
80. I Wanna Hold Your Hand (1978) (executive producer)
APPENDIX C
AWARDS
1962 Arizona Amateur Film Festival, First Prize, Escape to Nowhere
1973 Avoriaz (France) Fantastic Film Festival, Grand Prize, Duel
(1971) (TV)
1974 Cannes Film Festival, Best Screenplay, The Sugarland Express
(1974) (Shared with Hal Barwood & Matthew Robbins)
1978 Academy of Science Fiction, Fantasy & Horror Films, USA,
Saturn Award, Best Director, Close Encounters of the Third Kind
(1977) (Tied with George Lucas Star Wars [1977])
1982 ShoWest Convention, USA, Director of the Year
1982 Los Angeles Film Critics Association Awards (LAFCA), Best Direc-
tor, E.T. the Extra-Terrestrial (1982)
1982 Saturn, Best Director, Raiders of the Lost Ark (1981)
1982 American Movie Awards’ Marquee Award, Best Director, Raiders
of the Lost Ark (1981)
1982 Kinema Junpo Awards, Readers’ Choice Award, Best Foreign
Language Film, Raiders of the Lost Ark (1981)
1982 Boston Society of Film Critics Awards (BSFC), Best Director,
Raiders of the Lost Ark (1981)
E.T. the Extra-Terrestrial (1982)
1983 National Society of Film Critics Awards, USA (NSFC), Best
Director, E.T. the Extra-Terrestrial (1982)
108 APPENDIX C
1983 Kinema Junpo Awards, Best Foreign Language Film, E.T. the
Extra-Terrestrial (1982)
1983 Kinema Junpo Awards, Readers’ Choice Award, Best Foreign
Language Film, E.T. the Extra Terrestrial (1982)
1983 France’s Cesar Awards’ Honorary Cesar
1983 Harvard University’s Hasty Pudding Theatricals, USA, Man of
the Year
1983 David di Donatello Awards (Italy), David, Best Director of a For-
eign Film, E.T. the Extra-Terrestrial (1982)
1983 Kansas City Film Critics Circle (KCFCC), Best Director, E.T.
the Extra-Terrestrial (1982)
1983 Fotogramas de Plata Best (Spain), Foreign Film, E.T. the Extra-
Terrestrial (1982)
1983 Blue Ribbon Award (Japan), Best Foreign Language Film, E.T.
the Extra-Terrestrial (1982)
1984 Giffoni Film Festival (Italy), Nocciola d’Oro Award
1986 Directors Guild of America, USA Award (DGA), Outstand-
ing Directorial Achievement in Motion Pictures, The Color
Purple (1985) (Shared with Gerald R. Molen, unit production
manager; Pat Kehoe, first assistant director; Richard A. Wells,
first assistant director; Victoria E. Rhodes, second assistant
director.)
1986 British Academy of Film and Television Arts Awards (BAFTA)
Academy Fellowship
1986 Kansas City Film Critics Circle (KCFCC) Award, Best Director,
The Color Purple (1985)
1987 Blue Ribbon Award (Japan), Best Foreign Language Film, The
Color Purple (1985)
1987 National Board of Review, USA Award (NBR), Best Director,
Empire of the Sun (1987)
1987 The Academy of Motion Picture Arts and Sciences (Academy
Awards), Irving G. Thalberg Memorial Award
1988 Kansas City Film Critics Circle Award (KCFCC), Best Director,
Empire of the Sun (1987)
1989 American Cinematheque Award (California)
1990 Retirement Research Foundation, USA, Wise Owl Award, Tele-
vision and Theatrical Film Fiction, Dad (1989) (Shared with
Gary David Goldberg, Joseph Stern, Kathleen Kennedy, Frank
Marshall)
1990 American Cinema Editors, USA, Golden Eddie, Filmmaker of
the Year Award
APPENDIX C 109
1991 Daytime Emmy, Outstanding Animated Program, Tiny Toon Ad-

ventures (1990) (Shared with Tom Ruegger, senior producer; Ken
Boyer, director; Art Leonardi, director; Art Vitello, director; Paul
Dini, story editor; Sherri Stoner, writer)
1993 Venice Film Festival, Career Golden Lion
Schindler’s List (1993)
1993 Daytime Emmy, Outstanding Animated Program, Tiny Toon
Adventures (1990) (Shared with Tom Ruegger, senior producer;
Sherri Stoner, writer; Rich Arons, director; Byron Vaughns,
director; Ken Boyer, director; Alfred Gimeno, director; David
West, director)
Awards), Best Director Oscar, Schindler’s List (1993)
Awards), Best Picture Oscar Schindler’s List (1993) (Shared with
Gerald R. Molen & Branko Lustig)
1994 Hochi Film Awards (Japan), Best Foreign Language Film,
1994 Dallas-Fort Worth Film Critics Association Awards (DFWFCA),
Best Director, Schindler’s List (1993)
1994 Chicago Film Critics Association Awards (CFCA), Best
Director, Schindler’s List (1993)
1994 Amanda Awards (Norway), Best Foreign Feature Film, Schindler’s
List (1993)
1994 Czech Lions, Best Foreign Language Film, Jurassic Park (1993)
1994 Mainichi (Japan) Film Concours, Reader’s Choice Award, Best
Foreign Language Film, Jurassic Park (1993)
1994 Directors Guild of America, USA (DGA), Outstanding Direc-
torial Achievement in Motion Pictures, Schindler’s List (1993)
(Shared with Branko Lustig, unit production manager; Sergio
Mimica-Gezzan, first assistant director; Michael Helfand, second
assistant director)
1994 The National Society of Film Critics Awards, USA (NSFC),
Best Director, Schindler’s List (1993)
1994 Academy of Science Fiction, Fantasy & Horror Films, USA, Sat-
urn Award, Best Director, Jurassic Park (1993)
Saturn Award, President’s Award
110 APPENDIX C
1994 British Academy of Film and Television Arts Awards (BAFTA),

Best Film, Schindler’s List (1993) (Shared with Gerald R. Molen &
Branko Lustig)
1994 British Academy of Film and Television Arts Awards (BAFTA),
David Lean Award, Direction, Schindler’s List (1993)
1994 Blue Ribbon Award (Japan), Best Foreign Language Film, Jurassic
Park (1993)
1994 American Society of Cinematographers, USA, Board of the
Governors Award
1994 Producers Guild of America (PGA), Motion Picture Producer
of the Year, Schindler’s List (1993) (Shared with Branko Lustig &
Gerald R. Molen)
1994 Young Artist Awards, Jackie Coogan Award
1994 Golden Globes, Best Director of a Motion Picture, Schindler’s List
(1993)
1994 ShoWest Convention, USA, Director of the Year
1995 Society of Camera Operators, Governors Award
1995 American Film Institute, USA (AFI), Lifetime Achievement
Award
1995 Mainichi Film Concours (Japan), Reader’s Choice Award, Best
Foreign Language Film, Schindler’s List (1993)
1995 Kinema Junpo Awards (Japan), Reader’s Choice Award, Best
Foreign Language Film, Schindler’s List (1993)
1995 London Critics Circle Film Awards (ALFS), Director of the Year,
1996 Daytime Emmy Awards, Outstanding Animated Program (Pro-
gramming One Hour or Less), A Pinky & the Brain Christmas
Special (1995) (TV) (Shared with Tom Ruegger, senior producer;
Peter Hastings, producer/writer; Rusty Mills, producer/director)
1997 Daytime Emmy Awards, Outstanding Special Class Animat-
ed Program, Freakazoid! (1995) (Shared with Tom Ruegger,
senior producer; Rich Arons, producer; John P. McCann, pro-
ducer/writer; Paul Rugg, producer/writer; Mitch Schauer,
producer; Ronaldo Del Carmen, director; Jack Heiter,
director; Scott Jeralds, director; Eric Radomski, director;
Dan Riba, director; Peter Shin, director)
1998 Bundesverdienstkreuz mit Stern (Federal Cross of Merit), Federal
Republic of Germany
1998 Las Vegas Film Critics Society Awards, Sierra Award, Best
Director, Saving Private Ryan (1998)(Tied with Roberto Benigni
Vita è bella, La [1997])
APPENDIX C 111
1998 Toronto Film Critics Association Awards (TFCA), Best Director,

Saving Private Ryan (1998)
1998 Producers Guild of America (PGA), Vision Award, Amistad
(1997) (Shared with Debbie Allen & Colin Wilson)
1998 Rembrandt Awards (Netherlands), Audience Award, Best
Director, The Lost World Jurassic Park (1997)
1999 Directors Guild of America, USA Award (DGA), Outstanding
Directorial Achievement in Motion Pictures, Saving Private Ryan
(1998) (Shared with Mark Huffam, production manager; Sergio
Mimica-Gezzan, first assistant director; Adam Goodman, second
assistant director; Karen Richards, second second assistant
director)
1999 Distinguished Public Service Award, the U.S. Navy’s highest
civilian honor
1999 Italian National Syndicate of Film Journalists, Silver Ribbon,
Best Director of a Foreign Film, Saving Private Ryan (1998)
1999 Daytime Emmy Awards, Outstanding Special Class Animated
Program, Pinky and the Brain (1995) (Shared with Tom Ruegger,
senior producer; Rusty Mills, supervising producer/director; Liz
Holzman, producer/director; Charles M. Howell IV, producer/
writer; Gordon Bressack, writer; Jed Spingarn, writer; Wendell
Morris, writer; Tom Sheppard, writer; Earl Kress, writer; Andrea
Romano, director; Russell Calabrese, director; Kirk Tingblad,
director; Mike Milo, director; Nelson Recinos, director; Charles
Visser, director)
1999 Daytime Emmy Awards, Outstanding Children’s Animated
Program, Pinky, Elmyra & the Brain (1998) (Shared with Tom
Ruegger, senior producer; Rusty Mills, supervising producer/
director; Liz Holzman, producer/director; Charles M. Howell
IV, producer/writer; John P. McCann, producer/writer; Wendell
Morris, writer; Tom Sheppard, writer; Gordon Bressack, writer;
Douglas Langdale, writer; Kate Donahue, writer; Scott Kreamer,
writer; Andrea Romano, director; Nelson Recinos, director;
Russell Calabrese, director; Robert Davies, director)
1999 Online Film Critics Society Awards (OFCS), Best Director,
1999 Producers Guild of America (PGA), Golden Laurel Awards,
Motion Picture Producer of the Year, Saving Private Ryan (1998)
(Shared with Allison Lyon Segan, Bonnie Curtis, Ian Bryce,
Mark Gordon, and Gary Levinsohn)
1999 Producers Guild of America (PGA), Milestone Award
112 APPENDIX C
1999 Golden Globe, USA, Best Director of a Motion Picture, Saving

Private Ryan (1998)
1999 Southeastern Film Critics Association Awards (SEFCA), Best
Director, Saving Private Ryan (1998)
1999 UK’s Empire Award, Best Director, Saving Private Ryan (1998)
1999 Czech Lions, Best Foreign Language Film, Saving Private Ryan
(1998)
Awards), Best Director, Saving Private Ryan (1998)
1999 Best Director of the Twentieth Century, Entertainment Weekly poll
1999 Broadcast Film Critics Association Awards (BFCA), Best
Director, Saving Private Ryan (1998)
2000 Directors Guild of America, USA, Lifetime Achievement Award
2000 Producers Guild of America (PGA), Hall of Fame—Mo-
tion Pictures, E.T. the Extra-Terrestrial (1982) (Shared with
Kathleen Kennedy)
2000 NAACP Image Awards, Vanguard Award
2000 Daytime Emmy Awards, Outstanding Children’s Animated
Program, Pinky, Elmyra & the Brain (1998) (Shared with Tom
Ruegger, senior producer; Rusty Mills, supervising producer; John
P. McCann, producer/writer; Charles M. Howell IV, producer;
Tom Sheppard, writer; Wendell Morris, writer; Gordon Bressack,
writer; Earl Kress, writer; Andrea Romano, director; Robert Davies,
director; Nelson Recinos, director)
2001 British Academy of Film and Television Arts Los Angeles
(BAFTA LA), Britannia, Excellence in Film
2001 Venice Film Festival, Future Film Festival Digital Award, A.I.
Artificial Intelligence (2001)
2001 Knight of the Order of the British Empire (KBE)
2001 National Board of Review, USA, Billy Wilder Award
2002 Producers Guild of America (PGA), Golden Laurel Awards,
Television Producer of the Year in Longform, Band of Brothers
(2001) (mini) (Shared with Tom Hanks & Tony To)
2002 Hollywood Film Festival Award, Best Feature Film, Minority
Report
2002 Mainichi Film Concours (Japan), Reader’s Choice Award, Best
Foreign Language Film, A.I. Artificial Intelligence (2001)
Saturn, Best Writing, A.I. Artificial Intelligence (2001)
APPENDIX C 113
2002 Christopher Awards, Band of Brothers (2001) (mini) (Shared

with Phil Alden Robinson, director; Richard Loncraine, director;
Mikael Salomon, director; David Nutter, director; Tom Hanks,
director/writer/executive producer; David Leland, director;
David Frankel, director; Tony To, director/co-executive pro-
ducer; Erik Jendresen, writer; John Orloff, writer; E. Max Frye,
writer; Graham Yost, writer; Bruce C. McKenna, writer; Erik Bork,
writer; Mary Richards, producer; Stephen Ambrose, co-executive
producer; Gary Goetzman, co-executive producer)
2002 ShoWest Convention, USA, Lifetime Achievement Award
2002 Yale University, Honorary Doctor of Humane Letters
2002 Daytime Emmy Awards, Outstanding Mini-series, Band of Brothers
(2001) (mini), (Shared with Tom Hanks, executive producer;
Stephen Ambrose, co-executive producer; Gary Goetzman, co-
executive producer; Tony To, co-executive producer; Erik Bork,
supervising producer; Erik Jendresen, supervising producer; Mary
Richards, producer)
2003 Daytime Emmy Awards, Outstanding Mini-series, Taken (2002/
I) (mini) (Shared with Leslie Bohem, executive producer; Steve
Beers, co-executive producer; Darryl Frank, co-executive producer;
Joe M. Aguilar, co-executive producer; Richard Heus, producer)
2003 Academy of Science Fiction, Fantasy & Horror Films, USA, Sat-
urn Award, Best Director, Minority Report (2002)
2003 Empire Awards (UK), Best Director, Minority Report (2002)
2003 Star on the Walk of Fame at 6801 Hollywood Blvd. on January 10,
2003
2003 Broadcast Film Critics Association Awards (BFCA), Best Dir-
ector, Catch Me If You Can (2002) and Minority Report (2002)
2004 Tokyo International Film Festival, Akira Kurosawa Award
2004 Knight of the Legion of Honor of France
2004 David di Donatello Awards (Italy), Special David
2004 Cavaliere di Gran Croce, Italy
2005 Science Fiction Hall of Fame; Seattle, Washington, Inductee
2005 Empire Awards (UK), “Cinema’s greatest director”
2005 Washington D.C. Area Film Critics Association Awards (WAFCA),
Best Director, Munich (2005)
2006 Western Heritage Awards, Bronze Wrangler, Outstanding
Television Feature Film, Into the West (2005) (mini) (Shared with
Darryl Frank, producer; Justin Falvey, producer; David A. Rosemont,
producer; William Mastrosimone, producer/writer; Kirk Ellis,
producer/writer; Larry Rapaport, producer; Matthew Settle, actor;
114 APPENDIX C
Skeet Ulrich, actor; Tonantzin Carmelo, actor; Irene Bedard, ac-

tor; Michael Spears, actor; Zahn McClarnon, actor; Rachael Leigh
Cook, actor)
2006 Chicago International Film Festival, Gold Hugo, Lifetime
Achievement Award
2006 International Emmy Awards, International Emmy Founders
Award British Academy of Film and Television Arts Awards
(BAFTA), Academy Fellowship
2006 Art Directors Guild, Contribution to Cinematic Imagery
2006 Kansas City Film Critics Circle Awards (KCFCC), Best Director,
Munich (2005)
2006 Kennedy Center of Performing Arts, Kennedy Center Honor.
APPENDIX D
TOP-GROSSING FILMS: ALL-TIME WORLDWIDE

BOX-OFFICE RECORDS
RANK TITLE AND YEAR RELEASED GROSS DURING

THEATRICAL RUN
6 Jurassic Park, 1993 919,700,000
20 E.T. the Extra Terrestrial, 1982 756,700,000
30 Lost World Jurassic Park, 1997 614,300,000
32 War of the Worlds, 2005 591,377,056
45 Indiana Jones and the Last 494,800,000
Crusade, 1989
49 Saving Private Ryan, 1998 479,300,000
51 Jaws, 1975 470,600,000
83 Raiders of the Lost Ark, 1981 383,900,000
95 Jurassic Park III, 2001 362,900,000
100 Minority Report, 2002 358,000,000
122 Catch Me If You Can, 2002 337,400,000
126 Indiana Jones and the Temple 330,000,000
of Doom, 1984
134 Schindler’s List, 1993 321,200,000
150 Hook, 1991 300,800,000
154 Close Encounters of the Third 300,000,000
Kind, 1977
239 A.I. Artificial Intelligence, 2001 230,000,000
259 The Terminal, 2004 217,845,279
116 APPENDIX D
Per International Movie Database, August 27, 2006, www.imdb.com.

The table above includes movies that have grossed over $200 million
at the box office during their theatrical runs.
All amounts are in U.S. dollars and only include theatrical box office
receipts (movie ticket sales) and do not include video rentals, television
rights, and other revenues. Totals may include theatrical re-release re-
ceipts. Figures are not adjusted for inflation.
Note from the author: These are Steven Spielberg’s movies only. To put
these ratings in perspective, there were a total of 291 movies on the list.
APPENDIX E
CHARITABLE ORGANIZATIONS SUPPORTED

BY SPIELBERG
USC Shoah Foundation
Steve Klappholz
Vice President for Development
USC Shoah Foundation
Institute for Visual History and Education
Leavey Library
650 W. 35th Street, Suite 114
Los Angeles, CA 90089-2571
(213) 740-6051
Fax: (213) 740-3896
vhi-web@usc.edu
http://www.usc.edu/schools/college/vhi/
Righteous Persons Foundation

Rachel Levin, Prog. Off.
2800 28th St., Ste. 105
Santa Monica, CA 90405
(310) 314-8393
Fax: (310) 314-8396
grants@righteouspersons.org
http://www.righteouspersons.org
118 APPENDIX E
Starlight Starbright Children’s Foundation

5757 Wilshire Blvd, Suite M100
Los Angeles, CA 90036
(310) 479-1212
(800) 315-2580
Fax: (310) 479-1235
info@starlight.org
www.starlight.org
Cedars-Sinai Medical Center, West Hollywood

Steven Spielberg Pediatric Research Center
Steven Spielberg Building
8725 Alden Dr
Los Angeles, CA 90048
1-800-CEDARS-1 (1-800-233-2771)
Fax: (310) 423-4131
http://www.cmsc.edu/2675.html
Sullivan Canyon Preservation Association

321 South Beverly Drive, Suite M
Beverly Hills, CA 90212
(310) 454-5905
Fax: (310) 556-2924
info@access-scpa.org
http://www.access-scpa.org
The Planetary Society

65 North Catalina Avenue
Pasadena, CA 91106-2301
(626) 793-5100
Fax: (626) 793-5528
tps@planetary.org
(JavaScript required to read email)
http://planetary.org/home
University of Southern California

USC School of Cinema-Television
Attn: Production Program
University Park, LUC-404
Los Angeles, CA 90089-2211
(213) 740-3317
Fax: (213) 740-3395
productionofﬁce@cinema.usc.edu
http://cinemail.usc.edu
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———. Encyclopedia of World Biography, 2nd ed. 17 Vols. Gale Research, 1998.
Reproduced in Biography Resource Center. Farmington Hills, MI: Thomson
Gale, 2006. http://galenet.galegroup.com/servlet/BioRC. Accessed July 5,
2006.
Steven Spielberg and the Original War of the Worlds. Special Features. War of
the Worlds, DVD, directed by Steven Spielberg. Two-disc limited edition.
Universal City, CA: DreamWorks Home Entertainment, 2005.
Storm, Jonathan. “Spielberg’s West worth seeing.” Philadelphia Inquirer (via
Knight-Ridder/Tribune News Service), June 9, 2005. www.web2.infotrac.
galegroup.
Sunshine, Linda, ed. E.T. the Extra-Terrestrial. From Concept to Classic. Intro-
duction by Steven Spielberg. The Illustrated Story of the Film and the
Filmmakers Series. New York: Newmarket Press, 2002.
The New York Daily News. “Close Encounters of the Academy Kind,” February 27,
2006. www.nydailynews.com.
Thomas, Karen. “Actors Look Back at Moments with Steven Spielberg.” Gannett
News Service. The Houston Post, March 22, 1994. Reprinted in Oskar
Schindler and His List: The Man, the Book, the Film, the Holocaust and Its
Survivors. Thomas Fensch, ed., introduction by Herbert Steinhouse. Forest
Thompson, Anne. “Hollywood agencies overshadowed by monolith.” Yahoo!
News, March 24, 2006. www.news.yahoo.com.
———. “Making History: How Steven Spielberg Brought Schindler’s List to Life.”
Entertainment Weekly, January 21, 1994. Reprinted in Oskar Schindler
and His List: The Man, the Book, the Film, the Holocaust and Its Survivors.
Thomas Fensch, ed., Introduction by Herbert Steinhouse. Forest Dale,
VT: Paul S. Eriksson, 1995.
Thompson, David. “Presenting Enamelware.” Film Comment, March–April 1994.
Toppman, Lawrence. “Nature will take film fest by storm.” Charlotte Observer,
April 2, 2006. www.thestate.com.
Torre, Nestor U. “DiCaprio, Hanks and Spielberg work well together.” Philippine
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Travers, Peter. Review of Minority Report. Rolling Stone, July 18, 2002. www.
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136 BIBLIOGRAPHY
Peter Burnette, general editor. Jackson: University Press of Mississippi,

2000.
Turan, Kenneth. “Steven Spielberg.” Smithsonian, November 2005, pp. 110–111.
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BIBLIOGRAPHY 137
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INDEX
Abagnale, Frank W., Jr., 80, 81 Bana, Eric, 87

Academy Awards (Oscars), Academy of Band of Brothers, 73
Motion Picture Arts and Sciences, 19, Barrymore, Drew, 35–36, 45
23, 26, 37, 38, 43, 45, 47, 52, 54, 58, Bartel, Paul, 45
59, 61, 67, 73, 80, 81, 86, 87, 91 Bartlett, Hall, 81
Ace Eli Rodger of the Skies, 18–19 Barwood, Hal, 19
Ackroyd, Dan, 30 Belushi, John, 30
Adler, Bernie, 10, 58 Benchley, Peter, 20, 21, 23
Adler, Leah. See Posner, Leah Berle, Milton, 45
AFI (American Film Institute), 91, 97 Big, 47
A.I. Artificial Intelligence, 74–75 Bill, Tony, 11, 12
Allen, Debbie, 68 Boam, Jeffrey, 47
Allen, Karen, 31–32, 97 Boy Scouts of America, 4–5, 20, 41, 47
Always, 48 Brown, David, 18, 19, 20, 22
Amazing Stories, 45–46 Burnett, Mark, 9, 96
Amblin’, 12 Burns, Edward, 71
Amblin Entertainment and Studio, Burris, Ralph, 12
41–42, 43, 61, 62, 65 Butler, Bill, 18
Amblin Television, 96
Amistad, 61, 67–69 CAA (Creative Artists Agency), 51, 52
Animaniacs, 42 Caan, James, 25
Armstrong, Vic, 85 Caeser, Sid, 4, 45
Atherton, William, 19 Capshaw, Jessica, 42
Attenborough, Richard, 37, 53, 66 Capshaw, Kate, 42–43, 48–49, 58, 60,
94, 97
Back to the Future, 42 Carradine, David, 45
Bain, Barbara, 18 Carter, Rick, 85
Bale, Christian, 46–47 Cassavetes, John, 11
Ballard, J. G., 46 Catch Me If You Can, 80–82, 92
140 STEVEN
INDEX
SPIELBERG
Cedars-Sinai Medical Center, 94 ER, 46

Chaplin, Charlie, 60, 97 Escape to Nowhere, 8
Chatwin, Justin, 84 E.T. the Extra-Terrestrial, 4, 7, 10, 33,
Chen, Renee, 38 34–37, 38, 44, 51, 66, 69, 85, 91
Close Encounters of the Third Kind, 23,
24–26, 30, 31, 34, 37, 43, 85, 91 Faces, 11
Colner, Bernice, 10 Falk, Peter, 16
The Color Purple, 44–45 Fanning, Dakota, 83, 84, 86
Columbia Studios, 30 Farrell, Colin, 80
Columbo, 16 Fenton, Mike, 32
Connery, Sean, 47, 97 Fields, Verna, 22, 23, 29
Continental Divide, 42 Fiennes, Ralph, 57, 73, 91
Coppola, Francis Ford, 11, 41 Fighter Squad, 6
Costner, Kevin, 45 Firelight, 8–9, 24
Coyote, Peter, 35 Fisk, Jack, 35
Craig, Daniel, 87 Flags of Our Fathers, 97
Crawford, Joan, 15, 16 Ford, Harrison, 31, 32, 47, 48, 97
Crichton, Michael, 53, 66 Ford, John, 70
Cruise, Tom, 79, 80, 83, 84, 85, 98 Franzoni, David, 67
CSLE (California State College at Long Freberg, Stan, 45
Beach), 11, 12 Freeman, Morgan, 67
Damon, Matt, 71 Gale, Bob, 29, 30

Daviau, Allen, 12, 36, 46 Garr, Teri, 25
A Day in the Life of Thunder, 5 Gary, Lorraine, 20
Deep Impact, 61 Geffen, David, 59–60, 61, 69
Deezen, Eddie, 7 Geffen Film Company, 60
Dennis, Sandy, 18 Geffen Records, 59, 60
De Palma, Brian, 24, 29, 41 Gleeson, Brendan, 75
Dern, Laura, 53 Goldberg, Whoopi, 44, 91
DiCaprio, Leonardo, 80, 81 Goldblum, Jeff, 53, 66
Dick, Philip K., 79 Goodman, John, 48
Dillon, Melinda, 25, 91 Goodwin, Doris Kearns, 96
Dream Team, 60 Gottlieb, Carl, 18, 21
DreamWorks (SKG), 59–62, 93 The Grapes of Wrath, 98
DreamWorks Animation, 61 Gregoire, Dan, 84
DreamWorks Interactive, 96 Guffey, Cary, 25
DreamWorks Television, 96 Gulager, Clu, 16
Dreyfuss, Richard, 20, 22, 23, 25, 26, A Guy Named Joe, 48
43, 48
Duel, 16–18, 19, 21, 46 Hackman, Gene, 25
Dye, Dale, USMC, 71 Haginere, Serge, 12
Hamill, Mark, 45
EA (Electronic Arts), 96 Hamilton, Murray, 20
Eastwood, Clint, 45, 97 Hanks, Tom, 69, 70, 71–72, 73, 73–74,
Eisner, Michael, 31, 33 80, 82–83, 91
Empire of the Sun, 46–47 Hart, Jim, 51
The Empire Strikes Back, 42 Hawn, Goldie, 19, 20
CHAPTERTITLE
INDEX 141
Hitchcock, Alfred, 17, 21, 97 Landis, John, 30, 37, 38

Hoffman, Dustin, 25, 52 Last Days, 59
Holocaust, 1, 55, 56, 57, 58, 59, 91 The Last Gun, 5
Hook, 51–52 The Last Gunfight. See The Last Gun
Hooper, Tobe, 33–34 The Last Shootout. See The Last Gun
Hopkins, Anthony, 67, 91 The Last Train Wreck, 5
Howard, Arliss, 66 Law, Jude, 75
How Opral Mehta Got Kissed, Got Wild Lawrence of Arabia, 98
and Got a Life, 93 Le, My-ca Dinh, 38
Hunter, Holly, 48 Lean, David, 17, 97
Hurt, William, 75 LEGO Company, 96
Hynek, Dr. J. Allen, 24 Letters from Iwo Jima. See Red Sun, Black
Sand
ILM (Industrial Light & Magic), 53 Levy, Martin, 56, 60–61
Indiana Jones and the Last Crusade, 42, The Lost World Jurassic Park, 65–67, 96
47–48, 91 Lucas, George, 31, 32–33, 41, 42, 43, 47,
Indiana Jones and the Temple of Doom, 48, 49, 53, 74, 92, 97
42–43, 44, 48 Lustig, Bruno, 56, 57, 59
Into the West, 93
Irving, Amy, 31, 43–44, 45, 46, 49, 92 MacNaughton, Robert, 35
I Wanna Hold Your Hand, 29 Madsen, Virginia, 97
Marcus Welby, MD, 16
Jackson, Michael, 52 Mark Burnett Productions, 96
Jaws, 18, 20–24, 26, 29, 31, 48, 51, 53, Marshall, Frank, 33, 41, 97
65, 85, 86, 91, 93 Matheson, Richard, 16
Jaws Fest, 23 Mathison, Melissa, 34–35
Johnson, Ben, 19 Mattey, Bob, 21
Johnson, Brad, 48 MCA/Universal, 60
Jolie, Angelina, 95 McConaughey, Matthew, 67, 69
Jonas, George, 86–87 McDowell, Alex, 82, 83
Jones, Quincy, 44, 45 McElwaine, Guy, 23
Jurassic Park, 53–54, 58, 65, 66, 79, 91, McGavin, Darren, 18
92, 96, 97 McQueen, Steve, 25
Jurassic Park IV, 42, 97 Medavoy, Mike, 52
Mendel, Barry, 86–87
Kahn, Mike, 71 Milius, John, 30
Kaminski, Janusz, 56, 68, 71, 84, 87 Milky Way Deli, 10
Kasdan, Lawrence, 31 Minority Report, 79–80
Katzenberg, Jeffrey, 59, 60, 61 Molen, Jerry, 56, 59
Keneally, Thomas, 55 The Money Pit, 73
Kennedy, Kathleen, 35, 36, 41, 44, 54, Monster House, 96
65, 85, 93 Morrow, Vic, 38
Kingsley, Ben, 57 Morton, Samantha, 80
Koepp, David, 66 Mosquito Coast, 47
Kubrick, Stanley, 74–75, 97 Munich, 86–88, 91
Muren, Dennis, 85
Landau, Martin, 18
Land Before Time, 42 Name of the Game, 16
142 STEVEN
INDEX
SPIELBERG
Nazis, 31, 32, 33, 55, 57, 59 Robards, Sam, 75

Neeson, Liam, 57, 91, 96 Robbins, Matthew, 19
Neill, Sam, 53 Robbins, Tim, 84
Nelson, Craig T., 33–34 Roberts, Julia, 52
Newman, Paul, 29, 48 Robertson, Cliff, 18–19
Newman, Susan Kendall, 29 Rockwell, Norman, 41, 46
Night Gallery, 12, 15–16 Ross, Steve J., 94
1941, 29–31, 47
Nitzan, Adi, 57 Sackheim, William, 12
Savage, 18
O’Connor, Frances, 75 Saving Private Ryan, 61, 69–73, 85, 91
Olympic Games, 96 Scheider, Roy, 20, 22, 23
On the Lot, 95 Schindler’s List, 54–58, 65, 67, 68, 69, 73,
Oppewall, Jeannine , 81 86, 91, 94
Osment, Haley Joel, 74–75 Scorsese, Martin, 41, 45
Ovitz, Mike, 51 Selleck, Tom, 31
Owen Marshall, Counselor at Law, 16 Serling, Rod, 15
Shaw, Robert, 20, 22, 23
Pacino, Al, 25 Shea, Eric, 18
Page, Leopold, 55 Sheen, Charlie, 45
Paramount Studios, 31, 61–62 Sheinberg, Sid, 12, 15, 20, 55, 58, 60
Pfefferberg, Poldek. See Page, Leopold Shoah Foundation, 59, 94
Phillips, Julia, 23, 26 Silvers, Chuck, 10, 12
Phoenix, River, 47 Slipstream, 11–12
Pinocchio, 24, 74 Small Soldiers, 96
Planetary Society at Harvard, 94 Smith, Patricia, 18
Playa Vista, 61 Something Evil, 18
Pollock, Tom, 56 Soros, George, 61
Poltergeist, 4, 33–34, 35 Spell Your Name, 59
Portman, Natalie, 97 Spielberg, Anne, 3, 4, 5, 6, 7, 8, 10, 19,
Posner, Jennie, 1 22, 47, 58
Posner, Leah, 1, 2, 3–4, 5, 6, 8, 9, Spielberg, Arnold, 1, 2, 3, 5, 6, 7, 8, 9, 10,
10, 58 59, 72
Posner, Philip, 1–2, 7–8 Spielberg, Destry, 42, 49
Postlethwaite, Pete, 67 Spielberg, Leah. See Posner, Leah
The Psychiatrist, 16 Spielberg, Max, 42, 43–44, 92
Psycho, 21, 23 Spielberg, Mikaela, 42, 49
Spielberg, Nancy, 3, 4, 5, 6, 8, 10, 58
Quan, Ke Huy, 42 Spielberg, Sasha, 42, 49, 95
Spielberg, Sawyer, 42, 49
Raiders of the Lost Ark, 31–33, 34, 35, Spielberg, Steven: businessman, 18, 23,
79, 91 32–33, 36–37, 48, 54, 59–62;
Rambaldi, Carlo, 36 calling-card film, 11–12; children, his,
Redford, Robert, 48 26, 42, 43, 44, 49, 51, 58, 60, 69, 92,
Red Sun, Black Sand, 97 95; children, working with, 35–36,
Reynolds, Burt, 45 37–38, 47, 52, 54; controversy, 33–34,
Richards, Ariana, 53 37–38, 93; discrimination, 5, 9; di-
Righteous Persons Foundation, 94 vorce, 10, 34, 42, 43–44, 45, 49, 81;
CHAPTERTITLE
INDEX 143
fears, 3, 20, 32, 33, 41, 42, 46; grand- Tracy, Spencer, 4, 25, 48
parents, 1, 2, 7–8; jewish heritage, 3, Transformers, 97
7–8, 9, 49, 55, 59, 74, 86; moving, Truffaut, Francois, 25
2, 3, 4, 7, 9; outer space, 3, 24, 25, Trumbull, Douglas, 25
34–35, 85; parents (see Posner, Leah; Tucci, Stanley, 82
Spielberg, Arnold); philanthrophy, Twilight Zone (TV program), 15, 37, 45
6, 8, 93–95; school, 6–7, 8, 9, 10–11, Twilight Zone The Movie, 37–38, 42
12, 34; sequels, 65–66; sisters, 3–4,
5–7, 8–9, 10 (see also Spielberg, Anne; Universal Orlando, 65
Spielberg, Nancy; Spielberg, Sue); University of California Los Angeles,
television work, 12, 15–18, 73, 95–96; 11, 24
trademarks, 4, 20, 31, 34, 46, 51; trade- University of Southern California,
marks, lack of, 42; Vietnam draft, 11; 11, 94
World War II, 2, 6, 8, 45, 48, 69–73,
96. See also individual works by Spielberg; Viswanathan, Kaavya, 93
Nazis; Williams, John Voight, Jon, 20
Spielberg, Sue, 3, 4, 5, 6, 8, 10
Spielberg, Theo, 42, 49 Wagner, Paula, 83
Starlight Starbright Children’s Walken, Christopher, 80, 81–82, 91
Foundation, 94 Walker, Alice, 44
Star Wars, 31, 42 War of the Worlds, 83–86, 91
Stewart, Jon, 86 Wasserman, Lew, 58
Stone, Dee Wallace, 35, 36 Waterston, Sam, 45
Stoppard, Tom, 46 Weaver, Dennis, 16–17, 18
Streep, Meryl, 25 Who Framed Roger Rabbit, 43, 60
The Sugarland Express, 19–20, 26, Williams, Elmo, 18
29, 55 Williams, John, 19–20, 23, 25, 36, 55, 68,
Sullivan, Barry, 15, 18 75, 81, 83, 85, 92
Sullivan Canyon Preservation Williams, Robin, 52
Association, 94 Winfrey, Oprah, 44, 91, 95
Supertoys Last All Summer Long, 74 Winston, Stan, 53
Sutherland, Kiefer, 52
Yimou, Zhang, 96
Tanen, Ned, 29 Yorkin, Bud, 81
Tartikoff, Brandon, 45 Young, Neil, 96
The Terminal, 82–83
This is a Dog’s Life. See A Day in the Life Zaillian, Steve, 67
of Thunder Zanuck, Richard D., 18, 19, 20, 22
Thomas, Henry, 35–36 Zemeckis, Robert, 29, 30
Thunder, 4, 5 Zeta-Jones, Catherine, 82
Tiny Toons, 42 Zsigmond, Vilmos, 26
About the Author
KATHI JACKSON is the author of They Called Them Angels: American

Military Nurses of World War II (Westport, CT: Praeger, 2000). She has
also written essays for the Seattle Times, the Denver Post, and The Herald
of Everett, Washington.

B 8

Uploaded by

B 8

Uploaded by

STEVEN SPIELBERG:

The paper used in this book complies with the

Break-Out Television Movie: Duel 16

Chapter 6 Into the New Millennium, 1994–2001 65

Appendix A: Films Directed by Steven Spielberg 101

In response to high school and public library needs, Greenwood developed

personal and professional influences, and explores struggles, accomplish-

Thanks to Heather Staines for welcoming me to Greenwood. Thanks to

Spielberg, “that I’m able to interject in terms of humanizing my mov-

March 24, 1964 His first feature-length movie, Firelight, is shown

1981 Teams with George Lucas to begin the saga of

1992 He and Capshaw have a son, Sawyer.

2006 With director Zhang Yimou, Spielberg signs on

On the Lot TV series (2007)

As a director, he has these movies in various

Team of Rivals (aka the Lincoln biopic)

THE FORMATIVE YEARS,

THE FRIGHTENED AND FRIGHTENING CHILD

TRUE BOYHOOD HOME

THE BOY SCOUTS

DISCOVERING THE CAMERA

BREAKING INTO THE BIG TIME

racing starring Tony Bill. Spielberg’s roommate, Ralph Burris, wanted to

PROFESSIONAL DIRECTING DEBUT:

BREAK-OUT TELEVISION MOVIE: DUEL

SPIELBERG’S FORGOTTEN MOVIE: ACE ELI

plays a husband and father with dreams of being a barnstorming pilot

DIRECTING HIS FIRST FEATURE FILM:

with Williams’s work, something that impressed the composer. In turn,

Benchley attempted two screenplays before Spielberg hired friend and

CLOSE ENCOUNTERS OF THE THIRD KIND

4. Quoted in Sanello, 31.

35. Sanello, 57.

FIRST PRODUCING PROJECT: I WANNA

THE BOMB: 1941

RAIDERS OF THE LOST ARK

Allen disagreed about her character. Spielberg saw her as a “damsel in

E.T. THE EXTRA-TERRESTRIAL

TWILIGHT ZONE THE MOVIE

REAL LIFE AND REEL LIFE,

HIS FIRST COMPANY: AMBLIN ENTERTAINMENT

INDIANA JONES AND THE TEMPLE OF DOOM

settlements in history. She and Spielberg agreed on joint custody of Max,

THE COLOR PURPLE

to do very well, but the ratings proved disappointing, constantly sliding

EMPIRE OF THE SUN

Bale in Anastasia: The Mystery of Anna (1986). All Spielberg had to do

INDIANA JONES AND THE LAST CRUSADE

A SECOND CHANCE AT MARRIAGE

was Spielberg’s dog’s name.) Capshaw had taught educationally handi-

FROM PETER PAN TO

In 1990, Steven Spielberg felt “artistically stalled.”1 When he tried to

“Everybody was extremely edgy the couple of days we shot there.”36

THE SCHINDLER/SPIELBERG LEGACY

Spielberg design. Spielberg’s spokesperson, Marvin Levy, says the boy is

27. Quoted in Rubin, 73.

INTO THE NEW MILLENNIUM,

TAKING A BREAK FROM DIRECTING

THE LOST WORLD JURASSIC PARK

Djimon Hounsou. John Williams, as always, composed the music, and

SAVING PRIVATE RYAN

Spielberg appreciates Hanks’s “self-deprecating sense of humor.”36 Both

A.I. ARTIFICIAL INTELLIGENCE

off-putting.”42 Spielberg’s use of atmospheric lighting and John Williams’s

8. Quoted in Maran, 36.

34. Quoted in Gardner, 204.

THE LEGEND CONTINUES,

CATCH ME IF YOU CAN

personal filmmaker and Tom Hanks as an inventive comic actor.”19 The

WAR OF THE WORLDS

are sometimes more dangerous to themselves than are extraterrestrial

Designer Rick Carter, Composer John Williams, Special Effects Expert

made $6,040,860 in its opening weekend of December 25, 2005. By March

42. Munich Web site, www.munichmovie.com (accessed March 11, 2006).

AWARDS AND FAME,

Fame (SFM) in Seattle, Washington. In July 2006, he was honored at the