Spielberg Page #12

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( man shouts in German )

Spielberg:

During the liquidation

of the ghetto,

when they were taking people

and putting them in trucks

and shooting old people

in the streets,

they were

leaving her alone.

Somehow,

the most obvious target

was not being

apprehended.

And, to me, it was less about

what turned Oskar Schindler,

and it was more that the world

turned a blind eye

on the Holocaust

and the industrialized process

of wholesale murder.

Amon:

Can you believe this?

As if I don't

have enough to do,

they come up with this?

I have to find every rag

buried up here and burn it.

( sighs )

The party's over, Oskar.

They're closing us down,

sending everybody

to Auschwitz.

- When?

- I don't know.

As soon as I can arrange

the shipments.

Maybe 30, 40 days.

That ought to be fun.

( man shouting

in German )

Spielberg:

So, that little girl in red,

for me, symbolizes

the Holocaust

and all

of its monstrous evil,

and no one

did anything about it

when they could have.

Michael Kahn:
I remember

I put together a scene,

very hard, emotionally.

And Steven comes in

that night.

We went out to where

he was staying

and I start running

the scene.

And he looks at it.

"Hold on, Mike.

I can't do it."

He's like-- he went like,

"I can't do it.

It's too tough."

And he left.

Spielberg:

I just remember getting home

and just falling apart.

And Kate was on the set

with me a lot.

We would cry together

many, many times.

She really kept me going

through that whole production.

We were

four months in Krakw.

A long time.

It was, emotionally,

the hardest movie

I've ever made.

( music playing )

Annette Insdorf:

The film is not about

the Holocaust

with a capital "H."

It is a particular window

into the past.

And here,

a mainstream director

had crafted

a motion picture

that would in fact

finally reach a large audience,

including people

that simply may never

have known

the word "Auschwitz."

( chorus singing

in Hebrew )

Neeson:

About three quarters

of the way through the shoot,

Steven had this idea

about the end of the film.

He wanted to fly us

to Jerusalem.

We would shoot a scene

at Schindler's grave.

Spielberg:

I needed there to be

some testimony

built into the movie

that says this story

actually happened.

Fiennes:

Brave thing to do.

These are

the real people.

( music playing )

Kennedy:

That was a pivotal moment

in Steven's life.

He recognized

he couldn't take

any of the profits

from the film.

He wanted to give

something back,

so he started what became

the Shoah Foundation,

documenting that oral history

and capturing history

in a way that allowed people

not to forget.

Kingsley:

The Shoah Foundation

is a way of trying to hear

the faintest echo

of the stories that we've lost.

So, it's connected to him

as a storyteller,

which is in his DNA.

Man:
They started

running toward the tracks

and they were shot.

- ( overlapping voices )

- Woman:
It was probably

the last patrol of the day.

They were not supposed

to be there anymore.

And of course

they asked for papers,

- but my grandfather

didn't have any.

- ( overlapping voices )

And they took them.

They took them.

( overlapping voices

in various languages )

Neeson:

He's got thousands

and thousands of testimonies,

and not just

about the Holocaust.

About Rwanda,

about Bosnia, you know?

And it's amazing, this legacy

that "Schindler's List"

has spawned

through Steven.

( music playing )

Spielberg:

The experience of making

"Schindler's List"

made me reconcile

with all of the reasons,

the vain, glorious reasons,

I hid from my Jewishness.

And it made me so proud

to be a Jew.

- ( trees rustling )

- ( bird squawks )

( dinosaur growling )

Kennedy:

There are periods of time

in moviemaking history

where you have

a collision of events

that innovates and creates

something new.

And "Jurassic Park"

was one of those moments.

- Man:
Keep it there.

- Spielberg:
It was

the beginning

of, really,

the digital era

where the central characters

were digitally created.

No one had ever

gone there before that way.

- Man #2:
Come on!

- ( all chattering )

Kennedy:

Steven said to me,

"I want 28-foot to 30-foot

dinosaurs on the set

that the actors

can interact with,

and I want them

to be able to run."

There were going to be

at least 60 wide shots

with 60 head-to-toe

dinosaurs

that could not

operate mechanically.

They had to run.

They had to perform.

They had to twist and turn.

They had to be real.

So, I went off to start

to talk to experts

in the area of prosthetics

and theme parks

to figure out

how we're gonna do this.

And, of course,

everybody said to me,

"We can build these things,

but they can't run."

So, I went back to Steven

and I said, "They can't run."

He said, "Well,

they have to run."

- Okay, pushing team,

move in there.

- Man:
Move in.

Kennedy:

So, all this development

was going on,

and simultaneous to that,

Dennis Muren called me

and he said,

"I'm working on something

with the computer

that I think could be

extraordinary."

( dinosaur roaring )

( grunts )

( groaning )

( alarm blaring )

- Aah!

- ( dinosaur roars )

Muldoon:

Lock the opening!

Marshall:

And we flew up to ILM,

and we went

in this little office,

and there was a computer,

and Dennis said, "Watch this."

And he hit a button,

and there was

a dinosaur running.

This is all in the computer.

There's no models,

no cameras, or anything.

When we looked at them,

it was like nothing

you had ever seen before.

And it was one

of those primal moments

- where you suddenly

realize, oh, my God...

- Oh, my God.

Oh, my God,

we're there.

Spielberg:

This is the future.

I could not

believe my eyes.

Couldn't believe it.

They were alive.

They were real.

And it was so exciting,

we all leapt to our feet

because we had never seen

anything like it.

I'm not exaggerating

when I say

looking at that test

was like the moment

when sound came to movies.

There was this new tool

that was going to be huge,

and you could just tell.

( music playing )

( roaring )

Laura Dern:

It was that much

of an experiment.

It felt that wild.

And watching, you know,

their brains at work

as we were shooting,

and how'd they adjust a shot,

and how giddy

Steven would get,

you get caught up

in the dreams he was building

and the magic.

Jeff Goldblum:
During

the scenes where we're

first seeing the dinosaur,

he puts the camera on me

and says, "Okay, Jeff,

now you're looking

at the thing.

Okay, so look at it.

Yeah, keep going.

Keep rolling.

Is it real?

Is it a trick?

And now,

for no reason at all,

you start to laugh.

Keep laughing

a little bit.

Laugh a little bit more.

That's it.

Now you're stunned

by it again

and you just get

very still.

Okay, that's it.

Okay, I got what I need.

Let's go.

Let's move on."

Like that.

He knows exactly

what he needs.

Weapon, you know,

guy face-- all faces,

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