When kids like Steven Spielberg were eight and nine and 10, they had little cameras, and that's all they wanted to do. When I was 10, I was in my attic pretending to host my own variety show. Spielberg wasn't. That's why he's a film director, and I'm doing what I'm doing.
I had written the script for Juno and apparently Steven Spielberg had read it. I can't just call him Steven, that's weird... Mr. Spielberg had read it and he liked it. He asked me if I would write this television show for him and I said, 'Yeah!'
I didn't even really know who Tom Hanks and Steven Spielberg were, and my parents kept trying to tell me, 'Noah, what is wrong with you!? This is the biggest actor and director in all of Hollywood!' And then I was like, 'Who cares? Whatever.' I was nine; I didn't know anything.
I wanted to be Steven Spielberg, Tim Burton, Stanley Kubrick, David Cronenberg, Ridley Scott, James Cameron, and Hitchcock. I'd wanted to be a director since 13, and horror and the suspense thriller were the most powerful genres to me.
I had Steven Spielberg on my radio show.
My brothers and I came to L.A. as break-dancers when I was about 10, and by the time I was 15, I was working on this really big movie, with Steven Spielberg and Dustin Hoffman and Robin Williams.
My dad couldn't connect to my wanting to be a filmmaker. He was very connected in entertainment, and through him I met Steven Spielberg and got rides on his private plane to California. I'd see Spielberg's people reading scripts. I was like, 'That's what I want to be when I grow up.'
I was working with Tom Hanks and Steven Spielberg when I was nine years old.
I like how you can go back and watch David Lean and John Ford and see the influence that had on Steven Spielberg, especially David Lean, in the camerawork, and yet, you don't watch any Spielberg movie and think of David Lean. Once you're looking for it, you see it all, but it's not in your face.
My craziest on-set story comes from during the Goonies, when I came up to Spielberg and said that I wanted to climb the walls of the tunnels and that it represented my mother's womb, for some odd reason. I was reading Stanislawski at the time and Spielberg's response was "Why don't you just act."
I knew I wanted to be the Steven Spielberg of dance.
I'd love to do another 'Indiana Jones.' A character that has a history and a potential, kind of a rollicking good movie ride for the audience, Steven Spielberg as a director - what's not to like?
I came out of film school and went after movies that I thought audiences wanted to see or that the studios wanted, as opposed to the movies that I wanted. Over the last 10 years, I've gravitated more and more toward the films that I grew up loving - classic Spielberg, Lucas, James Cameron and Ridley Scott movies.
I can't impress people with the pedigree of obscure French filmmakers that got me into film. It was Robert Zemeckis and Steven Spielberg. I really thought I wanted to make dumb action movies.
Steven Spielberg seems to have wanted to be a director from 13. He put his dog in a certain position and made him eat at four o'clock. He liked to direct it. But, to me, directing is tedious. Especially if you're acting in it. And I'm inherently lazy.
I was lucky enough to work a little bit with Steven Spielberg.
My casting in 'Halo' produced by Steven Spielberg, which I am doing, is just color-blind casting; Asians have been questioning why best roles should not come to them and I am so happy about this color-blind casting. I am going to be just what I am in that film.