Steven Spielberg Quotes
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The machinery of the democratic process is really no different today from what it was 150 years ago.
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I still have pretty much the same fears I had as a kid. I'm not sure I'd want to give them up; a lot of these insecurities fuel the movies I make.
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I get that same queasy, nervous, thrilling feeling every time I go to work. That's never worn off since I was 12 years-old with my dad's 8-millimeter movie camera.
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This whole thing about reality television to me is really indicative of America saying we're not satisfied just watching television, we want to star in our own TV shows. We want you to discover us and put us in your own TV show, and we want television to be about us, finally.
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I was afraid of small spaces and I was afraid of the tree outside my window, and I had all these phobias. I think many kids have those phobias, but I probably had more than most.
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The baby boomers owe a big debt of gratitude to the parents and grandparents - who we haven't given enough credit to anyway - for giving us another generation.
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There's been more written about Lincoln than movies made about him or television portraying him. He's kind of a stranger to our industry, to this medium. You have to go back to the 1930s to find a movie that's just about Abraham Lincoln. I just found that my fascination with Lincoln, which started as a child, got to the point where after reading so much about him I thought there was a chance to tell a segment of his life to to moviegoers.
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History opens up new worlds to film-makers all the time.
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Every movie you're going to forget that it's 3D whether it's widescreen or whatever it is, you're going to forget everything if the movie is working. If the movie doesn't work or if the movie generically doesn't work then immediately you start to pick apart whatever has contributed to that.
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The creative process is a very collaborative process. I know it might seem that way because so much ink is spilled and the media is obsessed with business and numbers and studios... but filmmakers don't think of it that way. We just go off and we tell our stories. It's the same torture that we adore, it's the same torture that our forefathers endured making movies in the golden era of Hollywood. So, from my perspective it's no different, I'm sure, from the men and women who I admire so much who made the earliest movies.
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I basically went into business for myself. But it never amounted to anything. I learned a lot about editing and dubbing by watching all the professionals do it, but I never got a job out of my imposition.
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You look at war as something that is putting your best friend in jeopardy. You are responsible for the person in front of you and the person behind you, and the person to the left of you and the person to the right of you.
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When I was younger, all I cared about was what people thought of me and my films. Now I care less about catering, hand-serving, hand-feeding the audience. I've gotten to the point now in my life where I'm serving myself.
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So I try to re-invent my own eye every time I tackle a new subject. But it's hard, because everybody has style. You can't help it.
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I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.
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I think the key divide between the interactive media and the narrative media is the difficulty in opening up an empathic pathway between the gamer and the character, as differentiated from the audience and the characters in a movie or a television show.
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I'm very collaborative with everybody on the set.
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The only time I have a good hunch the audience is going to be there is when I make the sequel to 'Jurassic Park' or I make another Indiana Jones movie. I know I've got a good shot at getting an audience on opening night. Everything else that is striking out into new territory is a crap shoot.
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There is a fine line between censorship and good taste and moral responsibility.
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I wouldn't have filmed The Color Purple if the book had been a big fat novel. The reason I read it is because it is thin.
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I committed to directing 'Catch Me If You Can' not because of the divorce component, but principally because Frank Abagnale did things that were the most astonishing scams I had ever heard.
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The world would be a poorer place without Doctor Who.
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And I may often question choices I make as a producer. But I've never questioned the choices I make as a director.
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If I weren't a director, I would want to be a film composer.