Steven Spielberg Quotes - Page 12

There's going to be no more digital enhancements or digital additions to anything based on any film I direct. I'm not going to do any corrections digitally to even wires that show... If 1941 comes on Blu-ray I'm not going to go back and take the wires out because the Blu-ray will bring the wires out that are guiding the airplane down Hollywood Blvd. At this point right now I think letting movies exist in the era, with all the flaws and all of the flourishes, is a wonderful way to mark time and mark history.

He never gave up. And he does that for us

I interviewed survivors, I went to Poland, saw the cities and spent time with the people and spoke to the Jews who had come back to Poland after the war and talked about why they had come back.

I feel like Ive been engaged to the British Empire since 1980 and tonight you have given me the ring knighthood.

I've been told that I'm a very different person on the set than I am in postproduction when the movie's over and I'm editing, in that I get so wound up in the film that I become selfless to the point where I lose too much weight.

It's funny, you make friends and you lose friends when you're making a movie.

I have to stay interested. I can't do the same thing over and over again, which is why I don't do - I've made sequels, but it's the movies that are not sequels that I enjoy the most.

If movies generically don't work, you immediately start to pick apart what ingredients contributed to that. If any movie is working, hopefully how it was made will be the least of your concern. You'll only want to have a god time.

I would lose myself too much if I thought of myself as the audience.

I've kept the people who've been in my career who I feel are my family. Kathy [Kennedy] had been with me since 1978. Janusz Kaminsky, my cinematographer, has made every movie with me since Schindler's List. Michael Kahn has cut every movie I've directed since 1976 when we made Close Encounters together. Rick Carter has done more than 15 of my directed films as a production designer.

I've just always had a personal fascination with the myth of Abraham Lincoln. And once you start to read about him and the Civil War and everything leading up to the Civil War, you start to understand that the myth is created when we think we understand a character and we reduce him to a kind of cultural national stereotype.

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've been shooting movies and television shows for now 47 years and I've worked with the best of them and [Kirk Douglas] is the only movie star I ever met.

There is something that you have that no one else ever had ... When you watch Kirk's [Douglas] performance in anything, in anything he's ever done, you cannot take your eyes off of him. It's not possible to look away from him.

The animal has no intellectual capacity to justify or to find reasons to exist. An animal just exists because it's the natural thing to do.

All of my movies are about how I wish the world would work. I've made very few movies about how the world worked. I could name them on one and a half hands, about how my movies have been very reflective of how the world was exactly. A lot of my movies are really about the way I wish the world was, and that's what this whole art form is all about. It's an interpretive art form.

I don't do the running commentary as the movie's playing. I think you should be able to watch the movie without listening to me talk while the movies playing.

I'm very collaborative with everybody on the set.

I was fifteen, or sixteen. I was in high school. I was spending a summer in California with my second cousins. And I wanted to be a director really bad. I was making a lot of 8mm home movies, since I was twelve, making little dramas and comedies with the neighborhood kids.

Whatever affect any of my films have on audiences, I just kind of stop at the door. I make them and I just don't go outside after they're over.

3D is not a fire and forget tool. It takes a lot of very careful consideration and it will change your approach to where you put the camera so 3D isn't for everybody.

I'm certainly hoping that 3D gets to the point where people do not notice it because once they stop noticing it, it just becomes another tool and an aid to help tell a story.

Actors just need each other to act together.

I love history. It was the only thing I did well at in school. I'm not ashamed to admit that I was not a good student but I was great at history.

Movies principally require the best of everybody, all at the same time, being the best they can be. Not just like five people being the best they've ever been, and 10 people not being the best they could be. It's like if everybody is either doing their greatest work, or the whole house of cards falls apart.