Steven Spielberg

  Spielberg’s stipulation that DreamWorks not make more than nine movies a year is reported in Kenneth Turan, “The Thrill Isn’t Gone,” LAT, December 28, 1998. Kimmel discusses DreamWorks in this period in The Dream Team. The 2001 lawsuit over An Everlasting Piece was reported in Patrick Goldstein, “Producer Sues DreamWorks, Saying It ‘Suppressed’ Film,” LAT, February 13; and Harry Guerin, “Piece of mind—An Everlasting Piece,” rte.ie (Ireland), March 22. For press commentary (2000) on the effect of the American Beauty best-picture Oscar, see Rick Lyman, “Oscar Victory Finally Lifts the Cloud for DreamWorks,” NYT, March 28; and Paul F. Duke, “D’Works: What Lies Beneath?” Variety, July 24. Spike Lee’s criticism of The Legend of Bagger Vance (and other films dealing with a “magical, mystical Negro” character) is from Susan Gonzalez, “Director Spike Lee slams ‘same old’ black stereotypes in today’s films,” Yale Bulletin & Calendar, March 2, 2001. Spielberg’s comment about working for other people is from Ian Johnstone, “The man with a monster talent,” Sunday Times (London), May 25, 1997. Spielberg described himself as an “independent working in the Hollywood mainstream” in Matt Wolf, “Hollywood Diary,” Times (London), 2001 (clipping at Margaret Herrick Library of the Academy of Motion Picture Arts & Sciences). His comment “I’m able to have the freedom” is from Michael Tunison, “Spielberg at War,” Entertainment Today, July 24, 1998. Spielberg called Universal his “birthplace” in Merissa Marr and Kate Kelly, “Universal Pictures Chairman Jumps to Paramount,” Wall Street Journal, February 27, 2006. Lisa Schwarzbaum’s description of Shrek is from “Forest Grump: DreamWorks Takes Playful Aim at Some Mouse House Icons in Its Delightful New Animated Feature Shrek,” Entertainment Weekly, May 25, 2001.

  Spielberg’s recollections of his relationship with Stanley Kubrick are from his 1999 speech at the DGA memorial for Kubrick (the event was attended by the author); Rachel Abramowitz, “Regarding Stanley,” LAT, May 6, 2001; Jenny Cooney Carrillo, “The Steven & Stanley Story,” urbancinefile.com, September 6, 2001; and Bryan Appleyard, “Steven Spielberg interview,” Sunday Times (London), June 2002. Kirk Honeycutt reported on the DGA memorial in “Kubrick left Spielberg pic behind,” HR, May 17, 1999; Spielberg’s decision to go ahead with A.I. Artificial Intelligence was reported by Richard Brooks in “Spielberg to take charge of unfinished Kubrick Movie,” Sunday Times (London), September 5, 1999. Kubrick’s remark “This is much closer” and Spielberg’s comments “People pretend to think,” “The whole last twenty minutes,” and “The teddy bear” are from Joe Leydon, “Steven Spielberg and Tom Cruise,” MovingPictureShow.com, June 20, 2002. Spielberg also comments on the film in Schickel’s documentary Spielberg on Spielberg. The Japanese ad campaign for the film (2001) was reported in Don Groves, “A.I.’s foreign flavor,” DV, July 16; and the Japanese box-office results in Mark Schilling, “Spielberg’s A.I. makes it big in Japan,” Screen International, July 6.

  Kubrick’s brother-in-law Jan Harlan (an executive producer on A.I.) and Jane M. Struthers edited A.I. Artificial Intelligence: From Stanley Kubrick to Steven Spielberg: The Vision Behind the Film, Thames & Hudson, London and New York, 2009, with commentaries by Harlan, a foreword by Spielberg, and concept drawings for the production by Chris Baker. That book includes Kubrick’s comment “One of the fascinating questions” and his note about David and Monica; Baker’s report on the Flesh Fair; and information on the toning-down of the Rouge City sequences. Kubrick’s work on A.I. is also discussed in Abramowitz and in Gregory Feeley, “The Masterpiece a Master Couldn’t Get Right,” NYT, July 18, 1999. The literary source of A.I. is Brian W. Aldiss’s short story “Super-Toys Last All Summer Long,” Harper’s Bazaar, December 1969; his annotated version is reproduced in the Harlan-Struthers book. See also Aldiss’s “Foreword: Attempting to Please” in his collection Supertoys Last All Summer Long: and Other Stories of Future Time, St. Martin’s Griffin, New York, 2001. Ian Watson described his work on A.I. in “My Adventures with Stanley Kubrick,” Playboy, August 1999; parts of Watson’s treatment are reproduced in the Harlan-Struthers book. Kubrick’s work with Aldiss and other writers on the script is discussed in that book as well as by Feeley and by John Lippman, “The Unsung Authors Behind A.I.,” Wall Street Journal, July 6, 2001. Kubrick’s abandonment of his Aryan Papers project is discussed in Honeycutt, “Kubrick back to the future via Warners AI,” HR, November 2, 1993; and in Brooks; Scott Von Doviak, “Reconstructing Stanley Kubrick’s Aryan Papers,” The Screengrab, nerve.com, January 5, 2009; Vincent LoBrutto, Stanley Kubrick: A Biography, Dutton Plume, New York, 1997; and the 2009 documentary film Unfolding the Aryan Papers.

  Spielberg’s 2000 health crisis was reported in James Barron with Rick Lyman and Glenn Collins, “Public Lives: Kidney Surgery for Spielberg,” NYT, February 8; “Recuperating,” LAT, February 8; Mitchell Fink and Corky Siemaszko, “Spielberg has kidney removed,” New York Daily News, February 8; “Spielberg undergoes kidney surgery,” DV, February 8; Beth Laski, “Spielberg recovering from surgery,” HR, February 8; and “Steven’s Surgery,” People, February 21. That the doctor who removed Spielberg’s kidney, Stuart Holden, is a “specialist in urological oncology” is reported in his biography on the Cedars-Sinai Medical Center (Los Angeles) Web site, cedars-sinai.org. Holden became the director of the Louis Warschaw Prostate Cancer Center at Cedars-Sinai in 2000, according to his biography at the Tower Urology Web site, towerurology.com.

  19. LIGHT IN THE DARKNESS ( PP. 487 – 504)

  John F. Kennedy’s phrase “a nation of immigrants” serves as the title of his pamphlet published by the Anti-Defamation League in 1959, revised and published posthumously by Harper & Row, New York, 1964, with an introduction by Robert F. Kennedy. Spielberg’s anecdote about people asking him to make funny movies, and his comment “I look at the world,” are from “Spiegel Interview with Steven Spielberg: ‘I Would Die for Israel,’” Der Spiegel (Germany), January 26, 2006.

  The source of the film Minority Report (2002), Philip K. Dick’s short story “The Minority Report,” was first published in Fantastic Universe, January 1956. In the DreamWorks documentary The World of “Minority Report”: An Introduction (2002), on the DVD edition, Spielberg discusses assembling a think tank of experts to advise him on creating the world for the film. Richard Corliss’s description of the film’s style is from his review “Being Tom Cruise,” Time, June 16, 2002; Jason P. Vest discusses the film in Future Imperfect: Philip K. Dick at the Movies, Praeger, New York, 2007. David Edelstein criticized the film’s coda in his Slate review, “Blame Runner,” June 21, 2002. Spielberg’s concern about “the whole notion” is from Stephen Galloway, “Dialogue with Steven Spielberg,” HR, January 9, 2003. Spielberg’s statement “Right now” is from Rick Lyman, “Spielberg Challenges the Big Fluff of Summer,” NYT, June 16, 2002. Benjamin Franklin’s quotation about liberty and safety is from “Pennsylvania Assembly: Reply to the Governor, November 11, 1755,” published by Franklin; it also appears in The Papers of Benjamin Franklin, vol. 6, ed. Leonard W. Labaree, Yale University and American Philosophical Society, New Haven, 1963. Joseph McBride quotes Franklin in reference to Spielberg’s backtracking on personal freedoms in “Thoughtcrimes: George Orwell and other futurists warned us,” Written By, October 2004. Spielberg’s other comments about civil liberties include: “We’re giving up some of our freedom,” in John Powers, “Majority Report,” LA Weekly, June 27, 2002; “Thematically, it was a compelling message,” in Galloway, “Dialogue with Steven Spielberg”; and “I’m not an advocate,” in Leydon, “Steven Spielberg and Tom Cruise.” Spielberg’s support of George W. Bush was reported in “Cruise and Spielberg back war,” bbc.co.uk, September 26, 2002; Spielberg’s criticism of the Iraq War is from “Spiegel Interview with Steven Spielberg: ‘I Would Die for Israel.’” D. H. Lawrence’s comment “Never trust the artist” is from his book Studies in Classic American Literature, Thomas Seltzer, New York, 1923.

  Spielberg’s practice of taking no money upfront is reported in sources including Gall
oway, “Dialogue with Steven Spielberg.” In “So, What’s the Spielberg Magic Worth?” NYT, November 28, 2005, Laura M. Holson reported the proceeds Spielberg, Cruise, and the studios earned from Minority Report. Spielberg’s description of 2003 as DreamWorks’ “first shitty year” is from Kim Masters, “What’s wrong with DreamWorks?” Esquire, November 2003. The loss suffered by the animation division in 2003 was reported in its initial public offering (2004) and by Ronald Grover, “DreamWorks’ IPO, Disney’s Nightmare,” Business Week Online, July 22. The spinoff of DreamWorks animation was reported in Jill Goldsmith and Nicole LaPorte, “D’Works Does Splits,” DV, July 22, 2004; Spielberg’s desire to avoid disclosing details of his compensation is from Grover. DreamWorks’ purchase of Pacific Data Images is discussed by Kimmel, who describes DreamWorks as “a failed dream.” “Our eyes” is from Holson and Sharon Waxman, “Despite Success of Shrek, DreamWorks Has Work to Do to Woo Wall Street,” NYT, May 17, 2004.

  Sources on DreamWorks’ negotiations with Universal (2005), the sale of DreamWorks to Paramount (2005–06), and the resulting problems include Kimmel; LaPorte; Merissa Marr and Kate Kelly, “Aftermath of Fight for Movie Studio Vexes Both Companies,” Wall Street Journal, February 5, 2006; Marr and Kelly, “Universal Pictures Chairman Jumps to Paramount,” Wall Street Journal, February 27, 2006; Peter Bart, “Can this marriage be saved?” DV, July 23, 2007; and Tatiana Siegel and Anne Thompson, “D’Works split from Par turns messy,” DV, September 22, 2008. Information on the sale of DreamWorks’ live-action library to the George Soros group is from Kimmel.

  Spielberg’s statement “I was saddened” is from Marr, Kelly, and Kathryn Kranhold, “Hollywood Rewrite: Viacom Outbids GE to Buy DreamWorks,” Wall Street Journal, December 12, 2005. Rachel Abramowitz described Spielberg’s fatigue in “Spielberg enters a crossfire he could not avoid,” LAT, December 18, 2005. Spielberg’s comment about Universal being his “birthplace” is from Marr and Kelly, “Universal Pictures Chairman Jumps to Paramount.”

  Spielberg’s consideration of directing Memoirs of a Geisha was reported in Shone, “The man who fights fear with film”; and Holson, “So, What’s the Spielberg Magic Worth?” Spielberg’s comment “No one wanted” is from Gabriel Snyder, “Spielberg may downsize pics,” DV, June 9, 2006. Spielberg’s taking over Catch Me If You Can from Lasse Hallström is from Galloway, “Dialogue with Steven Spielberg.” Spielberg’s flirtation with directing Meet the Parents and Kate’s reaction are from Mike Goodridge, “The Spielberg express,” Screen International, February 7, 2003. Spielberg discussed his “impulsive decision” to make Catch Me in the DreamWorks documentary Catch Me if You Can: Behind the Camera (2003) on the DVD edition. The film’s source is Frank W. Abagnale’s memoir, with Stan Redding, Catch Me If You Can: The Amazing True Story of the Youngest and Most Daring Con Man in the History of Fun and Profit!, Grosset & Dunlap, New York, 1980.

  Spielberg discussed the connection he saw between Abagnale’s impostures and his own youthful adventures at Universal in the DreamWorks documentary Catch Me If You Can: In Closing (2003), on the DVD edition (“went into a disguise”); and in Steve Head, “An Interview with Steven Spielberg,” movies.ign.com, December 17, 2002 (“broke into”). For the accurate account of Spielberg’s early days at Universal, see chapters 5–7 of this book. Amy Argetsinger and Roxanne Roberts discuss the versions put forth in the 2006 Kennedy Center Honors in “The Steven Spielberg Saga: Bedeviled by its Ever-Shifting Details,” Washington Post, December 17, 2006 (The Kennedy Center Honors: A Celebration of the Performing Arts, with Spielberg among the honorees, was broadcast on CBS-TV, December 26, 2006). The “impostor phenomenon” is discussed in Joseph McBride, Frank Capra: The Catastrophe of Success, Simon & Schuster, New York, 1992, and St. Martin’s Griffin, New York, 2000 (revised edition); and Daniel Goleman, “Therapists Find Many Achievers Fear They Are Fakes,” NYT, September 11, 1984. Capra’s comment to Spielberg was made in a 1970s syndicated television interview with the two directors by Bob Thomas, provided to the author by Thomas.

  Sources on Spielberg’s return to California State University, Long Beach, to earn his degree in 2002 include “Steven Spielberg to Graduate from California State University, Long Beach with Bachelor’s Degree in Film and Electronic Arts,” CSU Long Beach press release, May 14; Pat Nason, “Spielberg wraps college career,” HR, May 14 (his quote about “post-production”); Joal Ryan, “Mr. Spielberg Goes Back to College,” E! Online, May 14 (“I wanted to accomplish”); Stephanie Chavez, “Spielberg to Add B.A. to His Resume,” LAT, May 31 (“It was longer” quote from Donald J. Riesh); Chavez, “Spielberg Role as Student a Wrap,” LAT, June 1; Ian Hanigan, “Spielberg, an E.T. on campus, gets B.A.,” Long Beach Press-Telegram, June 1; Stephen M. Silverman, “Steven Spielberg a Drop-Out No More,” People, June 3; Tom Tugend, “Spielberg gets degree,” Jewish News of Greater Phoenix, June 14; and People item, June 17.

  Spielberg discussed Catch Me and its reflection of his trauma over his parents’ divorce in “Catching Movies with: Steven Spielberg & Martin Scorsese on Catch Me If You Can.” Spielberg’s recollection “I kind of ran away” is from Jeff Giles, “Catch Them If You Can,” Newsweek, December 23, 2002. Alan Vanneman analyzes Catch Me in “Steven Spielberg: A Jew in America: Deconstructing Catch Me If You Can,” Bright Lights, August 2003. Spielberg’s comment that he would not embarrass the FBI is from the DreamWorks documentary The FBI Perspective (2003), on the DVD edition of Catch Me. He mentioned his nostalgia for a more trusting time in America in Catch Me If You Can: The Film and the Filmmakers, with the screenplay by Jeff Nathanson, introduction by Frank W. Abagnale, New Market Press, New York, 2002.

  Spielberg explained why he made The Terminal in the DreamWorks documentary Take Off: Making The Terminal (2004) on the DVD edition. Reviews (2004) include Philip French, “Hanks at the point of no return,” The Observer (UK), September 5; and J. Hoberman, “Baggage claim,” The Village Voice, June 8. Sources on the real-life inspiration for Viktor Navorski, Merhan Karimi Nasseri, include Matthew Rose, “Waiting for Spielberg,” NYT, September 21, 2003; Hoberman; and Paul Berczeller, “The man who lost his past,” The Guardian, September 6, 2004. Alex McDowell’s terminal set is featured in the DreamWorks documentary Waiting for the Flight: Building “The Terminal” (2004) in the DVD edition. Art Kane’s photograph “Harlem 1958” appeared in Esquire, January 1959, and is the subject of the 1994 documentary film A Great Day in Harlem.

  H. G. Wells’s novel The War of the Worlds was first published as a serial in Pearson’s Magazine, April to December, 1897, and as a book in 1898 by William Heinemann, London. Its genesis is described in James Gunn, “Afterword” to The War of the Worlds, Tor, New York, 1988. War of the Worlds: The Shooting Script (Newmarket Press, New York, 2005) includes the screenplay by Josh Friedman and David Koepp as well as an introduction by and Q&A with Koepp. Orson Welles’s CBS Radio program The War of the Worlds (adapted by Howard Koch) was broadcast on October 30, 1938, by the Mercury Theatre on the Air. Spielberg’s purchase of the original script used by Welles on the broadcast is mentioned in Abramowitz.

  Reviews of War (June 29, 2005) include Roger Ebert, Chicago Sun-Times; and A. O. Scott, “Another Terror Attack, but Not by Humans,” NYT. How the film’s special effects were achieved is shown on DreamWorks’ documentaries on the DVD edition of the film, including the Production Diaries. Kathleen Kennedy’s claim about “the edgier, darker story” is from the DreamWorks documentary We Are Not Alone (2005) on the DVD edition. Spielberg’s comment that War “preyed on our fears” and his description of his earlier depiction of benign aliens as hypocritical are from the Schickel documentary Spielberg on Spielberg.

  20. “400 - POUND GORILLA” ( PP. 505 – 31)

  The development of Munich (2005) by Barry Mendel and producer Kathleen Kennedy’s urging Spielberg to make the film were reported in “Steven Spielberg Explores a Definitive Moment in History,” Munich Production Notes, DreamWorks; the DreamWorks documentary Munich: An Introduction by
Director/Producer Steven Spielberg, on the 2006 Collectors DVD edition of the film; and Richard Schickel, “Spielberg Takes on Terror,” Time, December 4, 2005 (with the Spielberg quote “I’ll leave it” and the film’s production cost). Spielberg’s comment “I couldn’t live with myself” is from Abramowitz, “Spielberg enters a crossfire he could not avoid.” Ciarán Hinds’s observation on Spielberg is from Killian Fox, “On set with Spielberg,” The Observer (UK), January 22, 2006. Spielberg’s recollection of watching the televised coverage of the Munich massacre is from Fox; Abramowitz; and “Spiegel Interview with Steven Spielberg: ‘I Would Die for Israel.’”

  Munich is adapted from George Jonas, Vengeance: The True Story of an Israeli Counter-Terrorist Team, Lester & Orpen Dennys and William Collins Sons, Toronto, Canada, 1984, and Simon & Schuster, New York, 1984; the Simon & Schuster paperback edition, 2005, has an introduction by Richard Ben Cramer. Other background on Israel’s targeted assassinations can be found in Aaron J. Klein, translated from the Hebrew by Mitch Ginsburg, Striking Back: The 1972 Munich Olympics Massacre and Israel’s Deadly Response, Random House, New York, 2005. Jonas criticized Munich in his article “The Spielberg Massacre,” Maclean’s, January 7, 2006. The confirmation of Israeli hit squads by two Israeli generals was reported in Munich Production Notes, “Steven Spielberg Explores a Definitive Moment in History.”