A Quote by Steven Spielberg

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.
I mean, they clearly have a process of how they go about making their movies, and John Lasseter has been instrumental in implementing that process for all three studios with the Brain Trust and the way we work and the way we break stories and how it's all creative led. There are no executives in the room. So I think all of that is embraced unilaterally. But that's the first time I've heard of that.
It's a tough time for screenwriters right now, because fewer movies are getting made. I'm enjoying television so much. It offers opportunities for writers to be in a writers' room and work their way up. It's somewhat easier because there's more of a community. There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.
The model we established was to give creative people complete creative freedom in exchange for betting on themselves, so they work for the minimums you're allowed to work for, and if the movies work in a big way, everyone does very well. If the movies don't, nobody loses too much money. The benefit to doing all the movies low budget is we can tell different types of stories and take creative risks. The Purge would have been irresponsible to do for $20M, but to do it for $3M makes sense.
We have to accept that making movies is a never-ending process of occasional progress, frequent setbacks, and unexpected curveballs being thrown our way. Navigating that process requires stamina, curiosity, openness, and creative fire.
I'll still make movies for studios, but my editing process will be much further removed from the studio system. Because I don't understand it. I don't understand the whole testing-numbers thing. It is not how I want to make movies. So if that's how they do it, then I don't think I want to do it.
I believe in making movies very inexpensively; I think that way too much money is spent on making movies. Enough movies are being made, but not enough experimental ones.
As I say the UK's position on the issue of torture and the use of torture has not changed. Our policy is the same as it has been. We condemn torture.
When I started doing improvise music in Europe, in the beginning I thought the way that Europeans were interpreting the reconstruction of deconstruction of this thing that we call jazz - of course it's different than what Americans do, because Europeans have a different history, a different sensibility and so forth - the nature of the creative process itself it's the same; but what comes from that creative process is different, because you have a different history, you have a different society, different language.
But in these few moments that we have here on Earth, are we going to torture ourselves? Or are we going to allow our lights to be dimmed? How do we expect men to respect women or women to rise to more power when we don't respect our queendom in the same way that men respect their kingdom?
I think that the world of making movies and how movies get made has certainly changed and evolved over the years. So we're just trying to keep up with it and keep telling our stories in whatever way we can, by hook or by crook.
Hollywood is a very male business, and it has in vast portions of it - the whole action movie part of it might as well be the United States Army in 1943 in that the ethics of it are, you know, boot camp and action movies and guns and explosions and all the rest of it, and that - so that means that about 50% of the business is not only pretty much closed off to women, but women don't even wanna be in it!
The earliest influence on me was the movies of the thirties when I was growing up. Those were stories. If you look at them now, you see the development of character and the twists of plot; but essentially they told stories. My mother didn't go to the movies because of a religious promise she made early in her life, and I used to go to movies and come home and tell her the plots of those old Warner Brothers/James Cagney movies, the old romantic love stories. Through these movies that had real characters, I absorbed drama, sense of pacing, and plot.
I believe that the process could be fun, I just think that making movies is really tough. And it's stressful as it is, and I think that most of us got in this business because it's fun to make movies.
There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.
When you have to cast movies from a producer's standpoint - when you've been on the other side of casting sessions - you just get a completely different perspective on what that process is of getting a job for an actor. You realize how completely impersonal it is. If anything, I think it's made me a lot less sensitive. So much of this is logic and business, and it's got nothing to do with whether people are good or not. Unfortunately, I think that's one of the last things that gets factored in when you're assembling a cast.
The industry has changed in big ways. When I started making movies, the studios were not all owned by huge conglomerates, so the decisions were made in a very different way. Over the years, I've watched both the rise and the decimation and fall of the DVD as a portion of where you could generate revenue from making this kind of content. We've seen this change in the balance sheet on the international side of the ledger; it's now a much bigger percentage than it is on domestic, even though movies would have been previously really domestically driven.
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