Steven Spielberg
Birthday:
18 December 1946, Cincinnati, Ohio, USA
Birth Name:
Steven Allan Spielberg
Height:
171 cm
Undoubtedly one of the most influential film personalities in the history of film, Steven Spielberg is perhaps Hollywood's best known director and one of the wealthiest filmmakers in the world. Spielberg has countless big-grossing, critically acclaimed credits to his name, as producer, director and writer.Steven Allan Spielberg was born in 194...
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Undoubtedly one of the most influential film personalities in the history of film, Steven Spielberg is perhaps Hollywood's best known director and one of the wealthiest filmmakers in the world. Spielberg has countless big-grossing, critically acclaimed credits to his name, as producer, director and writer.Steven Allan Spielberg was born in 1946 in Cincinnati, Ohio, to Leah Frances (Posner), a concert pianist and restaurateur, and Arnold Spielberg, an electrical engineer who worked in computer development. His parents were both born to Russian Jewish immigrant families. Steven spent his younger years in Haddon Township, New Jersey, Phoenix, Arizona, and later Saratoga, California. He went to California State University Long Beach, but dropped out to pursue his entertainment career. He gained notoriety as an uncredited assistant editor on the classic western Wagon Train (1957). Among his early directing efforts were Battle Squad (1961), which combined World War II footage with footage of an airplane on the ground that he makes you believe is moving. He also directed Escape to Nowhere (1961), which featured children as World War Two soldiers, including his sister Anne Spielberg, and The Last Gun (1959), a western. All of these were short films. The next couple of years, Spielberg directed a couple of movies that would portend his future career in movies. In 1964, he directed Firelight (1964), a movie about aliens invading a small town. In 1967, he directed Slipstream (1967), which was unfinished. However, in 1968, he directed Amblin' (1968), which featured the desert prominently, and not the first of his movies in which the desert would feature so prominently. Amblin' also became the name of his production company, which turned out such classics as E.T. the Extra-Terrestrial (1982). Spielberg had a unique and classic early directing project, Duel (1971), with Dennis Weaver. In the early 1970s, Spielberg was working on TV, directing among others such series as Rod Serling's Night Gallery (1969), Marcus Welby, M.D. (1969) and Columbo: Murder by the Book (1971). All of his work in television and short films, as well as his directing projects, were just a hint of the wellspring of talent that would dazzle audiences all over the world.Spielberg's first major directorial effort was The Sugarland Express (1974), with Goldie Hawn, a film that marked him as a rising star. It was his next effort, however, that made him an international superstar among directors: Jaws (1975). This classic shark attack tale started the tradition of the summer blockbuster or, at least, he was credited with starting the tradition. His next film was the classic Close Encounters of the Third Kind (1977), a unique and original UFO story that remains a classic. In 1978, Spielberg produced his first film, the forgettable I Wanna Hold Your Hand (1978), and followed that effort with Used Cars (1980), a critically acclaimed, but mostly forgotten, Kurt Russell\\Jack Warden comedy about devious used-car dealers. Spielberg hit gold yet one more time with Raiders of the Lost Ark (1981), with Harrison Ford taking the part of Indiana Jones. Spielberg produced and directed two films in 1982. The first was Poltergeist (1982), but the highest-grossing movie of all time up to that point was the alien story E.T. the Extra-Terrestrial (1982). Spielberg also helped pioneer the practice of product placement. The concept, while not uncommon, was still relatively low-key when Spielberg raised the practice to almost an art form with his famous (or infamous) placement of Reece's Pieces in "E.T." Spielberg was also one of the pioneers of the big-grossing special-effects movies, like "E.T." and "Close Encounters", where a very strong emphasis on special effects was placed for the first time on such a huge scale. In 1984, Spielberg followed up "Raiders" with Indiana Jones and the Temple of Doom (1984), which was a commercial success but did not receive the critical acclaim of its predecessor. As a producer, Spielberg took on many projects in the 1980s, such as The Goonies (1985), and was the brains behind the little monsters in Gremlins (1984). He also produced the cartoon An American Tail (1986), a quaint little animated classic. His biggest effort as producer in 1985, however, was the blockbuster Back to the Future (1985), which made Michael J. Fox an instant superstar. As director, Spielberg took on the book The Color Purple (1985), with Whoopi Goldberg and Oprah Winfrey, with great success. In the latter half of the 1980s, he also directed Empire of the Sun (1987), a mixed success for the occasionally erratic Spielberg. Success would not escape him for long, though.The late 1980s found Spielberg's projects at the center of pop-culture yet again. In 1988, he produced the landmark animation/live-action film Who Framed Roger Rabbit (1988). The next year proved to be another big one for Spielberg, as he produced and directed Always (1989) as well as Indiana Jones and the Last Crusade (1989), and Back to the Future Part II (1989). All three of the films were box-office and critical successes. Also, in 1989, he produced the little known comedy-drama Dad (1989), with Jack Lemmon and Ted Danson, which got mostly mixed results. Spielberg has also had an affinity for animation and has been a strong voice in animation in the 1990s. Aside from producing the landmark "Who Framed Roger Rabbit", he produced the animated series Tiny Toon Adventures (1990), Animaniacs (1993), Pinky and the Brain (1995), Freakazoid! (1995), Pinky, Elmyra & the Brain (1998), Family Dog (1993) and Toonsylvania (1998). Spielberg also produced other cartoons such as The Land Before Time (1988), We're Back! A Dinosaur's Story (1993), Casper (1995) (the live action version) as well as the live-action version of The Flintstones (1994), where he was credited as "Steven Spielrock". Spielberg also produced many Roger Rabbit short cartoons, and many Pinky and the Brain, Animaniacs and Tiny Toons specials. Spielberg was very active in the early 1990s, as he directed Hook (1991) and produced such films as the cute fantasy Joe Versus the Volcano (1990) and An American Tail: Fievel Goes West (1991). He also produced the unusual comedy thriller Arachnophobia (1990), Back to the Future Part III (1990) and Gremlins 2: The New Batch (1990). While these movies were big successes in their own right, they did not quite bring in the kind of box office or critical acclaim as previous efforts. In 1993, Spielberg directed Jurassic Park (1993), which for a short time held the record as the highest grossing movie of all time, but did not have the universal appeal of his previous efforts. Big box-office spectacles were not his only concern, though. He produced and directed Schindler's List (1993), a stirring film about the Holocaust. He won best director at the Oscars, and also got Best Picture. In the mid-90s, he helped found the production company DreamWorks, which was responsible for many box-office successes.As a producer, he was very active in the late 90s, responsible for such films as The Mask of Zorro (1998), Men in Black (1997) and Deep Impact (1998). However, it was on the directing front that Spielberg was in top form. He directed and produced the epic Amistad (1997), a spectacular film that was shorted at the Oscars and in release due to the fact that its release date was moved around so much in late 1997. The next year, however, produced what many believe was one of the best films of his career: Saving Private Ryan (1998), a film about World War Two that is spectacular in almost every respect. It was stiffed at the Oscars, losing best picture to Shakespeare in Love (1998).Spielberg produced a series of films, including Evolution (2001), The Haunting (1999) and Shrek (2001). he also produced two sequels to Jurassic Park (1993), which were financially but not particularly critical successes. In 2001, he produced a mini-series about World War Two that definitely *was* a financial and critical success: Band of Brothers (2001), a tale of an infantry company from its parachuting into France during the invasion to the Battle of the Bulge. Also in that year, Spielberg was back in the director's chair for Artificial Intelligence: AI (2001), a movie with a message and a huge budget. It did reasonably at the box office and garnered varied reviews from critics.Spielberg has been extremely active in films there are many other things he has done as well. He produced the short-lived TV series Seaquest DSV (1993), an anthology series entitled Amazing Stories (1985), created the video-game series "Medal of Honor" set during World War Two, and was a starting producer of ER (1994). Spielberg, if you haven't noticed, has a great interest in World War Two. He and Tom Hanks collaborated on Shooting War (2000), a documentary about World War II combat photographers, and he produced a documentary about the Holocaust called A Holocaust szemei (2000). With all of this to Spielberg's credit, it's no wonder that he's looked at as one of the greatest ever figures in entertainment. Show less «
I think that the Internet is going to effect the most profound change on the entertainment industries combined. And we're all gonna be tunin...Show more »
I think that the Internet is going to effect the most profound change on the entertainment industries combined. And we're all gonna be tuning into the most popular Internet show in the world, which will be coming from some place in Des Moines. We're all gonna lose our jobs. We're all gonna be on the Internet trying to find an audience. Show less «
Once a month the sky falls on my head, I come to and I see another movie I want to make.
Once a month the sky falls on my head, I come to and I see another movie I want to make.
[on winning the Best Director Oscar for Saving Private Ryan (1998)]: Am I allowed to say I really wanted this?
[on winning the Best Director Oscar for Saving Private Ryan (1998)]: Am I allowed to say I really wanted this?
Before I go off and direct a movie I always look at 4 films. They tend to be: Shichinin no samurai (1954), Lawrence of Arabia (1962), It's a...Show more »
Before I go off and direct a movie I always look at 4 films. They tend to be: Shichinin no samurai (1954), Lawrence of Arabia (1962), It's a Wonderful Life (1946) and The Searchers (1956). Show less «
[on friend Joan Crawford]: She is five feet four, but she looks six feet on the screen. In a two-shot with anyone, even Gable, (Clark Gable)...Show more »
[on friend Joan Crawford]: She is five feet four, but she looks six feet on the screen. In a two-shot with anyone, even Gable, (Clark Gable), your eyes fix on her. She is imperious, yet with a childlike sparkle. She is haughty, yet tender. She has no great range as an actress, yet within the range she can perform better than any of her contemporaries. Show less «
I have made almost as many films in England as I have in America. I will come back to England again and again.
I have made almost as many films in England as I have in America. I will come back to England again and again.
I would love to see the British film industry get back on its feet again.
I would love to see the British film industry get back on its feet again.
I don't drink coffee. I've never had a cup of coffee in my entire life. That's something you probably don't know about me. I've hated the ta...Show more »
I don't drink coffee. I've never had a cup of coffee in my entire life. That's something you probably don't know about me. I've hated the taste since I was a kid. Show less «
I dream for a living.
I dream for a living.
I'd rather direct than produce. Any day. And twice on Sunday.
I'd rather direct than produce. Any day. And twice on Sunday.
Poltergeist (1982) is the darker side of my nature, it's me when I was scaring my younger sisters half to death. In Poltergeist, I wanted to...Show more »
Poltergeist (1982) is the darker side of my nature, it's me when I was scaring my younger sisters half to death. In Poltergeist, I wanted to terrify and I also wanted to amuse - I tried to mix the laughs and screams together. Show less «
With Star Wars (1977), George (George Lucas) put the butter back into the popcorn.
With Star Wars (1977), George (George Lucas) put the butter back into the popcorn.
I always like to think of the audience when I am directing. Because I am the audience.
I always like to think of the audience when I am directing. Because I am the audience.
The older I get, the more I look at movies as a moving miracle. Audiences are harder to please if you're just giving them special effects, b...Show more »
The older I get, the more I look at movies as a moving miracle. Audiences are harder to please if you're just giving them special effects, but they're easy to please if it's a good story. The audience is also the toughest critic - a good story that exists in your world may not be the first choice for an audience. So I just do the best I can. Show less «
[When asked about being conflicted whether to make more artistic films, or more commercial films]: All the time, but when you have a story t...Show more »
[When asked about being conflicted whether to make more artistic films, or more commercial films]: All the time, but when you have a story that is very commercial and simple, you have to find the art. You have to take the other elements of the film and make them as good as possible, and doing that will uplift the film. Show less «
Godzilla (Godzilla, King of the Monsters! (1956)) was the most masterful of all dinosaur movies because it made you believe it was really ha...Show more »
Godzilla (Godzilla, King of the Monsters! (1956)) was the most masterful of all dinosaur movies because it made you believe it was really happening. Show less «
I don't work weekends. Weekends are for my kids. And I have dinner at home every night when I'm not physically directing a movie - I get hom...Show more »
I don't work weekends. Weekends are for my kids. And I have dinner at home every night when I'm not physically directing a movie - I get home by six. I put the kids to bed and tell them stories and take them to school the next morning. I work basically from 9.30 to 5.30 and I'm strict about that. Show less «
I think every film I make that puts characters in jeopardy is me purging my own fears, sadly only to re-engage with them shortly after the r...Show more »
I think every film I make that puts characters in jeopardy is me purging my own fears, sadly only to re-engage with them shortly after the release of the picture. I'll never make enough films to purge them all. Show less «
I'm as guilty as anyone, because I helped to herald the digital era with Jurassic Park (1993). But the danger is that it can be abused to th...Show more »
I'm as guilty as anyone, because I helped to herald the digital era with Jurassic Park (1993). But the danger is that it can be abused to the point where nothing is eye-popping any more. The difference between making Jaws (1975) 31 years ago and War of the Worlds (2005) is that today, anything I can imagine, I can realize on film. Then, when my mechanical shark was being repaired and I had to shoot something, I had to make the water scary. I relied on the audience's imagination, aided by where I put the camera. Today, it would be a digital shark. It would cost a hell of a lot more, but never break down. As a result, I probably would have used it four times as much, which would have made the film four times less scary. Jaws is scary because of what you don't see, not because of what you do. We need to bring the audience back into partnership with storytelling. Show less «
Being a movie-maker means you get to live many, many lifetimes. It's the same reason audiences go to movies, I think. When my daughter Sasha...Show more »
Being a movie-maker means you get to live many, many lifetimes. It's the same reason audiences go to movies, I think. When my daughter Sasha (Sasha Spielberg) was 5 years old, we would be watching something on TV and she'd point to a character on screen and say, "Daddy, that's me." Ten minutes later a new character would come on screen and she'd say, "No, Daddy. That's me." Throughout the movie she would pick different people to become. I think that's what we all do. We just don't say it as sweetly. Show less «
After a scary movie about the world almost ending, we can walk into the sunlight and say, "Wow, everything's still here. I'm OK!" We like to...Show more »
After a scary movie about the world almost ending, we can walk into the sunlight and say, "Wow, everything's still here. I'm OK!" We like to tease ourselves. Human beings have a need to get close to the edge and, when filmmakers or writers can take them to the edge, it feels like a dream where you're falling, but you wake up just before you hit the ground. Show less «
What I'm saying is that I believe in showmanship.
What I'm saying is that I believe in showmanship.
Times have changed. It's like when the first 747 landed at Los Angeles international airport: everybody thought flying through the sky was t...Show more »
Times have changed. It's like when the first 747 landed at Los Angeles international airport: everybody thought flying through the sky was the most greatest marvel they had ever seen - floating through the air, seemingly in slow motion. Today we never even look at 747s. They're a dime a dozen and it's that way with the blockbuster. If there was one blockbuster every three years, it meant a lot more than when you have a blockbuster every three weeks. It's the job of each of these studios to market these movies as the must-see movie of the year, so they go after blockbuster status by creating a grand illusion. Sometimes they've got a real engine behind that grand illusion, meaning the movie is damned good and the audience will say they got their money's worth. Other times, the audience comes on the promise of seeing something they've never ever seen before and it becomes just another sci-fi action yarn and they feel disappointed. Show less «
I've learned that we can do just about anything under the sun with computers. So the question becomes, should we? Or, should we remind ourse...Show more »
I've learned that we can do just about anything under the sun with computers. So the question becomes, should we? Or, should we remind ourselves, as filmmakers, to be careful and remember that there is nothing more important than how a story is told? If storytelling becomes a byproduct of the digital revolution, then the medium itself is corrupted. On the other hand, if digital tools are simply a way to enhance a conventional story, then in that case, they can make telling that story easier. It's easier and more practical to show 20,000 soldiers in the Crimean War using computers, obviously. So, that's fine. But now, we have technology that can replace actors, or an entire performance in an already existing movie. We could cut out Humphrey Bogart and replace him with Vin Diesel, if somebody wanted. Who would want to? Well, there might be people who would. That's why we have to be careful. Movies reflect our cultural heritage from the period in time in which they were made. Therefore, altering them can destroy that historical perspective. That's disrespectful of history, which is a big issue for me. The situation is like walking a tightrope - we have to move forward, but we have to be careful. Show less «
I had dinner with the founder of Yahoo! about seven years ago in Japan. I had my son, who is now sixteen, he was much younger then. I took h...Show more »
I had dinner with the founder of Yahoo! about seven years ago in Japan. I had my son, who is now sixteen, he was much younger then. I took him to a tea house. We had Geishas, they were serving us tea and I had a little soki and we were talking. And he kept sitting across from me and he kept saying "Yahoo! You have to know what Yahoo!"... and he was going crazy over this thing called Yahoo! And I thought he was actually out of his brain. You know, because he kept talking about Yahoo! and I thought he was trying to say "Yahoo!" And he was, but I had no idea what he was building. And he was so thrilled with what was happening in his world. And this was way beyond my world at that time. And how I look back. I thought: God if I could have been a little bit nicer to that guy, he might have called me up and offered me a chance to invest early. (2002). Show less «
During an interview with Roger Ebert regarding his film Munich (2005) and the response from Jewish critics that claim it depicts Israeli and...Show more »
During an interview with Roger Ebert regarding his film Munich (2005) and the response from Jewish critics that claim it depicts Israeli and Palestinian causes as morally equivalent: Frankly, I think that's a stupid charge. The people who attack the movie based on 'moral equivalence' are some of the same people who say diplomacy itself is an exercise in 'moral equivalence' and that war is the only answer. That the only way to fight terrorism is to dehumanize the terrorists by asking no questions about who they are and where they come from. What I believe is, every act of terrorism requires a strong response, but we must also pay attention to the causes. That's why we have brains and the power to think passionately. Understanding does not require approval. Understanding is not the same as inaction. Understanding is a very muscular act. If I'm endorsing understanding and being attacked for that, then I am almost flattered. Show less «
I feel like I've been engaged to the British Empire since 1980 and tonight you have given me the ring knighthood.
I feel like I've been engaged to the British Empire since 1980 and tonight you have given me the ring knighthood.
What kept us going was the thought that David Lean, at 54, had done this every day for a year. David Lean was our criterion for survival - o...Show more »
What kept us going was the thought that David Lean, at 54, had done this every day for a year. David Lean was our criterion for survival - on filming Raiders of the Lost Ark (1981) in Tunisia. Show less «
As long as there's been Transformers, I've been one of the biggest fans. And I always thought that somewhere in this genius concept, there w...Show more »
As long as there's been Transformers, I've been one of the biggest fans. And I always thought that somewhere in this genius concept, there was a movie. Show less «
I'll probably never win an Oscar, but I'll sure have a lot of fun! I really believe that movies are the great escape!
I'll probably never win an Oscar, but I'll sure have a lot of fun! I really believe that movies are the great escape!
Duel (1971) was almost a once-in-a-lifetime story. You don't get stories like that all the time.
Duel (1971) was almost a once-in-a-lifetime story. You don't get stories like that all the time.
All those horrible, traumatic years I spent as a kid became what I draw from creatively today.
All those horrible, traumatic years I spent as a kid became what I draw from creatively today.
The person I enjoy working for more than anyone else is George Lucas. He's the best boss I ever had because he's the most talented boss I ev...Show more »
The person I enjoy working for more than anyone else is George Lucas. He's the best boss I ever had because he's the most talented boss I ever had. Show less «
If I weren't a director, I would want to be a film composer.
If I weren't a director, I would want to be a film composer.
I interpret my dreams one way and make a movie out of them and people see my movies and make them part of their dreams.
I interpret my dreams one way and make a movie out of them and people see my movies and make them part of their dreams.
At E3 games convention about partnership with EA: I am a gamer myself, and I really wanted to create a video game that I could play with my ...Show more »
At E3 games convention about partnership with EA: I am a gamer myself, and I really wanted to create a video game that I could play with my kids. Show less «
Create a list » User Lists Related lists from IMDb users Greatest Moviemakers a list of 35 people created 29 May 2011 &...Show more »
Create a list » User Lists Related lists from IMDb users Greatest Moviemakers a list of 35 people created 29 May 2011 Favorite directors a list of 30 people created 18 Nov 2013 Favorite actors & directors a list of 23 people created 25 Mar 2015 35 Greatest Directors of All-Time a list of 35 people created 9 months ago Producers a list of 30 people created 4 months ago See all related lists » Show less «
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Steven Spielberg