Spielberg Page #17

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and then reunification.

Even "Lincoln"

is about separation

and reunification.

( screaming )

( gunfire )

- ( sobbing )

- ( glass rattling )

( screams )

Barry!

I've made

a lot of movies

about a family

disintegrating

and then a family

finding common ground

to reunite.

( music playing )

Kushner:
There's a sense

that everything, including

the natural world,

conspires to pull people

or beings apart

from one another

and then to return them.

It's like

Shakespeare's romances.

There's a deep faith

in his work that...

what's lost

will in some way

be restored.

And I think

he is searching for that

in almost all the films

that he's made.

( piano music playing )

Man:

Now slowly.

Spielberg:

My mom and dad

have a relationship today

which a writer

in a storybook

would be accused

of exaggeration.

I feel very lucky that

after all these years apart,

my parents

spend quality time

with each other.

- ( music playing )

- Nancy:
If you look

at the first 18 years

of Steve's life

and now, current day,

you would not know

that there was a huge chunk

in the middle,

that there was a divorce

and a separation,

a lot of tears,

and another man,

and another wife,

and, you know,

it looks like we were

one continuous, happy family.

We just lost the reels

to the home movies

in the middle of life.

Now she's back

in love with me.

Isn't that nice?

( music continues )

( laughs )

Oh, Leah.

Janusz, it'd be

a better two-shot.

If Dougie is here, okay,

then it's not such a spread.

- So, it's not a single.

It's over here.

- No, no, it's a single.

When we start pulling back,

Dougie comes into

the shot sooner.

And then we continue

with the move?

Yeah, we continue

with the move,

but right now

it looks like

- there's nothing in the center

but the window.

- Got you.

Hanks:

Steven loves to be a part

of a big gang of people

and the company of filmmakers

who are making a movie.

It's a big, great club.

It's a big, great family.

- Spielberg:
Tom, action.

- Kennedy:
I think it defines

Steven's filmmaking

in many,

many different ways

because Steven is grounded

and feels very safe

inside an environment

with family.

He likes

close relationships

with a few people

who he trusts

and he can open

his life up to.

And then he's very reluctant

to have anybody leave.

That's it right there.

It looks great.

Kaminski:

We work for Steven.

He's the boss,

but he encourages

people with talent

to use the talent,

to be brave with it,

to take risks,

because he wants to be

stimulated as a filmmaker,

but those

who he works with,

you know.

And that's

a really good quality

in a filmmaker.

Muren:

He's very collaborative.

He uses his people

over and over again

on the films

because we already speak

a shorthand to each other.

- We've all worked together.

- And they'd come on

to full size...

Williams:

He understands that people

and can serve him

and how to synchronize

his wishes with your own.

He would've made

a great general.

Day-Lewis:

If you could say

that a film unit

can be like

a Special Forces film crew,

that's what he has.

His team works so fast,

so hard getting through

a lot every day.

Everybody on their feet,

applauding.

Day-Lewis:

And I think you could

come to grief

very, very quickly

on Steven's set

if you weren't

very well prepared.

Everyone has to be.

And that creates

incredible energy.

( music playing )

Spielberg:

I work with my peeps,

and I have for decades.

I mean, I don't know

what I would do without them.

Roll sound.

Roll!

( chatter )

Spielberg:

I can't really have sanity

unless I have

familiarity.

And it's just

an extraordinary family

that I've been able to assemble

over all these years.

Kahn:

I love being

part of his tapestry,

so to speak, you know,

like "Fiddler on the Roof."

After 37 years,

it's nice to know...

You know?

Spielberg:

Michael Kahn and I

are blood brothers.

He started with me

on "Close Encounters

of the Third Kind,"

and except for one time,

he's edited every movie

I made since then.

Janusz Kaminski

has done everything

since "Schindler's List."

But John Williams

is my oldest collaboration,

and I depend on Johnny

more than I've depended

on anybody

to rewrite

my movies musically

and put them a rung higher

than I ever could reach.

You know, if I had

to go back and recast

the creative team

surrounding me,

I wouldn't be able to work

as often as I do.

It'd be impossible.

Kennedy:

Steven looks

at movies constantly

and over and over

and over again,

referencing shots

and framing and ideas.

That's something Steven does

all the time.

( boat horn blaring )

Spielberg:

Great filmmakers' works

live on to create

tremendous moments

of inspiration.

And so, one of the films

I still see every year

is "Lawrence of Arabia."

( music playing )

The shots,

the sheer vistas,

and the portrait

of such a complex character,

it's pure moviemaking.

Hey!

Hey! Hey! Hey!

Who are you?

Who are you?

Steven has always

wanted to work

in a kind of big, you know,

historical canvass like that,

and it took many movies

before he accomplished

that level

of masterly filmmaking.

Spielberg:

Many years ago, Pauline Kael

gave me a really great review

on "Sugarland Express,"

but she said,

"Whatever's on the surface

might be all that is there.

There may be nothing

behind that."

And she was

absolutely right.

I hadn't grown up yet

through the movies.

That was going to come

in time.

( music playing )

Maslin:

Take a look at what he's done

over close to 50 years.

There's certainly

a lot of variety.

There are

some things he's done

that haven't worked,

but there is absolutely

nobody like him

and no film career

trajectory

that is anything like his

in the history of film.

He speaks cinema

as if it's his native language.

He is so fluent in it

that he does things

that nobody else

would dare to do

and they are

instantly recognizable

as things

that are purely his.

Scorsese:

He has a dynamic sense

of real filmmaking.

I'm talking

about filmmaking of--

in the great

narrative tradition

of American cinema.

( distant explosion )

Coppola:

Steven was blessed

in that he could be

commercial

and he could do art.

That's why

I always compare him

to a kind

of George Gershwin,

because Gershwin

could write a Broadway show

or he could write

"Concerto in F."

He could both,

and very few people can do both.

And Steven can do both.

And that's a talent

you have to be born with.

DiCaprio:

You think of

that young kid in Arizona,

in the desert,

watching movies,

watching television

incessantly,

one day sneaking his way

into a studio,

and manifesting

his own destiny.

It's a pretty fantastic

Hollywood story.

J.J. Abrams:

He's found a way to take

his view of the world,

his wishful thinking,

his optimism,

and also his uncanny sense

of the thrill,

and sort of galvanize

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