Raiders of the Lost Ark had it all. ET It was inventive, powerful, [and] wonderful. I make more mundane movies. In , Spielberg proved that he could do far more than monsters, loveable aliens and whip-cracking derring-do action, not that anyone was really in doubt. The film, shot largely in black and white in a documentary style with the bare minimum of equipment and a modest budget, had Oscar winner written all over it, and went on to pick up seven awards, including three of the big four of Best Picture, Best Director, and Best Actor for Liam Neeson.
Artificial Intelligence This earns its place here as the only time Spielberg collaborated with Stanley Kubrick. The latter had been working on a script for the film for years, but never made the movie because he felt that computer graphics were not yet advanced enough to do it justice. Why Steven Spielberg is the world's most successful director With Ready Player One in cinemas this weekend, we look back over the career of the highest grossing director in Hollywood.
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For 4 weeks receive unlimited Premium digital access to the FT's trusted, award-winning business news. Digital Be informed with the essential news and opinion. I think this is right up your alley. Did you resist the movie when it was presented to you? A: Sid Sheinberg found it. That would have been impossible.
So I kept trying to give it away to people who kept giving it back to me. Q: One of the most talked about moments in the film was when Schindler looks down and sees the girl in the red coat. Was that pure fiction? Oscar Schindler witnessed, with his girlfriend, the liquidation of the Krakow Ghetto that morning.
He was horseback riding. He heard all the noise. He heard all the vehicles moving in through the Ghetto. We actually shot the entire sequence on the same spot where Schindler was sitting atop his horse, and what the audience sees is exactly what he saw looking down from his point of view 56 or so years ago from the time we shot the sequence.
Q: At the time, a lot was made of the fact that you made the coat red in a black-and- white movie. What was your thinking behind that? A: The Holocaust was known about in very small secret circles, but certainly Roosevelt and Eisenhower knew. Nothing was being done to slow down the industrialized progress the Nazis were making in the total annihilation of European Jewry. The Allies did nothing except they were pursuing the war effort.
So that was my message in letting that scene be in color. It was as obvious as a little girl wearing a red coat walking down the street. How did that project come about? As a matter of fact, it was the only time in my several decades of having an agent that they actually gave me a screenplay that I wound up directing.
Q: At the beginning of the movie, you start with this incredible D-Day sequence. Had you planned out the whole thing? I did the whole thing stream of consciousness. I had no storyboards, no pre-visualization on the computer, did the whole thing from actually up here [points to his head], in a weird way being informed by all the literature I had read about the up-close-and-personal experience of what it was like to survive that day on Omaha Beach. Actually, I was beating away the impulses to go Hollywood.
Can you talk about that? A: John Williams has made the most remarkable contribution to all of my movies. With E. And the audience is carried across the moon or the sun with his string section and his horns later on when they land. I think the last 15 minutes of E. What did you mean by that? A: I think of all my movies, The Color Purple was my first grown-up film. The audience has to find their own space and experience and empathize with those characters.
The story was told through the words and experiences of these characters, not through the bigger concept of a shark attacking a summer resort or a truck going after a car. I had a tone in my mind about The Color Purple , and there were going to be moments of sheer horror between characters, but set in a beautiful tapestry of purple flowers and beautiful farmland and growing corn, just the beauty of a la John Ford, and an unbearably heartbreaking story inside this bucolic picture frame.
A: My first instinct was to shoot the film in black and white, and when I gave Whoopi Goldberg her first screen test, I shot her in New York that way with Gordon Willis, the great cinematographer of The Godfather. I was flirting with telling the story in black and white because I was afraid of myself. I was afraid that I was going to sugarcoat the book and if I at least shot it in black and white, there would be no sugar to coat anything with. And maybe the first time I chickened out was the decision to make the film look beautiful.
Q: Your last film about communication between people was The Terminal , perhaps your starkest example of alienation, but it was also a wonderful little fantasy. A: I thought of two directors when I made Terminal.
I thought this was a tribute to Frank Capra and his honest sentiment, and it was a tribute to Jacques Tati and the way he allowed his scenes to go on and on and on.
The character he played in Mr. Q: Munich strikes me as different from all your other films. Is it more on your futuristic level but with terrorists? I kind of saw it as a story that I felt needed to be told.
This helps to amplify the three-dimensional space, and often creates a chiaroscuro effect. It also sets a really strong tone and mood — one that may suggest hope. But it can also suggests mystery, because while light can illuminate a space, it can also blind the viewer and mask imagery through its sheer power. I tried to make sure all of the cinematography techniques on this list were about as practical as could be, and this is one of the more viable trademarks you can use to get a Steven Spielberg look in your film.
We touched a bit on this earlier, but Steven Spielberg movies always look for ways to support moments with visual choices. This can be:. Think about the famous water ring scene in Jurassic Park.
He uses a complimentary plastic cup of water to create suspense. The best part is how the water was introduced when Dr. Malcom describes the chaos theory, and in general, how water is the main source of life on earth. Sometimes it will be a reflection of something in the mirror, and other times it will be the way someone tosses their hat. Steven Spielberg builds vicarious emotion in his movies, and cutting from this shot also helps to make the VFX more effective.
Now… does the John Williams score help? Of course it does! There is no doubt that John Williams music completely puts scenes like these over the top, but there are some serious visual skills at work when a computer-generated dinosaur grazing can make you well up a bit. Cinematography techniques like these really get your actors in the right headspace and enhance their performances. You can use side characters to signal an apparent contrast in personality from your main character.
If you have one character who is starving, you can show another character who is messily shoveling food down their gullet. This makes the hunger of the other character amplified, more apparent, and thus more effective. Think about this technique for your own movies. The man has been making movies for a long time — he's about to enter his 6th decade, in fact.
Here's a complete list of Steven Spielberg films:. Everyone has their favorite Steven Spielberg movie. The choice of black and white for the film helps transport us into the past, but also has a subtextual moral connotation. This film also features Nazis, but the tone is markedly different. Raiders is the epitome of an adventure film.
There are unforgettable moments that use production design and props to build excitement and create iconic visuals. The stunts featured in the Ark transport scene are, to this day, some of the most exciting and cinematic ever put on film.
Intelligent decisions like adding shutter blades and manipulating shutter speed during the Omaha Beach sequence show that Spielberg is always looking to visually innovate. The use of sound design and point of view during an early sniper scene is fantastic, and the use of reflections and implied narrative during the Mother Ryan scene is masterful.
You always have a reason for concern, and he supports this through camera placement and movement. Scenes are composed in a way that conveys good men who face questionable decisions, and show how every person can be pushed to their limits. In the age of mixing computer generated effects with recordings, Jurassic Park set the bar really high. If you want cinematic precision like Steven Spielberg, why not try building a shot list or storyboard? Take a look at the shot list and storyboard feature in StudioBinder, where you can layout shot specs, easily reorder frames, customize your layout, and build the visual plan for your next great scene.
Create robust and customizable shot lists. Upload images to make storyboards and slideshows. Previous Post. Next Post.
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