BIBLIOGRAPHY 125
Forsberg, Myra. “Spielberg at 40: The Man and the Child.” The New York
Times, January 10, 1988. Reprinted in Steven Spielberg Interviews. Lester
D. Friedman and Brent Notbohm, eds. Conversations with Filmmakers
Series. Peter Burnette, general editor. Jackson: University Press of
Mississippi, 2000.
Friedman, Lester D., and Brent Notbohm, eds. Steven Spielberg Interviews.
Conversations with Filmmakers Series. Peter Burnette, general editor.
Jackson: University Press of Mississippi, 2000.
Friedman, Roger. “Spielberg Will Take a Year Off.” Fox411 News, March 6, 2006.
www.foxnews.com/story.
GameSpot. “E3 06: CelebSpotting @ E3 06.” www.gamespot.com (undated electronic
work).
Gardner, David. Tom Hanks: The Unauthorized Biography. London: Blake, 1999.
Gawker.com. “Classic Gawker Stalker: Anna Wintour Suffers Through the Painfully
Pedestrian Task of Jury Duty.” www.gawker.com (undated electronic work).
Giles, Jeff. “Catch them if You Can: What do you want for Christmas? How
about Spielberg behind the camera and Hanks and DiCaprio in front of it?
A Candid Conversation.” Newsweek, December 23, 2002, p. 58. www.
web7.infotrac.galegroup.com.
Gleiberman, Owen. “The E.T. Effect.” Entertainment Weekly , April 10, 2006.
www.ew.com.
———. “Globe Trodders: The aliens are coming in Steven Spielberg’s scary sci-fi
spectacular, War of the Worlds. Entertainment Weekly, July 8, 2005, p. 45.
www.web2.infotrac.galegroup.com.
———. Review of Munich . Entertainment Weekly, January 17, 2006. www.
ew.com.
Glenn, Cheryl. “Catch Me If You Can DVD Features.” February 26, 2003. www.
web7.infotrac.galegroup.com. Accessed August 20, 2005.
Grossberg, Josh. “Ford: ‘Indy 4’ Script Ready,” March 15, 2006. www.eonline.com.
———. “Oprah, Bono Top Celeb Philanthropists.” E! Online News, May 11,
2006. www.eonline.com.
Grossman, Ben. “Fox Heads to Hollywood Lot.” Broadcasting and Cable: The
Business of Television, April 6, 2006. www.broadcastingcable.com.
Guthmann, Edward. “Spielberg’s ‘List’: Director rediscovers his Jewishness
while fi lming Nazi Story.” San Francisco Chronicle, December 12, 1993.
Reprinted in Oskar Schindler and His List: The Man, the Book, the Film, the
Holocaust and Its Survivors. Thomas Fensch, ed., Introduction by Herbert
Steinhouse. Forest Dale, VT: Paul S. Eriksson, 1995.
“H. G. Wells Legacy, The.” Special Features. War of the Worlds, DVD, directed
by Steven Spielberg. Two-disc limited edition. Universal City, CA:
DreamWorks Home Entertainment, 2005.

124 BIBLIOGRAPHY
———. “ Amistad. ” December 12, 1997. www.rogerebert.suntimes.com.
———. The Great Movies II. New York: Broadway Books, 2005.
———. “ The Lost World Jurassic Park, ” June 6, 1997. www.rogerebert.suntimes.
com.
———. “ Minority Report. ” Chicago Sun-Times online, June 6, 2002. Reprinted
in Film Studies. Warren Buckland ed., Teach Yourself, 2nd ed., Series.
Chicago: McGraw-Hill, 2003.
———. “ Munich. ” December 23, 2005. www.rogerebert.suntimes.com.
———. “The Time 100.” Time: The Most Important People of the Century,
June 8, 1998. www.time.com.
Ejiofor, Mmoma. “Generous Celebs.” Forbes, Lifestyle Feature, May 5, 2006.
www.forbes.com.
Eller, Claudia. “GE Said to Have Okd Pursuit of Studio.” Los Angeles Times, July
30, 2005, p. C1. www.proquest.umi.com.
Empire of the Sun. Special Features. DVD, directed by Steven Spielberg. Burbank,
CA: Warner Home Video, 2001.
Erbach, Karen. “Schindler’s List Finds Heroism Amidst Holocaust.” American
Cinematographer, January 1994. Reprinted in Oskar Schindler and His
List: The Man, the Book, the Film, the Holocaust and Its Survivors. Thomas
Fensch, ed., Introduction by Herbert Steinhouse. Forest Dale, VT: Paul S.
Eriksson, 1995.
E.T. Behind the Scenes. E.T. the Extra-Terrestrial, Disc 2. DVD, directed by Steven
Spielberg. Two-disc limited collector’s edition. Widescreen version.
Universal City, CA: Universal Home Video, 2002.
Etonline.com. “Steven Spielberg’s Got Game.” Etonline, October 14, 2005. www.
et.tv.yahoo.com.
Farber, Stephen, and Marc Green. Outrageous Conduct: Art, Ego, and the Twilight
Zone Case. New York: Ivy, 1989.
Fearon, Peter. Hamptons Babylon: Life Among the Super-Rich on America ’ s Riviera.
Secaucus, NJ: Birch Lane Press, Carol Publishing Group, 1998.
Feldmann, Derrick. “Steven Spielberg.” Graduate Paper, The Center on
Philanthropy at Indiana University, 2005.
Fensch, Thomas, ed. Oskar Schindler and His List: The Man, the Book, the Film,
the Holocaust and Its Survivors. Introduction by Herbert Steinhouse. Forest
Dale, VT: Paul S. Eriksson, 1995.
Fine, Marshall. “Amazon.com: Duel (Collector’s Edition) DVD.” www.amazon.
com (undated electronic work).
Finn, Natalie. “Spielberg Gets Real for Fox.” E! Online News, April 6, 2006.
www.eonline.com.
Forbes. “Forbes Billionaires in Alphabetical Order.” Associated Press, 2006. www.
forbes.com/lists.

BIBLIOGRAPHY 123
CSRWire. “Starlight Starbright Children’s Foundation Announces Gala Event
Honoring Chairman Emeritus Steven Spielberg,” March 17, 2005. www.
csrwire.com.
Cuaycong, Anthony L. “Courtside.” BusinessWorld Manila, July 1, 2005, p. 1.
www.proquest.umi.com.
Daily Telegraph. “Invisible man.” Sydney Confi dential, May 26, 2006. www.
dailytelegraph.com.au.
Davey, Ben, and Joanna Cohen. “Top fi ve ‘when animals attack’ fi lms.” Sydney
Morning Herald, April 6, 2006. www.smh.com.au.
Davidson, Paul. “Indy 4: Now or Never, Ford is Looking Forward to It.” IGN
Entertainment, January 23, 2006. www.fi lmforce.ign.com.
———. “Jurassic Park 4 Next Year, Writers Are Starting Over,” April 19, 2006.
www.fi lmforce.ign.com.
Davidson, Paul, and Stax. “Indy 4: Is There a Consensus? Ford and Lucas Say It’s
Ready to Go.” IGN Entertainment, Inc., March 17, 2006. www.fi lmforce.
ign.com/articles.
Davies, Hugh. “3-D can save Hollywood, says director,” April 25, 2006. www.
telegraph.co.uk.
Denby, David. “For the Love of Fighting.” New Yorker, December 23, 2002,
pp. 166–169. www.proquest.umi.com.
———. “Stayin’ Alive.” New Yorker, July 11, 2005, pp. 102. www.web2.infotrac.
galegroup.com.
———. “Wanderers: The Current Cinema.” New Yorker. July 5, 2004. pp. 99–101.
www.proquest.umi.com.
DeWolfe, Anne, and Fred MacFarlane. “Starlight Children’s Foundation
and Starbright Foundation Merge; Newly-formed ‘Starlight Starbright
Children’s Foundation’ Makes Plans to ‘Brighten the Lives of Seriously Ill
Children’ Worldwide,” July 13, 2004. www.slsb.org.
Doherty, Thomas. “Schindler’s List.” Cineaste 20, no. 3 (1994). Reprinted in
Oskar Schindler and His List: The Man, the Book, the Film, the Holocaust and
Its Survivors. Thomas Fensch, ed., Introduction by Herbert Steinhouse.
Forest Dale, VT: Paul S. Eriksson, 1995.
Downey, Margaret. “Spielberg Finally Convinced to Leave BSA.” Scouting for All ,
July 2, 2001. www.scoutingforall.org.
Dubner, Stephen J. “Inside the Dream Factory.” Guardian Unlimited, March 21,
1999. www.guardian.co.uk.
———. “Steven the Good.” The New York Times Magazine. February 14, 1999.
Reprinted in Steven Spielberg Interviews. Lester D. Friedman and Brent
Notbohm, eds. Conversations with Filmmakers Series. Peter Burnette,
general editor. Jackson: University Press of Mississippi, 2000.
Ebert, Roger. “ A.I. Artifi cial Intelligence ,” June 29, 2001. www.rogerebert.suntimes.
com.

122 BIBLIOGRAPHY
Characters: The Family Unit. Special Features. War of the Worlds, DVD, directed
by Steven Spielberg. Two-disc limited edition. Universal City, CA:
DreamWorks Home Entertainment, 2005.
Chocano, Carina. “Movies: The Director’s Art; To think like the masters; For
Steven Spielberg, it takes a vicious alien attack to restore Dad as the head of
the family.” Los Angeles Times , July 10, 2005, p. E1. www.proquest.umi.com.
CNN.com. Steven Spielberg—Profi le. “Hollywood’s Master Storyteller.” People
in the News. www.cnn.com. Accessed July 5, 2006.
CNN.com. Steven Spielberg—Profi le. “Steven Spielberg—Timeline.” People in
the News. www.cnn.com (undated electronic work).
———. “You Could Be the Next Steven Spielberg,” April 7, 2006. www.cnn.
worldnews.com.
Collaboration of Spirits, A: Casting and Acting The Color Purple. Bonus Features.
The Color Purple, DVD, directed by Steven Spielberg. Burbank, CA:
Warner Home Video, 2003.
Collins, Glenn. “Spielberg Films— The Color Purple. ” The New York Times, December
15, 1985. Reprinted in Steven Spielberg Interviews. Lester D. Friedman and
Brent Notbohm, eds. Conversations with Filmmakers Series. Peter Burnette,
general editor. Jackson: University Press of Mississippi, 2000.
Color Purple, The: The Musical. Bonus Features. The Color Purple, DVD, directed
by Steven Spielberg. Burbank, CA: Warner Home Video, 2003.
Combs, Richard. “Primal Scream.” Sight and Sound, Spring 1977. Reprinted in
Steven Spielberg Interviews. Lester D. Friedman and Brent Notbohm, eds.
Conversations with Filmmakers Series. Peter Burnette, general editor.
Jackson: University Press of Mississippi, 2000.
Contact Music. “Spielberg to Receive International Emmy,” April 27, 2006.
www.contactmusic.com.
Conversations with Ancestors: The Color Purple from Book to Screen. Bonus
Features. The Color Purple, DVD, directed by Steven Spielberg. Burbank,
CA: Warner Home Video, 2003.
Corliss, Richard. “No Artifi cial Intelligence: Just Smart Fun.” Time, November 1,
2002. Reprinted in Film Studies. Warren Buckland, ed. Teach Yourself, 2nd
ed. Series. Chicago: McGraw-Hill, 2003.
Corliss, Richard, and Jeffrey Ressner. “Peter Pan Grows Up: But Can He Still
Fly?” Time, May 19, 1997, p. 74(9). Biography Resource Center. www.
galenet.galegroup.com.
Cotsalas, Valerie. “The Hamptons’ Most Coveted Spots.” The New York Times,
May 26, 2006. www.nytimes.com.
Cox, Dan. “Spielberg tapped for Huston Artists Rights Award.” Variety, December
12, 1994, p. 27(1). www.fi nd.galegroup.com.
Crawley, Tony. The Steven Spielberg Story: The Man Behind the Movies. New York:
Quill, 1983.

BIBLIOGRAPHY 121
Brooks, Tim, and Earle Marsh, eds. “Amazing Stories.” Complete Directory to
Prime Time Network and Cable TV Shows, 1946–Present, 6th ed. New York:
Ballantine Books, 1995, pp. 37–38.
Brown, Monica M. “HAFB Provides Sneak Peek of Film Location.” Alamagordo
News, May 21, 2006. www.alamogordonews.com.
Buckland, Warren. Film Studies. Series: Teach Yourself, 2nd ed. Chicago:
McGraw-Hill, 2003.
BusinessWeek. “The Adventures of Steven Spielberg,” July 13, 1998. www.
businessweek.com.
———. “Anatomy of a Spielberg Hit,” July 13, 1998. www.businessweek.com.
———. “Spielberg’s Entertainment Empire,” July 13, 1998. www.businessweek.
com.
Business Wire. “Stars Align at the Science Fiction Museum and Hall of Fame,”
March 29, 2005. www.web2.infotrac.galegroup.com.
BWW News Desk. “Steven Spielberg to Remake Mary Poppins Film?” www.
broadwayworld.com. Accessed March 1, 2006.
Byrne, Bridget. “Bill Gates Tops Forbes List of Richest Americans.” E! Online
News, September 29, 1997. www.eonline.com.
Carle, Chris. “ Transformers Title Talk.” IGN Film Force, May 23, 2006. www.
fi lmforce.ign.com.
Carnegie Mellon University Department of Media Relations. “Carnegie
Mellon University Announces 2006 Inductees into Robot Hall of Fame.”
April 19, 2006. www.roboticsonline.com.
Carpolipio, Redmond. “E3 revisited: Nintendo, Microsoft and Sony invite players
into the next generation.” U-Entertainment, May 18, 2006. www.
dailynews.com.
Carter, Bill. “Shifting Arenas, Spielberg Joins Effort to make Reality TV Series.”
The New York Times, April 7, 2006. www.nytimes.com.
Catch Me If You Can: A Steven Spielberg Film. Introduction by Frank W. Abagnale.
New York: Newmarket Pictorial Moviebook, Newmarket Press, 2002.
Catch Me If You Can. Bonus Features. Catch Me If You Can, DVD, directed by Steven
Spielberg. Universal City, CA: DreamWorks Home Entertainment, 2002.
CBS News. “The Nominees: Steven Spielberg,” February 28, 2006. www.
cbsnews.com.
———. “Paramount to Buy DreamWorks,” December 11, 2005. www.cbsnews.com.
Cedars-Sinai. “Steven Spielberg Pediatric Research Center.” www.csmc.edu
(undated electronic work).
CelebrityWonder. “Steven Spielberg Picture, Profi le, Gossip, and News.” www.
celebritywonder.com (undated electronic work).
Champ, Zac. “The Steven Spielberg Directory.” www.scruffl es.net (undated electronic
work).

120 BIBLIOGRAPHY
Armstrong, Mark. “Spielberg’s Knight Moves.” E! Online News, December 28,
2000. www.eonline.com.
Ask.com. “Steven Spielberg.” www.askmen.com (undated electronic work).
Au.Movies.Yahoo.com. “Steven Spielberg—Family and Companions.” www.
au.movies.yahoo.com (undated electronic work).
———. “Steven Spielberg—Milestones,” July 5, 2006. www.au.movies.yahoo.com.
Awalt, Steven. Editor, lead writer, www.SpielbergFilms.com.
Bahiana, Ana Maria. “ Hook. ” Cinema Papers, March–April 1992. Reprinted in
Steven Spielberg Interviews. Lester D. Friedman and Brent Notbohm, eds.
Conversations with Filmmakers Series. Peter Burnette, general editor.
Jackson: University Press of Mississippi, 2000.
Banerjee, Subhajit. “Now, music goes DTS, New Format Clarity.” Telegraph, May
15, 2006. www.telegraphindia.com.
Baxter, John. Mythmaker: Life and Work of George Lucas. New York: Avon,
1999.
———. Steven Spielberg, The Unauthorised Biography. London: HarperCollins,
1996.
BBC News. “DreamWorks profi ts fall on costs,” May 2, 2006. www.news.bbc.
co.uk.
———. “Spielberg honoured at Rome awards,” April 15, 2004. www.newsvote.
bbc.co.uk.
———. “Spielberg series sued for haircut,” March 18, 2006. www.newsvote.bbc.
co.uk.
Bernstein, Fred A. “Steven Spielberg’s Mother. An Interview with Leah Adler.”
The Jewish Mothers ’ Hall of Fame. New York: Doubleday, 1986. www.
fredbernstein.com.
Billen, Andrew. “The True Drama of War.” New Statesman , October 8, 2001,
p. 46. www.web7.infotrac.galegroup.com.
Biskind, Peter. “A World Apart.” Premiere, May 1997. Reprinted in Steven Spielberg
Interviews. Lester D. Friedman and Brent Notbohm, eds. Conversations with
Filmmakers Series. Peter Burnette, general editor. Jackson: University Press
of Mississippi, 2000.
Bobrow, Andrew C. “Filming The Sugarland Express: An Interview with Steven
Spielberg.” Filmmakers Newsletter, Summer 1974. Reprinted in Steven
Spielberg Interviews. Lester D. Friedman and Brent Notbohm, eds.
Conversations with Filmmakers Series. Peter Burnette, general editor.
Jackson: University Press of Mississippi, 2000.
Breznican, Anthony. “Family Relationships Fuel Spielberg’s Films: Director
Interview: War of the Worlds. ” Seattle Times, July 1, 2005, p. I20. www.
proquest.umi.com.
———. “Spielberg’s Family Values.” USA Today, July 5, 2006. www.usatoday.com.

BIBLIOGRAPHY
AARP magazine. “The Fearless 50,” March–April 2003. www.aarpmagazine.org.
Abagnale, Frank W. “Abagnale & Associates Comments.” September 3, 2002.
www.abagnale.com.
Abramowitz, Rachel. “ War over, Spielberg moves on; As his blockbuster takes
theaters, he’s wrapped up in the aftermath of the ’72 Munich killings.” Los
Angeles Times, July 1, 2005, E1. www.proquest.umi.com.
Adherents.com. “Religious Affi liation of Director Steven Spielberg.” www.
adherents.com (undated electronic work).
Adventures of Indiana Jones, The. Bonus Material. The Complete DVD Movie
Collection. Four videodiscs. Directed by Steven Spielberg. Hollywood:
Paramount Pictures/Lucasfi lm Ltd., 2003, 1989, 1984, 1981.
American Film Institute. “Steven Spielberg: Life Achievement Award 1995
Tribute Address.” www.afi .com (undated electronic work).
Andersen, Soren. “ War wins some battles: Steven Spielberg’s take on H.G. Wells’
War of the Worlds is effectively scary but breaks no new ground.” News
Tribune (Tacoma, WA), July 1, 2005, South Sound edition, p. F24. www.
proquest.umi.com.
Anderson, Lisa. “Fiennes Sits on the Brink of Major Stardom.” Chicago Tribune.
February 10, 1994. Reprinted in Oskar Schindler and His List: The Man, the
Book, the Film, the Holocaust and Its Survivors. Thomas Fensch, ed., Introduction
by Herbert Steinhouse. Forest Dale, VT: Paul S. Eriksson, 1995.
Ansen, David. “Spielberg’s Obsession.” Newsweek, December 20, 1993. Reprinted
in Oskar Schindler and His List: The Man, the Book, the Film, the Holocaust
and Its Survivors. Thomas Fensch, ed., Introduction by Herbert Steinhouse.
Forest Dale, VT: Paul S. Eriksson, 1995.

Starlight Starbright Children’s Foundation
5757 Wilshire Blvd, Suite M100
Los Angeles, CA 90036
(310) 479-1212
(800) 315-2580
Fax: (310) 479-1235
info@starlight.org
www.starlight.org
Cedars-Sinai Medical Center, West Hollywood
Steven Spielberg Pediatric Research Center
Steven Spielberg Building
8725 Alden Dr
Los Angeles, CA 90048
1-800-CEDARS-1 (1-800-233-2771)
Fax: (310) 423-4131
http://www.cmsc.edu/2675.html
Sullivan Canyon Preservation Association
321 South Beverly Drive, Suite M
Beverly Hills, CA 90212
(310) 454-5905
Fax: (310) 556-2924
info@access-scpa.org
http://www.access-scpa.org
The Planetary Society
65 North Catalina Avenue
Pasadena, CA 91106-2301
(626) 793-5100
Fax: (626) 793-5528
tps@planetary.org
(JavaScript required to read email)
http://planetary.org/home
University of Southern California
USC School of Cinema-Television
Attn: Production Program
University Park, LUC-404
Los Angeles, CA 90089-2211
(213) 740-3317
Fax: (213) 740-3395
productionoffice@cinema.usc.edu
http://cinemail.usc.edu
118 APPENDIX E

APPENDIX E
CHARITABLE ORGANIZATIONS SUPPORTED
BY SPIELBERG
USC Shoah Foundation
Steve Klappholz
Vice President for Development
USC Shoah Foundation
Institute for Visual History and Education
Leavey Library
650 W. 35th Street, Suite 114
Los Angeles, CA 90089-2571
(213) 740-6051
Fax: (213) 740-3896
vhi-web@usc.edu
http://www.usc.edu/schools/college/vhi/
Righteous Persons Foundation
Rachel Levin, Prog. Off.
2800 28th St., Ste. 105
Santa Monica, CA 90405
(310) 314-8393
Fax: (310) 314-8396
grants@righteouspersons.org
http://www.righteouspersons.org

Per International Movie Database, August 27, 2006, www.imdb.com.
The table above includes movies that have grossed over $200 million
at the box offi ce during their theatrical runs.
All amounts are in U.S. dollars and only include theatrical box offi ce
receipts (movie ticket sales) and do not include video rentals, television
rights, and other revenues. Totals may include theatrical re-release receipts.
Figures are not adjusted for infl ation.
Note from the author: These are Steven Spielberg’s movies only. To put
these ratings in perspective, there were a total of 291 movies on the list.
116 APPENDIX D

APPENDIX D
TOP-GROSSING FILMS: ALL-TIME WORLDWIDE
BOX-OFFICE RECORDS
RANK TITLE AND YEAR RELEASED GROSS DURING
THEATRICAL RUN
6 Jurassic Park, 1993 919,700,000
20 E.T. the Extra Terrestrial, 1982 756,700,000
30 Lost World Jurassic Park, 1997 614,300,000
32 War of the Worlds, 2005 591,377,056
45 Indiana Jones and the Last 494,800,000
Crusade, 1989
49 Saving Private Ryan, 1998 479,300,000
51 Jaws, 1975 470,600,000
83 Raiders of the Lost Ark, 1981 383,900,000
95 Jurassic Park III, 2001 362,900,000
100 Minority Report, 2002 358,000,000
122 Catch Me If You Can, 2002 337,400,000
126 Indiana Jones and the Temple 330,000,000
of Doom, 1984
134 Schindler’s List, 1993 321,200,000
150 Hook, 1991 300,800,000
154 Close Encounters of the Third 300,000,000
Kind, 1977
239 A.I. Artifi cial Intelligence, 2001 230,000,000
259 The Terminal, 2004 217,845,279

114 APPENDIX C
Skeet Ulrich, actor; Tonantzin Carmelo, actor; Irene Bedard, actor;
Michael Spears, actor; Zahn McClarnon, actor; Rachael Leigh
Cook, actor)
2006 Chicago International Film Festival, Gold Hugo, Lifetime
Achievement Award
2006 International Emmy Awards, International Emmy Founders
Award British Academy of Film and Television Arts Awards
(BAFTA), Academy Fellowship
2006 Art Directors Guild, Contribution to Cinematic Imagery
2006 Kansas City Film Critics Circle Awards (KCFCC), Best Director,
Munich (2005)
2006 Kennedy Center of Performing Arts, Kennedy Center Honor.

APPENDIX C 113
2002 Christopher Awards, Band of Brothers (2001) (mini) (Shared
with Phil Alden Robinson, director; Richard Loncraine, director;
Mikael Salomon, director; David Nutter, director; Tom Hanks,
director/writer/executive producer; David Leland, director;
David Frankel, director; Tony To, director/co-executive producer;
Erik Jendresen, writer; John Orloff, writer; E. Max Frye,
writer; Graham Yost, writer; Bruce C. McKenna, writer; Erik Bork,
writer; Mary Richards, producer; Stephen Ambrose, co-executive
producer; Gary Goetzman, co-executive producer)
2002 ShoWest Convention, USA, Lifetime Achievement Award
2002 Yale University, Honorary Doctor of Humane Letters
2002 Daytime Emmy Awards, Outstanding Mini-series, Band of Brothers
(2001) (mini), (Shared with Tom Hanks, executive producer;
Stephen Ambrose, co-executive producer; Gary Goetzman, coexecutive
producer; Tony To, co-executive producer; Erik Bork,
supervising producer; Erik Jendresen, supervising producer; Mary
Richards, producer)
2003 Daytime Emmy Awards, Outstanding Mini-series, Taken (2002/
I) (mini) (Shared with Leslie Bohem, executive producer; Steve
Beers, co-executive producer; Darryl Frank, co-executive producer;
Joe M. Aguilar, co-executive producer; Richard Heus, producer)
2003 Academy of Science Fiction, Fantasy & Horror Films, USA, Saturn
Award, Best Director, Minority Report (2002)
2003 Empire Awards (UK), Best Director, Minority Report (2002)
2003 Star on the Walk of Fame at 6801 Hollywood Blvd. on January 10,
2003
2003 Broadcast Film Critics Association Awards (BFCA), Best Director,
Catch Me If You Can (2002) and Minority Report (2002)
2004 Tokyo International Film Festival, Akira Kurosawa Award
2004 Knight of the Legion of Honor of France
2004 David di Donatello Awards (Italy), Special David
2004 Cavaliere di Gran Croce, Italy
2005 Science Fiction Hall of Fame; Seattle, Washington, Inductee
2005 Empire Awards (UK), “Cinema’s greatest director”
2005 Washington D.C. Area Film Critics Association Awards (WAFCA),
Best Director, Munich (2005)
2006 Western Heritage Awards, Bronze Wrangler, Outstanding
Television Feature Film, Into the West (2005) (mini) (Shared with
Darryl Frank, producer; Justin Falvey, producer; David A. Rosemont,
producer; William Mastrosimone, producer/writer; Kirk Ellis,
producer/writer; Larry Rapaport, producer; Matthew Settle, actor;

112 APPENDIX C
1999 Golden Globe, USA, Best Director of a Motion Picture, Saving
Private Ryan (1998)
1999 Southeastern Film Critics Association Awards (SEFCA), Best
Director, Saving Private Ryan (1998)
1999 Kansas City Film Critics Circle Award (KCFCC), Best Director,
Saving Private Ryan (1998)
1999 UK’s Empire Award, Best Director, Saving Private Ryan (1998)
1999 Czech Lions, Best Foreign Language Film, Saving Private Ryan
(1998)
1999 The Academy of Motion Picture Arts and Sciences (Academy
Awards), Best Director, Saving Private Ryan (1998)
1999 Best Director of the Twentieth Century, Entertainment Weekly poll
1999 Broadcast Film Critics Association Awards (BFCA), Best
Director, Saving Private Ryan (1998)
2000 Directors Guild of America, USA, Lifetime Achievement Award
2000 Producers Guild of America (PGA), Hall of Fame—Motion
Pictures, E.T. the Extra-Terrestrial (1982) (Shared with
Kathleen Kennedy)
2000 NAACP Image Awards, Vanguard Award
2000 Daytime Emmy Awards, Outstanding Children’s Animated
Program, Pinky, Elmyra & the Brain (1998) (Shared with Tom
Ruegger, senior producer; Rusty Mills, supervising producer; John
P. McCann, producer/writer; Charles M. Howell IV, producer;
Tom Sheppard, writer; Wendell Morris, writer; Gordon Bressack,
writer; Earl Kress, writer; Andrea Romano, director; Robert Davies,
director; Nelson Recinos, director)
2001 British Academy of Film and Television Arts Los Angeles
(BAFTA LA), Britannia, Excellence in Film
2001 Venice Film Festival, Future Film Festival Digital Award, A.I.
Artifi cial Intelligence (2001)
2001 Knight of the Order of the British Empire (KBE)
2001 National Board of Review, USA, Billy Wilder Award
2002 Producers Guild of America (PGA), Golden Laurel Awards,
Television Producer of the Year in Longform, Band of Brothers
(2001) (mini) (Shared with Tom Hanks & Tony To)
2002 Hollywood Film Festival Award, Best Feature Film, Minority
Report
2002 Mainichi Film Concours (Japan), Reader’s Choice Award, Best
Foreign Language Film, A.I. Artifi cial Intelligence (2001)
2002 Academy of Science Fiction, Fantasy & Horror Films, USA,
Saturn, Best Writing, A.I. Artifi cial Intelligence (2001)

APPENDIX C 111
1998 Toronto Film Critics Association Awards (TFCA), Best Director,
Saving Private Ryan (1998)
1998 Producers Guild of America (PGA), Vision Award, Amistad
(1997) (Shared with Debbie Allen & Colin Wilson)
1998 Rembrandt Awards (Netherlands), Audience Award, Best
Director, The Lost World Jurassic Park (1997)
1999 Directors Guild of America, USA Award (DGA), Outstanding
Directorial Achievement in Motion Pictures, Saving Private Ryan
(1998) (Shared with Mark Huffam, production manager; Sergio
Mimica-Gezzan, fi rst assistant director; Adam Goodman, second
assistant director; Karen Richards, second second assistant
director)
1999 Distinguished Public Service Award, the U.S. Navy’s highest
civilian honor
1999 Italian National Syndicate of Film Journalists, Silver Ribbon,
Best Director of a Foreign Film, Saving Private Ryan (1998)
1999 Daytime Emmy Awards, Outstanding Special Class Animated
Program, Pinky and the Brain (1995) (Shared with Tom Ruegger,
senior producer; Rusty Mills, supervising producer/director; Liz
Holzman, producer/director; Charles M. Howell IV, producer/
writer; Gordon Bressack, writer; Jed Spingarn, writer; Wendell
Morris, writer; Tom Sheppard, writer; Earl Kress, writer; Andrea
Romano, director; Russell Calabrese, director; Kirk Tingblad,
director; Mike Milo, director; Nelson Recinos, director; Charles
Visser, director)
1999 Daytime Emmy Awards, Outstanding Children’s Animated
Program, Pinky, Elmyra & the Brain (1998) (Shared with Tom
Ruegger, senior producer; Rusty Mills, supervising producer/
director; Liz Holzman, producer/director; Charles M. Howell
IV, producer/writer; John P. McCann, producer/writer; Wendell
Morris, writer; Tom Sheppard, writer; Gordon Bressack, writer;
Douglas Langdale, writer; Kate Donahue, writer; Scott Kreamer,
writer; Andrea Romano, director; Nelson Recinos, director;
Russell Calabrese, director; Robert Davies, director)
1999 Online Film Critics Society Awards (OFCS), Best Director,
Saving Private Ryan (1998)
1999 Producers Guild of America (PGA), Golden Laurel Awards,
Motion Picture Producer of the Year, Saving Private Ryan (1998)
(Shared with Allison Lyon Segan, Bonnie Curtis, Ian Bryce,
Mark Gordon, and Gary Levinsohn)
1999 Producers Guild of America (PGA), Milestone Award

110 APPENDIX C
1994 British Academy of Film and Television Arts Awards (BAFTA),
Best Film, Schindler’s List (1993) (Shared with Gerald R. Molen &
Branko Lustig)
1994 British Academy of Film and Television Arts Awards (BAFTA),
David Lean Award, Direction, Schindler’s List (1993)
1994 Blue Ribbon Award (Japan), Best Foreign Language Film, Jurassic
Park (1993)
1994 American Society of Cinematographers, USA, Board of the
Governors Award
1994 Producers Guild of America (PGA), Motion Picture Producer
of the Year, Schindler’s List (1993) (Shared with Branko Lustig &
Gerald R. Molen)
1994 Young Artist Awards, Jackie Coogan Award
1994 Golden Globes, Best Director of a Motion Picture, Schindler’s List
(1993)
1994 ShoWest Convention, USA, Director of the Year
1995 Society of Camera Operators, Governors Award
1995 American Film Institute, USA (AFI), Lifetime Achievement
Award
1995 Mainichi Film Concours (Japan), Reader’s Choice Award, Best
Foreign Language Film, Schindler’s List (1993)
1995 Kinema Junpo Awards (Japan), Reader’s Choice Award, Best
Foreign Language Film, Schindler’s List (1993)
1995 London Critics Circle Film Awards (ALFS), Director of the Year,
Schindler’s List (1993)
1996 Daytime Emmy Awards, Outstanding Animated Program (Programming
One Hour or Less), A Pinky & the Brain Christmas
Special (1995) (TV) (Shared with Tom Ruegger, senior producer;
Peter Hastings, producer/writer; Rusty Mills, producer/director)
1997 Daytime Emmy Awards, Outstanding Special Class Animated
Program, Freakazoid! (1995) (Shared with Tom Ruegger,
senior producer; Rich Arons, producer; John P. McCann, producer/
writer; Paul Rugg, producer/writer; Mitch Schauer,
producer; Ronaldo Del Carmen, director; Jack Heiter,
director; Scott Jeralds, director; Eric Radomski, director;
Dan Riba, director; Peter Shin, director)
1998 Bundesverdienstkreuz mit Stern (Federal Cross of Merit), Federal
Republic of Germany
1998 Las Vegas Film Critics Society Awards, Sierra Award, Best
Director, Saving Private Ryan (1998) (Tied with Roberto Benigni
Vita è bella, La [1997])

APPENDIX C 109
1991 Daytime Emmy, Outstanding Animated Program, Tiny Toon Adventures
(1990) (Shared with Tom Ruegger, senior producer; Ken
Boyer, director; Art Leonardi, director; Art Vitello, director; Paul
Dini, story editor; Sherri Stoner, writer)
1993 Venice Film Festival, Career Golden Lion
1993 Boston Society of Film Critics Awards (BSFC), Best Director,
Schindler’s List (1993)
1993 Daytime Emmy, Outstanding Animated Program, Tiny Toon
Adventures (1990) (Shared with Tom Ruegger, senior producer;
Sherri Stoner, writer; Rich Arons, director; Byron Vaughns,
director; Ken Boyer, director; Alfred Gimeno, director; David
West, director)
1994 The Academy of Motion Picture Arts and Sciences (Academy
Awards), Best Director Oscar, Schindler’s List (1993)
1994 The Academy of Motion Picture Arts and Sciences (Academy
Awards), Best Picture Oscar Schindler’s List (1993) (Shared with
Gerald R. Molen & Branko Lustig)
1994 Kansas City Film Critics Circle Award (KCFCC), Best Director,
Schindler’s List (1993)
1994 Hochi Film Awards (Japan), Best Foreign Language Film,
Schindler’s List (1993)
1994 Dallas-Fort Worth Film Critics Association Awards (DFWFCA),
Best Director, Schindler’s List (1993)
1994 Chicago Film Critics Association Awards (CFCA), Best
Director, Schindler’s List (1993)
1994 Amanda Awards (Norway), Best Foreign Feature Film, Schindler’s
List (1993)
1994 Czech Lions, Best Foreign Language Film, Jurassic Park (1993)
1994 Mainichi (Japan) Film Concours, Reader’s Choice Award, Best
Foreign Language Film, Jurassic Park (1993)
1994 Directors Guild of America, USA (DGA), Outstanding Directorial
Achievement in Motion Pictures, Schindler’s List (1993)
(Shared with Branko Lustig, unit production manager; Sergio
Mimica-Gezzan, fi rst assistant director; Michael Helfand, second
assistant director)
1994 The National Society of Film Critics Awards, USA (NSFC),
Best Director, Schindler’s List (1993)
1994 Academy of Science Fiction, Fantasy & Horror Films, USA, Saturn
Award, Best Director, Jurassic Park (1993)
1994 Academy of Science Fiction, Fantasy & Horror Films, USA,
Saturn Award, President’s Award

108 APPENDIX C
1983 Kinema Junpo Awards, Best Foreign Language Film, E.T. the
Extra-Terrestrial (1982)
1983 Kinema Junpo Awards, Readers’ Choice Award, Best Foreign
Language Film, E.T. the Extra Terrestrial (1982)
1983 France’s Cesar Awards’ Honorary Cesar
1983 Harvard University’s Hasty Pudding Theatricals, USA, Man of
the Year
1983 David di Donatello Awards (Italy), David, Best Director of a Foreign
Film, E.T. the Extra-Terrestrial (1982)
1983 Kansas City Film Critics Circle (KCFCC), Best Director, E.T.
the Extra-Terrestrial (1982)
1983 Fotogramas de Plata Best (Spain), Foreign Film, E.T. the Extra-
Terrestrial (1982)
1983 Blue Ribbon Award (Japan), Best Foreign Language Film, E.T.
the Extra-Terrestrial (1982)
1984 Giffoni Film Festival (Italy), Nocciola d’Oro Award
1986 Directors Guild of America, USA Award (DGA), Outstanding
Directorial Achievement in Motion Pictures, The Color
Purple (1985) (Shared with Gerald R. Molen, unit production
manager; Pat Kehoe, fi rst assistant director; Richard A. Wells,
fi rst assistant director; Victoria E. Rhodes, second assistant
director.)
1986 British Academy of Film and Television Arts Awards (BAFTA)
Academy Fellowship
1986 Kansas City Film Critics Circle (KCFCC) Award, Best Director,
The Color Purple (1985)
1987 Blue Ribbon Award (Japan), Best Foreign Language Film, The
Color Purple (1985)
1987 National Board of Review, USA Award (NBR), Best Director,
Empire of the Sun (1987)
1987 The Academy of Motion Picture Arts and Sciences (Academy
Awards), Irving G. Thalberg Memorial Award
1988 Kansas City Film Critics Circle Award (KCFCC), Best Director,
Empire of the Sun (1987)
1989 American Cinematheque Award (California)
1990 Retirement Research Foundation, USA, Wise Owl Award, Television
and Theatrical Film Fiction, Dad (1989) (Shared with
Gary David Goldberg, Joseph Stern, Kathleen Kennedy, Frank
Marshall)
1990 American Cinema Editors, USA, Golden Eddie, Filmmaker of
the Year Award

APPENDIX C
AWARDS
1962 Arizona Amateur Film Festival, First Prize, Escape to Nowhere
1973 Avoriaz (France) Fantastic Film Festival, Grand Prize, Duel
(1971) (TV)
1974 Cannes Film Festival, Best Screenplay, The Sugarland Express
(1974) (Shared with Hal Barwood & Matthew Robbins)
1978 Academy of Science Fiction, Fantasy & Horror Films, USA,
Saturn Award, Best Director, Close Encounters of the Third Kind
(1977) (Tied with George Lucas Star Wars [1977])
1982 ShoWest Convention, USA, Director of the Year
1982 Los Angeles Film Critics Association Awards (LAFCA), Best Director,
E.T. the Extra-Terrestrial (1982)
1982 Saturn, Best Director, Raiders of the Lost Ark (1981)
1982 American Movie Awards’ Marquee Award, Best Director, Raiders
of the Lost Ark (1981)
1982 Kinema Junpo Awards, Readers’ Choice Award, Best Foreign
Language Film, Raiders of the Lost Ark (1981)
1982 Boston Society of Film Critics Awards (BSFC), Best Director,
Raiders of the Lost Ark (1981)
1983 Boston Society of Film Critics Awards (BSFC), Best Director,
E.T. the Extra-Terrestrial (1982)
1983 National Society of Film Critics Awards, USA (NSFC), Best
Director, E.T. the Extra-Terrestrial (1982)

52. “It’s a Wonderful Tiny Toons Christmas Special” (1992) (TV)
(executive producer)
53. “Tiny Toon Adventures: How I Spent My Vacation” (1992)
(V) (executive producer)
54. An American Tail: Fievel Goes West (1991) (producer)
55. Tiny Toon Adventures (1990) TV Series (executive producer)
56. Arachnophobia (1990) (executive producer)
57. Gremlins 2: The New Batch (1990) (executive producer)
58. Back to the Future Part III (1990) (executive producer)
59. Joe Versus the Volcano (1990) (executive producer)
60. Always (1989) (producer)
61. Back to the Future Part II (1989) (executive producer)
62. Dad (1989) (executive producer)
63. The Land Before Time (1988) (executive producer)
64. Who Framed Roger Rabbit (1988) (executive producer)
65. * batteries not included (1987) (executive producer)
66. Empire of the Sun (1987) (producer)
67. Innerspace (1987) (executive producer)
68. Amazing Stories (executive producer)
69. An American Tail (1986) (executive producer)
70. The Money Pit (1986) (executive producer)
71. Young Sherlock Holmes (1985) (executive producer)
72. Back to the Future (1985) (executive producer)
73. The Goonies (1985) (executive producer)
74. Gremlins (1984) (executive producer)
75. Twilight Zone The Movie (1983) (producer)
76. Poltergeist (1982) (producer)
77. E.T. the Extra-Terrestrial (1982) (producer)
78. Continental Divide (1981) (executive producer)
79. Used Cars (1980) (executive producer)
80. I Wanna Hold Your Hand (1978) (executive producer)
APPENDIX B 105

18. Into the West (2005) (mini) TV Series (executive producer)
19. The Terminal (2004) (producer)
20. Voices from the List (2004) (V) (executive producer)
21. Catch Me If You Can (2002) (producer)
22. Taken (2002/I) (mini) TV Series (executive producer)
23. Men in Black II (2002) (executive producer)
24. Band of Brothers (2001) (mini) TV Series (executive producer)
25. Jurassic Park III (2001) (executive producer)
26. A.I. Artifi cial Intelligence (2001) (producer)
27. Saving Private Ryan (1998) (producer)
28. The Mask of Zorro (1998) (executive producer)
29. Deep Impact (1998) (executive producer)
30. Amistad (1997) (producer)
31. Men in Black (1997) (executive producer)
32. The Lost Children of Berlin (1997) (executive producer)
33. Twister (1996) (executive producer)
34. Survivors of the Holocaust (1996) (TV) (executive producer)
35. Balto (1995) (executive producer)
36. Pinky and the Brain (1995) TV Series (executive producer)
37. Tiny Toon Adventures: Night Ghoulery (1995) (TV) (executive
producer)
38. Casper (1995) (executive producer)
39. A Pinky & the Brain Christmas Special (1995) (TV) (executive
producer)
40. ER (1994) TV Series (executive producer) (1994)
41. The Flintstones (1994) (executive producer) (as Steven Spielrock)
42. “I’m Mad!” (1994) (executive producer) (Animaniacs short
feature)
43. “Tiny Toon Adventures: Spring Break Special” (1994) (TV)
(executive producer)
44. “Tiny Toons Spring Break” (1994) (TV) (executive producer)
45. “Yakko’s World: An Animaniacs Singalong” (1994) (V) (executive
producer)
46. SeaQuest DSV (1993) TV Series (executive producer) (1993–
1995)
47. Schindler’s List (1993) (producer)
48. We’re Back! A Dinosaur’s Story (1993) (executive producer)
49. Animaniacs (1993) TV Series (executive producer)
50. Class of ’61 (1993) (TV) (executive producer)
51. SeaQuest DSV (1993) (TV) (executive producer)
104 APPENDIX B

APPENDIX B
FILMS PRODUCED BY STEVEN SPIELBERG
There are many fi lms produced by the Amblin and DreamWorks SKG
studios that were not personally produced by Mr. Spielberg. They are not
listed here.
There are also Spielberg-produced episodes of the animated programs
that are not listed here.
1. The Talisman (executive producer)
2. Interstellar (producer) (projected 2009)
3. Disturbia (2007) (executive producer)
4. The Pacifi c War (mini) TV Series (executive producer)
5. Jurassic Park IV (pre-production) (executive producer)
6. Nine Lives (2007) (mini) TV Series (executive producer)
7. On the Lot (2007) TV Series (executive producer)
8. When Worlds Collide (2008) (producer)
9. Team of Rivals (aka Lincoln Biopic ) (projected 2008) (producer)
10. Transformers (2007) (executive producer)
11. Flags of Our Fathers (2006) (producer)
12. Letters from Iwo Jima (aka Red Sun, Black Sand ) (2006) (producer)
13. Spell Your Name (2006) (executive producer)
14. Monster House (2006) (executive producer)
15. Munich (2005) (producer)
16. Memoirs of a Geisha (2005) (producer)
17. The Legend of Zorro (2005) (executive producer)

23. The Color Purple (1985)
24. Amazing Stories
“The Mission” (1985) TV Episode
“Ghost Train” (1985) TV Episode
25. Indiana Jones and the Temple of Doom (1984)
26. Twilight Zone The Movie (1983) (segment 2)
27. E.T. the Extra-Terrestrial (1982)
28. Raiders of the Lost Ark (1981)
29. 1941 (1979)
30. Close Encounters of the Third Kind (1977)
31. Jaws (1975)
32. The Sugarland Express (1974)
33. Savage (1973) (TV)
34. Something Evil (1972) (TV)
35. Duel (1971) (TV)
36. Owen Marshall: Counselor at Law
“Eulogy for a Wide Receiver” (1971) TV Episode
37. Columbo: Murder by the Book (1971) (TV)
38. The Psychiatrist
“Par for the Course” (1971) TV Episode
“The Private World of Martin Dalton” (1971) TV Episode
39. The Name of the Game
“Los Angeles 2017” (1971) TV Episode
40. Night Gallery
“ Make Me Laugh ” (1971) TV Episode
41. Marcus Welby, M.D.
“The Daredevil Gesture” (1970) TV Episode
42. Night Gallery (1969) (TV) (segment “Eyes”)
43. Amblin’ (1968)
44. Firelight (1964)
45. Escape to Nowhere (1962)
46. Fighter Squad (1960)
47. The Last Gun (1958)
Source: www.imdb.com, “Steven Spielberg,” accessed December 6, 2006.
102 APPENDIX A

APPENDIX A
FILMS DIRECTED BY STEVEN SPIELBERG
1. Interstellar (projected 2009)
2. Team of Rivals (aka Lincoln Biopic ) (projected 2008)
3. Indiana Jones 4 (projected 2008)
4. Munich (2005)
5. War of the Worlds (2005)
6. The Terminal (2004)
7. Catch Me If You Can (2002)
8. Minority Report (2002)
9. A.I. Artifi cial Intelligence (2001)
10. The Unfi nished Journey (1999)
11. Saving Private Ryan (1998)
12. Amistad (1997)
13. The Lost World Jurassic Park (1997)
14. Steven Spielberg’s Director’s Chair (1996) (VG)
15. Schindler’s List (1993)
16. Jurassic Park (1993)
17. Amazing Stories: Book One (1992) (V) (segment “The Mission”)
18. Hook (1991)
19. The Visionary (1990) (V) (segment “Par for the Course”)
20. Always (1989)
21. Indiana Jones and the Last Crusade (1989)
22. Empire of the Sun (1987)

AWARDS AND FAME 99
17 . Quoted in Sean Smith, “The King of the World: Spielberg talks about
movies, terror and wonder, and why the Oprah thing bothered him—but only a
little,” Newsweek, June 27, 2005, 58, www.infotrac.galegroup.com/.
18 . Quoted in Peter Biskind, “A World Apart,” Premiere, May 1997, reprinted
in Steven Spielberg Interviews, Lester D. Friedman and Brent Notbohm,
eds. (Jackson: University Press of Mississippi, 2000), 205.
19 . Quoted in Etonline.com, “Steven Spielberg’s Got Game,” October 14,
2005, www.et.tv.yahoo.com/.
20 . Quoted in Brandon Sheffi eld, “EALA’s Neil Young on Emotion, IP, and
Overtime,” Gamasutra Features, May 22, 2006, www.gamasutra.com/.
21 . Quoted in Sheffi eld.
22 . Quoted in Stax, “Ra’s Seeing Red: Watanabe, Clint team up,” IGN Film
Force. March 10, 2006, www.fi lmforce.ign.com/articles.
23 . Cindy White, “Review of Minority Report, ” www.scifi .com/.
24 . BWW News Desk, “Steven Spielberg to Remake Mary Poppins Film?”
www.broadwayworld.com/.
25 . American Film Institute, “Steven Spielberg: Life Achievement Award
1995 Tribute Address,” 1995, www.afi .com/, accessed April 4, 2006.
26 . UPI News Track, “Spielberg voted top director,” United Press International,
June 2, 2005, www.infotrac.galegroup.com/.
27 . John Baxter, Steven Spielberg, The Unauthorised Biography (London:
HarperCollins, 1996), 7.
28 . Quoted in Stephen M. Silverman, “Tom Cruise Surprises Steven Spielberg,”
July 17, 2006, www.people.aol.com/.

98 STEVEN SPIELBERG
innate and effortless, his innocent fl air and enjoyment disguising the complexities
of what he knows.” 27 When he accepted the Gold Hugo Award
from his pal, Tom Cruise, on July 15, 2006, Spielberg said, “Every time
I go to something like this, it really reminds me that I haven’t made my
Lawrence of Arabia yet—I haven’t made my Grapes of Wrath yet. It makes
me hungry. I will go home from this with a healthy appetite to keep working.”
28 Considering the movies that Steven Spielberg has made, it is hard
to imagine that the best may still be to come.
NOTES
1 . International Movie Database, “Biography for Steven Spielberg,” www.
imdb.com (accessed Sept 22, 2005).
2 . BBC News, “Spielberg honoured at Rome Awards,” April 15, 2004, www.
newsvote.bbc.co.uk.
3 . Hollywood.com, “Spielberg to Receive Lifetime Achievement Award,”
May 10, 2006, www.hollywood.com.
4 . WorldScreen.com, “Spielberg to Receive International Emmy Founders
Award,” New York, April 24, 2006, www.worldscreen.com.
5 . Dominic Wills, “Steven Spielberg Biography,” December 15, 2005, www.
tiscali.co.uk.
6 . Thane Peterson, “Hybrid Heaven in a Lexus,” Business Week Online
Reviews, March 8, 2006, www.businessweek.com.
7 . Lawrence Toppman, “Nature will take fi lm fest by storm,” Charlotte Observer,
April 2, 2006, www.thestate.com.
8 . Quoted in Christopher Rocchio, “Pursuing a dream: City native founded
SurDeis Film Festival,” Daily News Tribune, April 4, 2006, www.dailynewstribune.
com.
9 . Quote in Frank Sanello, Spielberg: The Man, The Movies, The Mythology
(Dallas: Taylor, 1996), 173.
10 . Quote in Sanello, 175.
11 . Derrick Feldmann, “Steven Spielberg,” Graduate paper. The Center on
Philanthopy at Indiana University, 2005.
12 . Feldmann.
13 . Quoted in Stephen J. Dubner, “Steven the Good,” The New York Times
Magazine, February 14, 1999, reprinted in Steven Spielberg Interviews, Lester
D. Friedman and Brent Notbohm, eds. (Jackson: University Press of Mississippi,
2000), 234.
14 . CSR Wire, “Starlight Starbright Children’s Foundation Announces Gala
Event Honoring Chairman Emeritus Steven Spielberg, March 17, 2005, www.
csrwire.com.
15 . Ibid.
16 . Quoted in Feldmann.

AWARDS AND FAME 97
he is producing Transformers, a much-anticipated movie to come out the
summer of 2007. He is also producing Clint Eastwood’s next movies, Red
Sun, Black Sand (aka Letters from Iwo Jima ) and Flags of Our Fathers. Red
Sun, Black Sand is described as “the Japanese companion piece” 22 to Flags
of Our Fathers. It will be shot entirely in Japanese.
As for the long-awaited Indiana Jones and Jurassic Park sequels, they
are both in the pre-production stages as of fall 2006. Harrison Ford will
star as the aging Indy and has suggested that Virginia Madsen be his leading
lady. Otherwise, there are rumors galore: Sean Connery will return
as Indy’s father; Natalie Portman will play Indy’s daughter; and previous
Indy heroines, Karen Allen and Kate Capshaw, will have cameos. Spielberg
will direct and George Lucas and Frank Marshall will produce. As for Jurassic
Park IV, since it is expected to be in production at the same time as the Indy
movie, Spielberg will likely be producer only.
ACCLAIM
“What separates Spielberg from lesser directors,” writes Cindy White
for scifi .com, “is the attention to detail.” 23 Spielberg has “directed, produced,
or executive produced seven of the thirty top-grossing fi lms of all
time . . .” 24 writes the Broadway World News Desk. He has received the
Fellowship of the Academy Award from the British, an award previously
given only to Alfred Hitchcock, Charlie Chaplin, and David Lean. In
1995, he was honored by AFI with the Life Achievement Award. Their
tribute address reads in part, “The youngest recipient of this award, Spielberg
is one of the fi nest talents of his generation and the most commercially
successful fi lmmaker in the history of the cinema.” 25 Also in 1995, he received
the John Huston Artists Rights Award for contributions to artists’
rights and his work to prevent fi lm alteration. He topped Alfred Hitchcock
in 1999, when an Entertainment Weekly poll named him the best
director of the twentieth century. In 2001, he was made a Knight of the
Order of the British Empire (KBE) by the Queen for his contribution to
the British fi lm industry. In November of that year, he accepted the 10th
Annual Britannia Award from the British Academy of Film & Television
Arts in Los Angeles (BAFTA L.A.). Since the award was renamed
the Stanley Kubrick Britannia for Excellence in Film that year, BAFTA.
LA wanted Spielberg to be its fi rst recipient. He received the award from
Prince Andrew, the Duke of York. In June 2005, he was voted “cinema’s
greatest director” 26 by the readers of Britain’s Empire magazine. This put
him one notch above the British-born Hitchcock. In his biography of the
director, John Baxter writes, “His mastery of cinema technology . . . is

96 STEVEN SPIELBERG
lot and a development deal. The show will be produced by Mark Burnett
Productions, DreamWorks Television, and Amblin Television.
Spielberg is also getting more involved in computer games, trying them
out and tweaking them. When he was shown a game that was a spin-off
from Jurassic Park and The Lost World, he told the designers not to make
it too bloody because it will bother the parents. But since he hates to
leave anyone with hurt feelings, he praised them for their work on one
of the dinosaurs. The game is based on his animated production, Small
Soldiers, and the related toys are doing well at the cash registers although
the fi lm did not. In October 2005, Spielberg announced that he was
teaming with the Los Angeles offi ce of Electronic Arts, Inc. (EALA) to
develop three games. (Electronic Arts is the offshoot of the DreamWorks
Interactive studio that was sold to Electronic Arts in 2000.) “Having
watched the game industry grow from a niche into a major creative force
in entertainment,” says Spielberg, “I have a great deal of respect for EA’s
understanding of the interactive format.” 19 In March, 2006, the Gamasutra
Web site announced that the fi rst of the games will have a World War II/
British Special Operations Executive (SOE) theme. EALA’s vice president
and general manager, Neil Young, says that their relationship with
Spielberg is “focused exclusively on producing original, new intellectual
property.” 20 Spielberg keeps an offi ce at EALA and is there every week.
“The thing that’s wonderful about him,” says Young, “is that he’s almost
egoless. He’s clearly reached the point where he just doesn’t need to do
anything other than just contribute creatively” 21
Spielberg also worked with Pinnacle Systems, Inc., and the LEGO
Company to design the LEGO & Steven Spielberg MovieMaker Set,
which lets children bring their LEGO designs to life. The set includes
a PC Movie Camera, props, more than 400 LEGO pieces, and a book of
movie-making tips. According to the article released by the PR newswire
in November 2000, there are also guidance notes from Spielberg himself.
The product became available in U.S. stores November 1, 2000, and
worldwide in April 2001. In 2000, the product received the Best Interactive
Children’s Award and the Best Interactive Learning Award from the
British Academy of Film and Television Arts Interactive Entertainment
Awards.
In April 2006, it was announced that Spielberg and director Zhang Yimou
will co-design the opening and closing ceremonies for the 2008 Beijing
Olympics.
Spielberg is also one of the names behind the animated summer
2006 hit, Monster House. He is also working with Doris Kearns Goodwin
on a project about Abraham Lincoln that will star Liam Neeson; and

AWARDS AND FAME 95
the pain and fear of prolonged illness.” 15 The 2005 dinner and auction
raised $1.5 million. Spielberg has gotten other big names, such as Norman
Schwarzkopf and Troy Aikman, to invest time and money in this organization.
Regarding Starbright’s work, Spielberg says, “It’s not just about
entertainment; it’s unleashing the power of entertainment and emerging
technologies to develop new tools to help these kids heal!” 16 In May 2006,
Forbes announced its list of the most generous celebrities. Spielberg, Oprah
Winfrey, and Angelina Jolie topped the list.
FUTURE PROJECTS
In June 2005, Newsweek writer Sean Smith asked Spielberg about retiring.
Spielberg replied, “I’ve often asked myself that question, and my answer
comes back the same way every time: I love it. Being a moviemaker
means you get to live many, many lifetimes. It’s the same reason audiences
go to movies, I think. When my daughter Sasha 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.” 17 Several years before that he had said that
he felt “driven to work on the projects that I want to work on. . . . The
minute I feel I have achieved my goals, then I’ll probably stop. But I don’t
know what my goals are. And I just love the work too much to lay back on
the laurels that other people bestow on me. . . . There are a lot of different
things I haven’t done yet.” 18
And he appears to be doing them now. In Spring 2006, rumors were
going around that the director was taking a year off, yet within months
announcements came out that he is going into reality television with
The Apprentice producer Mark Burnett. Spielberg has always felt a duty
and desire to help new talent and says that this show will give him a
chance to do more. On the Lot will narrow down a nationwide search to
16 contestants. The 16 will be divided into two teams and each team will
produce a short movie in a designated genre each week with one person
working as director. The contestants will have professional writers, actors,
and crew available to them. Judges will be a studio audience and a
panel that will include a movie executive and a fi lm critic plus a weekly
guest. The judges will view the fi lms and the audience will vote. The
fi lm receiving the fewest votes will lose that week, and its director will
be eliminated from the program. Not only will the winner meet Steven
Spielberg, he/she will get his/her own offi ce on the DreamWorks studio

94 STEVEN SPIELBERG
contributions. In 1985, he donated $100,000 to the Planetary Society for
its Mega-channel Extraterrestrial Assay system that Harvard’s telescope
uses “to detect radio signals from distant civilizations.” 11 He also serves on
its board of directors. His donation to pediatric medicine at the Cedars-
Sinai Medical Center in West Hollywood was so signifi cant that there is
now a Steven Spielberg Pediatric Research Center in the Steven Spielberg
Building. He gave the University of Southern California the money to
create a scoring stage for “fi rst-time producers, writers, and directors interested
in furthering their understanding of fi lm.” 12 In 2003, he and his wife,
Kate Capshaw, bought eight acres of land in Brentwood, California, to
save it from commercial development. It was given to the Sullivan Canyon
Preservation Association so residents can continue to exercise their horses
there. In 1999, Spielberg received the fi rst David Yurman Humanitarian
Award. The award is a bronze sculpture of an angel and was given to the
director as recognition of his work in the arts and his contributions to
society. The award was presented at the GQ Magazine Men of the Year
Awards in New York. The sculpture’s designer, David Yurman, designs
such awards to raise money for charities, and then he and his wife donate
a portion of their proceeds back to charities. To help with the recovery in
New Orleans after Hurricane Katrina hit there in 2005, Spielberg donated
$1.5 million. He gave the same amount to help those suffering from the
tsunami that hit Indonesia in December 2004. The philanthropic ventures
of which he is most proud are offshoots of Schindler ’ s List: The Shoah
Foundation (see chapter 5) and the Righteous Persons Foundation. The
second one is funded by receipts from the movie, and so far $37 million
has gone to Holocaust and Jewish-community projects.
When a much younger Spielberg met Steven J. Ross, a former chairman
of Time Warner, Ross became a father fi gure and remained so until
his death in 1992. Before meeting him, Spielberg had made donations,
but always with his name attached. Ross showed him that it was more
gratifying to give without recognition. He got the same message from his
rabbi, who told him that giving to get recognition “goes unrecognized by
God.” 13 Ever since, Spielberg still gives, but wants recognition only if it
will help the charity get more contributions. One such charity is Starlight
Starbright Children’s Foundation, of which he is Foundation Chairman
Emeritus. Formerly two separate foundations, the two merged in July
2004. Spielberg was a co-founder of the Starbright Foundation and in
2005 was recognized for his “tremendous impact on the lives of seriously
ill children and their families.” 14 The foundation is all about helping seriously
ill children and their families “through imaginative programs that
educate, uplift their spirits, foster a sense of community and help alleviate

AWARDS AND FAME 93
DOWNSIDE OF FAME
Being successful can create expensive, disagreeable, and even nightmarish
situations. In addition to those in the media who are handsomely
paid to stalk celebrities, there are numerous individuals and Web sites
devoted to spotting them and telling the world where they were and what
they were doing. Spielberg was even stalked by a man who threatened to
rape him. Although the man was sentenced to 25 years to life, the director
is now forced to maintain tight security wherever he goes. And there
are other problems. After Spielberg and DreamWorks acquired the movie
rights to a new novel , How Opal Mehta Got Kissed, Got Wild and Got A
Life, by Kaavya Viswanathan, they found out in 2006 that the work was
plagiarized from another book. Then there was the very successful television
mini-series, Into the West, which Spielberg produced for TNT in
2005. Not only did some of the Native American extras fi le complaints
against DreamWorks, saying that they had endured hardship conditions,
but in 2006, the father of one of the girls fi led a $325,000 lawsuit against
Turner Films and the movie’s hairstylist saying that his daughter’s hair was
cut, which went against tribal customs.
Success also breeds jealousy. Spielberg is often thought of as being
“aloof,” “demanding,” and even “vaguely unpleasant.” 9 But for those who
know him well, these are just the rants of people who are envious or who
do not know him personally. “I’m not a bully,” he says, “and I don’t give
orders. I’m very collaborative, but what I try to do is inspire in people who
are collaborating that they’ve got to collaborate with me better than they
have ever collaborated with anybody before. And so in that sense I’m
demanding. I expect the best of anybody who works here.” 10 Producer and
friend Kathleen Kennedy says that much of the criticism is because he is
impatient. He thinks so far ahead that everyone else seems to lag behind.
Because of this, he demands that his crew does exactly what he says so no
time is wasted and he does not lose the vision in his head. Kennedy also
thinks that Spielberg has trouble communicating his feelings and trusting
people and wonders if part of it is a desire to be alone with his creative
side, in which he is most comfortable.
GOOD WORKS
Along with his numerous fi lm awards, Spielberg has been recognized
for his philanthropic work. Even before Jaws, he gave the contest awards
and net proceeds from his home movies to charities and his high school.
When he began making really big money, he began making really big

92 STEVEN SPIELBERG
Fame (SFM) in Seattle, Washington. In July 2006, he was honored at the
42nd Chicago International Film Festival with the Gold Hugo Lifetime
Achievement Award “in recognition of his outstanding 33-year career in
the fi lm industry.” 3 On November 20, 2006, in New York City, he received
the International Emmy Founders Award at the 34th International
Emmy Awards Gala. This award “is presented for outstanding work that
crosses cultural boundaries and refl ects the commonality of the human
experience.” 4 He ended 2006 by being honored on December 26 at the
Kennedy Center Celebration of the Performing Arts.
FAME
Steven Spielberg’s very name is used to exemplify movies, power, and
wealth. Dominic Wills, Tiscali Entertainment, even wrote that “Spielberg
is now a kind of cinematic brand-name.” 5 An online Business Week article
used him to show the desirability of the RX 400h Lexus: “You’ve gotta
fi gure Steven Spielberg can afford to buy any kind of car he pleases. So,
it says something that he and many other Hollywood luminaries have
rushed out to buy the new Lexus RX 400h . . .” 6 In a feature about expensive
cowboy boots at www.forbes.com, Neal Santelmann writes that
John Williams ordered a pair of boots for Spielberg—with inlaid color
images of Spielberg, his wife, and their seven children. Charlotte Observer
critic Lawrence Toppman writes about a documentary about Hurricane
Katrina: “She had more impact than any Hollywood power players, from
George Lucas to Steven Spielberg . . .” 7 And it is almost impossible to
watch much television without seeing spoofs of Spielberg’s work. More
than 100 shows are listed as doing so at www.imdb.com. A Daily News
Tribune Web site article tells of Amon Shorr, a young moviemaker who
helped found the SurDeis Film Festival. Shorr became enamored with
movies when he was 10 years old and saw Jurassic Park. “It was the fi rst
time I realized where movies come from,” he said. 8 Like Spielberg, Shorr
began making fi lms when he was in the eighth grade with his father’s
camera. He is just one of the people Spielberg has inspired. Another
person Spielberg has infl uenced is especially important to him—his son
with Amy Irving, Max, who is now 21. Max has worked as a designer
for the movie Trespasser (1998), a miscellaneous crew member for The
Rage: Carrie 2 (1999), and an actor in Catch Me If You Can (2002).
When he was 17, he attended a fi lmmaking workshop run by the New
York Film Academy and wrote, produced, directed, shot, and edited his
fi rst movie, Snap Shot. (The movie is not expected to be released to the
public.)

Chapter 8
AWARDS AND FAME,
GOOD WORKS, FUTURE
PROJECTS, ACCLAIM
AWARDS
Steven Spielberg has been a major motion picture force since the release
of Jaws in 1975. In 2006, both Munich and War of the Worlds were
nominated for a total of eight Academy Awards. Although neither
movie won an Oscar, eight of Spielberg’s movies have received a total
of 28 Academy Awards: Jaws, Close Encounters of the Third Kind, Raiders
of the Lost Ark, E.T. the Extra-Terrestrial, Indiana Jones and the Last
Crusade, Jurassic Park, Schindler ’ s List, and Saving Private Ryan. He has
also directed nine actors in Oscar-nominated performances, although
none has yet to win under his watch: Liam Neeson, Ralph Fiennes,
Anthony Hopkins, Tom Hanks, Melinda Dillon, Whoopi Goldberg,
Oprah Winfrey, Margaret Avery, and Christopher Walken. And when
the American Film Institute (AFI) chose its top 100 movies, fi ve of
Spielberg’s made the top 75: Schindler ’ s List (#9), E.T. the Extra-Terrestrial
(#25), Jaws (#48), Raiders of the Lost Ark (#60), and Close Encounters of
the Third Kind (#64).
Spielberg himself has received numerous awards, including, in 1998,
“the Bundesverdienstkreuz mit Stern (the highest civil distinction the Federal
Republic of Germany has to give away) for his sensible representation
of Germany’s history in his movie Schindler’s List (1993).” 1 In 2004, he
was made a knight of the Legion of Honor of France by President Jacques
Chirac and also received the Cavaliere di Gran Croce, Italy’s highest
award, “for his work to preserve Holocaust history through his fi lms.” 2 In
May 2005, he was inducted into the Science Fiction Museum and Hall of

90 STEVEN SPIELBERG
42 . Munich Web site, www.munichmovie.com (accessed March 11, 2006).
43 . Gleiberman.
44 . Ibid.
45 . Ibid.
46 . Roger Ebert, “Review of Munich, ” December 23, 2005. www.rogerebert.
suntimes.com.

THE LEGEND CONTINUES, 2002–2005 89
19 . Philip Wuntch, “ The Terminal ,” Dallas Morning News (via Knight-Ridder/
Tribune News Service), June 15, 2004. www.infotrac.galegroup.com.
20 . Owen Gleiberman, Review of Munich , Entertainment Weekly, January 17,
2006. www.ew.com.
21 . Carina Chocano, “Movies: The Director’s Art: To think like the masters;
For Steven Spielberg, it takes a vicious alien attack to restore dad as the head of
the family,” Los Angeles Times, July 10, 2005, E1. www.proquest.umi.com.
22 . Quoted in Chocano.
23 . Anthony L. Cuaycong, “Courtside,” BusinessWorld Manila, July 1, 2005, 1.
www.proquest.umi.com.
24 . Soren Andersen, “ War wins some battles: Steven Spielberg’s take on H. G.
Wells’s War of the Worlds is effectively scary but breaks no new ground,” The News
Tribune (Tacoma, WA), July 1, 2005, South Sound Edition, F24. www.proquest.
umi.com.
25 . Quoted in “We are not alone,” Special Features, War of the Worlds DVD,
directed by Steven Spielberg. 2-disc limited edition. Universal City, CA: Dream-
Works Home Entertainment. 2005.
26 . Quoted in Sean Smith, “The King of the World, Spielberg talks about
movies, terror and wonder, and why the Oprah thing bothered him—but only a
little,” Newsweek, June 27, 2005, 58. www.infotrac.galegroup.com.
27 . Quoted in “We are not alone.”
28 . Ibid.
29 . Shyam G. Menon, “ War of the Worlds —a great spectacle,” Businessline,
Chennai, July 1, 2005, 1. www.proquest.umi.com.
30 . Gleiberman.
31 . Ibid.
32 . Joe Morgenstern, “Spielberg Comes Home; In Intense War of the Worlds ,
Family Values Trump Effects; Cruise and Dakota Fanning Anchor a Surprisingly
Human Drama; Beat Reinvents a Cult Classic,” Wall Street Journal, Weekend
Journal, Eastern Edition, July 1, 2005, W1. www.proquest.com.
33 . “We are not alone.”
34 . Quoted in “We are not alone.”
35 . Ibid.
36 . A. O. Scott, “The Boys of Summer: 30 Years Later,” The New York Times,
late edition, East Coast, July 10, 2005, 2.18. www.proquest.umi.com.
37 . Morgenstern.
38 . USA Today, “Some of Jon Stewart’s Oscar Lines,” March 5, 2006. www.
azcentral.com/, accessed Aug 25, 2006.
39 . Rachel Abramowitz, “ War over, Spielberg moves on; As his blockbuster
takes theaters, he’s wrapped up in the aftermath of the ’72 Munich killings,”
Los Angeles Times, July 1, 2005, E1. www.proquest.umi.com.
40 . David M. Halbfi nger, “Next: Spielberg’s Biggest Gamble,” The New York
Times, July 1, 2005, E1. www.proquest.umi.com.
41 . Moira Macdonald, “ Munich: A story of murder and unfathomable vengeance,”
Seattle Times, December 23, 2005. www.seattletimes.newsource.com.

88 STEVEN SPIELBERG
made $6,040,860 in its opening weekend of December 25, 2005. By March
26, 2006, the movie had grossed $47,379,090.
NOTES
1 . Todd McCarthy, Review of Minority Report , www.variety.com, reprinted
in Film Studies, Warren Buckland, ed. Teach Yourself, 2nd ed., Series (Chicago:
McGraw-Hill, 2003), 165.
2 . Ibid.
3 . Richard Corliss, “No Artifi cial Intelligence; Just Smart Fun,” Time ,
November 1, 2002, reprinted in Film Studies, Warren Buckland, ed. Teach Yourself,
2nd ed., Series (Chicago: McGraw-Hill, 2003), 171.
4 . Roger Ebert, “Review of Minority Report ,” Chicago Sun-Times online,
June 6, 2002, reprinted in Film Studies , Warren Buckland, ed. Teach Yourself,
2nd ed., Series (Chicago: McGraw-Hill, 2003), 172.
5 . J. Hoberman, “Private Eyes,” Village Voice , February 16, 2002, reprinted
in Film Studies, Warren Buckland, ed. Teach Yourself, 2nd ed., Series (Chicago:
McGraw-Hill, 2003), 169.
6 . Peter Travers, Review of Minority Report, Rolling Stone, July 18, 2002.
www.rollingstone.com.
7 . Ibid.
8 . Cindy White, “Review of Minority Report ,” www.scifi .com (accessed
January 30, 2006).
9 . Quoted in Nestor U. Torre, “DiCaprio, Hanks and Spielberg Work Well
Together,” Philippine Daily Inquirer, Asia Africa Intelligence Wire, February 1,
2003. www.web7.infotrac.galegroup.com.
10 . Quoted in Catch Me If You Can: A Steven Spielberg Film. Introduction by
Frank W. Abagnale (New York: Newmarket Press, 2002), 13.
11 . Quoted in Lisa Hirsch, “Design Kudos Catch hobbits, (Art Directors
Guilds Production Design Awards Banquet).” Daily Variety , February 24, 2003,
4(2). www.fi nd.galegroup.com.
12 . Quoted in Tom Sinclair, “Christopher Walken: Catch Me If You Can ,”
Entertainment Weekly, February 21, 2003, 45. www.fi nd.galegroup.com.
13 . Quoted in Catch Me If You Can, “Bonus Features.” DVD, directed by
Steven Spielberg. Universal City, CA: Dreamworks Home Entertainment,
2002.
14 . Quoted in Chris Hewitt, “Spielberg’s The Terminal: Pay Attention to
the Nuts,” Saint Paul Pioneer Press (via Knight-Ridder/Tribune News Service),
June 14, 2004. www.infotrac.galegroup.com.
15 . Ibid.
16 . Ibid.
17 . Ibid.
18 . David Denby, “Wanderers: The Current Cinema,” New Yorker, July 5,
2004, 99–101. www.proquest.umi.com.

THE LEGEND CONTINUES, 2002–2005 87
fi rst published in 1984. Although Mendel says that the book’s information
cannot be proven, Jonas’s source is supposed to be one of the fi ve
members of the actual revenge team. And because Spielberg is always
more interested in the human element, it is these men who are the
focus of Munich. The result, writes Seattle Times movie critic Moira
Macdonald, is a “smart, mesmerizing and often angry fi lm,” 41 and that
Spielberg shows the humanity in every character in the movie. Munich
is another of Spielberg’s movies in which he did not depend on storyboards
because he wanted every day to be new. One of the movie’s
stars, Daniel Craig, says that it is obvious that Spielberg loves actors by
the way he responds to their suggestions and takes advantage of unexpected
moments. Another one of the stars, Eric Bana, agrees and was
surprised at how easily Spielberg would change a shot if it meant making
a better movie. On Universal’s Munich Web site, cinematographer
Janusz Kaminski says how easy it is for him to work with Spielberg, that
after making 10 movies together, they have established trust and understanding.
He comments that in Munich Spielberg once again shows his
genius for using the camera to create atmosphere. In this case, it is suspense
made by using refl ections in cars and around corners. Spielberg
also incorporated the footage of the old actual news footage, which
Barry Mendel collected, thinking that it would “ground this movie in
realism as nothing else possibly could.” 42
While Munich was nominated for fi ve Academy Awards, the movie and
its director came under fi re from some for being anti-Semitic and from
others for a controversial bedroom scene. Laura King, Jerusalem Bureau
Chief for the Los Angeles Times, wrote her review from Jerusalem, where
the movie was not drawing very big crowds. Israel still carries out targeted
assassinations, writes King, and some in Israel’s spy organization have
not been pleased with the movie. Although Entertainment Weekly ’s Owen
Gleiberman criticizes the movie for some of its content, he called Munich,
“spectacularly gripping and unsettling . . . grave and haunted . . . yet its
power lies in its willingness to be a work of brutal excitement.” 43 Spielberg’s
camera seems “to be everywhere at once” and “John Williams’ score is
like a telltale heartbeat.” 44 One scene is even called “ Hitchcockian” 45 yet
the characters are made human with their humor and nitpicking. Roger
Ebert calls the movie “an act of courage and conscience.” 46 Spielberg
and his producers want the movie to ignite discussions about how to
deal with terrorism and hope that the movie shows that no matter which
response is taken, there will be consequences. More than anything else,
Spielberg wants the movie to be an honor to the fallen athletes so they
will never be forgotten. Made at an estimated cost of $75 million, Munich

86 STEVEN SPIELBERG
that Mr. Spielberg . . . is still capable, 30 years after Jaws, of making really
scary movies.” 36 Morgenstern writes that “Spielberg has put the summer
back in summer movies.” 37 Made at an estimated budget of $132 million
War of the Worlds made $77,061,953 in its opening weekend (July 4, 2005)
and $234,280,354 by that November. It received three Academy Award
nominations, and Dakota Fanning won a Saturn for the Best Performance
by a Younger Actor from the Academy of Science Fiction, Fantasy, and
Horror Films USA.
MUNICH
War of the Worlds was one of two Spielberg movies nominated for 2006
Academy Awards. The host of the awards, comedian Jon Stewart, had fun
with the famous director. “Steven Spielberg is here. . . . A best-director
nomination for Munich, a tremendous fi lm, and I congratulate you, sir.
From the man who also gave us Schindler’s List. Schindler’s List and Munich.
I think I speak for all Jews when I say I can’t wait to see what happens
to us next. Trilogy!” 38 Spielberg remembers watching the 1972 Olympics
when 11 Israeli team members were kidnapped and executed by the
Palestinian terrorist group Black September. Munich tells the story of the
Israelis who pursued and killed those terrorists at the direction of Israeli
Prime Minister Golda Meir. Five men were chosen to carry out the order
called the “Wrath of God,” and eventually 10 Palestinians were killed.
In an article for the Los Angeles Times, Rachel Abramowitz writes that
Israel still has not “formally claimed responsibility” 39 and that the subject
is still a sore one in the country. In his review for the The New York Times,
David M. Halbfi nger writes that by making the movie, Spielberg “could
jeopardize his tremendous stature among Jews both in the United States
and in Israel.” 40 Since he did not want to be the cause of any problems
in the Middle East, the director sought advice from former president Bill
Clinton, former American diplomat Dennis Ross, former White House
spokesman Mike McCurry, and Hollywood spokesman and crisis communicator
Allan Mayer. Spielberg is always secretive about upcoming projects
and was even more so with Munich, but in hopes of lessening any problems,
he sent simultaneous short statements to the The New York Times, Ma ’ ariv
(an Israeli newspaper), and Al Arabiya (an Arab television network).
Co-producer Barry Mendel is also someone who remembers the
1972 Olympics, and when he saw a documentary about the revenge
taken by the Israelis, he knew that it would be a great story. To learn
more, he read different accounts but was most fascinated by George
Jonas’s Vengeance: The True Story of an Israeli Counter-Terrorist Team,

THE LEGEND CONTINUES, 2002–2005 85
Designer Rick Carter, Composer John Williams, Special Effects Expert
Dennis Muren, and Stunt Coordinator Vic Armstrong. Spielberg fi lmed
the crowd scenes fi rst, as he usually does, to get the adrenaline fl owing
and to build momentum. Filming on the East Coast with its freezing
temperatures was pretty miserable, especially those scenes fi lmed on
the water, but the local extras were very good-natured. They portrayed
the citizens trying to escape the aliens by getting on a ferryboat. Now
refugees, they wore multilayers because they could take only what they
could wear and carry. The actual boat sequences were digitized or fi lmed
in a tank in Los Angeles. The boat was real but smaller than a normal
ferryboat. In another scene, a plane crashes and its engine falls into
Cruise’s character’s house. Spielberg had to buy and then destroy a real
airplane for the sequence. He wants lasting images in his movies, something
audience members will not forget. In this case, it is the image of
a 747 crashing into an ordinary neighborhood. Throughout the movie,
Spielberg purposely shows no body parts. This goes back to his Jaws days,
when he learned that less is more. By not showing body parts, Spielberg
says that the audience will “see things that aren’t really there.” 28 Hindu
Businessline ’ s Shyam G. Menon writes that once the fi rst tripod (the alien)
appears, “The next 10 minutes is gripping footage shot through a panicstricken
camera. Such deliberate camera work and retention of a human
atmosphere runs through the entire fi lm, giving a classical touch to the
exhausted work of sci-fi imagery.” Spielberg is able, writes Menon, “to give
personality to aliens.” 29 Gleiberman writes that the aliens seem like something
from dreams, a terror that “is far away and close up at the same time,
which may be why the movie collides so forcefully with our anxieties.” 30
Spielberg also uses, writes Gleiberman, the same “stop-and-go rhythm of
foreboding threat” 31 that he used in Jaws and Saving Private Ryan. In his
review for the Wall Street Journal, Joe Morgenstern writes that “the movie
provides a plethora of pitiless aliens, with their destructive, tripod-shaped
machines” that create “a planetary hell.” 32
Does Spielberg think there are aliens? Yes, ever since he got his fi rst
telescope and began searching the night sky. “This movie’s been a real
trip for me,” he says. “It’s the fi rst time I’ve really jumped with both eyes
open and both feet directly into the center of a science fi ction horror
fi lm.” 33 (He says that he still wants to make a real science fi ction movie
where nothing is earthly.) Producer Kathleen Kennedy says that War
of the Worlds might be seen as the third—and darkest part—of a Close
Encounters-E.T. trilogy, that “the edgier darker story has always been somewhere
inside him.” 34 Tom Cruise calls War of the Worlds “ E.T. gone bad.” 35
A. O. Scott of the The New York Times writes that the movie is “a reminder

84 STEVEN SPIELBERG
are sometimes more dangerous to themselves than are extraterrestrial
invaders—and one that shows that a father’s most important job is being
the best father he can be. As always, Spielberg knows that using the “everyman”
character allows the audience to relate to the movie. The movie
also stars Tim Robbins as survivalist Harlan, Justin Chatwin as Cruise’s
son Robbie, and Dakota Fanning as daughter Rachel. Soren Andersen
writes about Fanning’s effect on the movie in his review for the Tacoma,
Washington, News Tribune. “Steven Spielberg puts Fanning’s azure orbs
front and center in the frame to drive home the human dimension of the
threatened extermination of humanity. It’s an effective strategy.” 24 The
U.S. Marines in the movie are real. The tanks they use are real. Spielberg
asked them how they would actually react in such a situation and then
listened and utilized what he could of their response. After their scenes
were completed, the director posed for pictures with them and thanked
them with huge cakes.
Storyboards were used to help cast and crew know what to expect and
when. Especially when using special effects, the actors need to know how
to react to digital images that they cannot see. Spielberg worked closely
with Dan Gregoire, the previsualization supervisor, and the art department
to make sure that all the ideas were going to work before they were
fi lmed—much less expensive than wasting fi lm. Along the same line,
scenes requiring digital effects were fi lmed fi rst so that the special-effects
people could work on them while the rest of the movie was being made.
Likewise, scenes fi lmed on the East Coast were shot fi rst so the West Coast
sets would be ready when needed. Although there was a rush to get the
movie out, Spielberg did not skip on anything that would improve the
picture. Tom Cruise says, “He really understands storytelling and what’s
important.” 25 Cruise also says that it is a tribute to Spielberg’s storytelling
ability that the actors and story “work” even before the special effects are
added. Spielberg says that he never wants to do an all green-set movie
because he gets new ideas when he walks onto a new set. He fears that
building real sets is becoming a lost art, and that eventually there will be
entire movies made via computer imagery with no physical or emotional
contact with anyone. “Now that terrifi es me,” he says. “It crosses a moral
boundary to me. . . . Collaboration is what makes being a director an electrifying
experience.” 26 Spielberg did not want War of the Worlds to look
like science fi ction, so he kept the lighting as natural as possible to obtain
the most realistic look. Spielberg’s crew has been together for many years
because they work so well together. His director of photography, Janusz
Kaminski, ASC, says that Spielberg’s talent kept the fi lm from feeling
“over stylized.” 27 Other War of the Worlds crew members are Production

THE LEGEND CONTINUES, 2002–2005 83
personal fi lmmaker and Tom Hanks as an inventive comic actor.” 19 The
Art Directors Guild awarded their Excellence in Production Design Award
to Alex McDowell and his crew; and BMI Film & TV Awards gave their
Film Music Award to John Williams. The movie opened on September 9,
2004, and made $77,872,883 in that fi rst weekend. It cost approximately
$60 million to make.
WAR OF THE WORLDS
Steven Spielberg and Tom Cruise teamed up again in the $128 million
remake of the 1953 War of the Worlds. (Trivia: Two stars of the earlier fi lm,
Gene Barry and Ann Robinson, make cameo appearances.) But why a remake
at all? In 1953, the United States and the Soviet Union were in a
Cold War that so scared people that many built fallout shelters, and school
children routinely practiced duck-and-cover drills. Everyone lived in constant
fear of nuclear war, which made the era ripe for science fi ction movies
about creatures transformed into monsters due to radioactive fallout and
about creatures from outer space. With the attack on the United States
by terrorists on September 11, 2001, Spielberg believed that it was time
for a remake, but with some changes. As Owen Gleiberman writes in his
review for Entertainment Weekly, what scares the 2005 audience is not the
alien itself but the “fi ery fulfi llment of our collective nervousness about the
fate of the future.” 20 Spielberg says that such movies also show that human
beings come together when there is a common enemy. Carina Chocano,
a fi lm critic for the Los Angeles Times, writes about the obvious references
to September 11: “Terrifi ed residents rush through the streets covered in
ash and dust; handmade missing-person posters line the sidewalks; commercial
airliners fall from the sky, to be instantly scavenged by predatory news
media; pieces of clothing rain down from above.” 21 Even Dakota Fanning’s
character asks, “Is it the terrorists?” 22
Cruise was anxious to play a blue-collar father fi gure instead of his usual
bigger-than-life hero. While Anthony L. Cuaycong writes in the July 1,
2005, issue of BusinessWorld Manila that Tom Cruise’s “star power . . . prevents
him from being anything but heroic,” 23 Owen Gleiberman writes
that the time was right for Cruise to play the part because he has been
around long enough and is old enough not to play a hero but a dad who
loves his kids but has not been a good parent. Unlike most science fi ction
movies made in the 1950s, this one does not show scientists or politicians,
something that the New Yorker ’ s David Denby misses. But Spielberg omitted
them on purpose, opting for a story about one family’s survival. Executive
Producer Paula Wagner says that the story shows that human beings

82 STEVEN SPIELBERG
Spielberg says that Walken “has some of the best natural instincts of anyone
I’ve worked with.” 12 In his December 23, 2002, movie review in the
New Yorker , David Denby calls it a true holiday fi lm. Catch Me If You Can
opened on December 29, 2002. At an estimated cost of $52 million to
make, it made $30,082,000 in its fi rst weekend. By April 20, 2003, the
movie had grossed $164,435,221. Spielberg says that making the movie
was like “a breath of fresh air.” 13
THE TERMINAL
Spielberg and Hanks teamed up again for The Terminal. Two other
members of the ensemble cast are Catherine Zeta-Jones and Stanley Tucci.
Hanks plays Viktor Navorski, a citizen from the tiny European county of
Krakozhia, who has come to the United States to keep a promise to his deceased
father. He has barely arrived at JFK Airport before he learns that his
country has gone through upheaval and no longer exists, which means that
he no longer has a home country, and his passport is no longer valid. He
cannot leave the airport. As always, Hanks plays the innocent and naïve
character beautifully, and his fi rst moments of trying to discern what has
happened are quite sad. He does not need pity, however, as he is probably
the most resourceful person alive. While he continues daily attempts to
get a visa, he becomes friends with the airport staff and even fi nds ways to
make money for food. There is even the hint at a romance with Zeta-Jones.
The airport, says Spielberg, is still “the only place where the melting pot
theory still works, when you’re stuck with each other, waiting in line,” 14
and the cacophony of sights and sounds becomes Viktor’s America. Saint
Paul Pioneer Press reviewer Chris Hewitt writes that when Viktor yearningly
gazes outside the huge plate-glass windows, “America remains a place
of hope and possibility.” 15 As with Catch Me If You Can, The Terminal paid
amazing attention to detail. Production designer Alex McDowell created
an entire world for Viktor inside an airport terminal, and Spielberg tried
to fi lm it all. For example, there is a scene where Viktor is starving so he
makes himself a sandwich of crackers and catsup. The holes in the crackers
were purposely made larger so that enough catsup would seep through
to provide an image of a “pop art painting.” 16 Hewitt sums up the movie.
“The hoped-for effect is a stop-and-smell-the- Starbucks experience for
Viktor, and for audiences, because great things can happen while you’re
waiting for whatever you’re waiting for.” 17 While the New Yorker writes that
Spielberg did not “exploit the situation of a trapped man for the desperate
nightmare that it really is,” 18 Philip Wuntch of the Dallas Morning News
calls the movie “ joyous” and writes, “It confi rms Steven Spielberg as a

THE LEGEND CONTINUES, 2002–2005 81
trait: boys forced into manhood. “This story,” says Spielberg, “could only
have taken place in an age of innocence . . . in the sixties there was a
community of trust. That innocence was something all of us are nostalgic
about.” 10 Not only did the plot remind Spielberg of his parents’ divorce
but also the fabled story of his time spent on the Universal lot when he
was just a teenager (see chapter 1).
The story was sold for movie rights before it was written. When Frank
Abagnale, Jr., appeared on various talk/news programs, audiences requested
his book, but there was no book. He sold his story in 1978 to
producer Bud Yorkin, who optioned it to producer Hall Bartlett in 1986.
The story and its various screenplays bounced around the movie industry
until Abagnale decided that he wanted it back if Bartlett did not agree to
purchase it. By selling it to Bartlett for around $250,000, Abagnale lost
control over his story and earned no more money from it. As happens in
Hollywood, the story bounced around some more even after DreamWorks
purchased it. But as soon as DiCaprio signed on to the project, it picked
up momentum. Spielberg gave Abagnale a cameo spot in the fi lm and
hired him as a consultant. DiCaprio spent time with Abagnale to learn
his habits and mannerisms. He was amazed at the man’s subtlety, eye contact,
charm, energy, and intelligence combined with the appearance of
success and power. When Abagnale saw that both stars and the director
were genuinely concerned with making a good movie, he once again grew
excited about his own story.
The magic of good moviemaking is often subtle, and this movie is full of
details that the audience does not realize it sees. The 1960s are everywhere—
bold colors, stylish clothes—and it was the era when merchandise became
glamorous, when people were glamorous and dressed up to attend
a movie or go out to eat. In Catch Me If You Can, the clothes and sets
become brighter as DiCaprio’s character grows bolder. DiCaprio, who
likes period fi lms because they give so much freedom, had 100 wardrobe
changes. The movie’s production designer, Jeannine Oppewall, says that
the fi lm started out with 186 sets. “We shot in 60 days in two countries,
four metropolitan areas—most days it felt more like running a marathon
than designing a fi lm.” 11 But her crew did such a good job that it won the
Excellence in Production Design for a Contemporary Film Award from
the Art Directors Guild in 2003. Christopher Walken and John Williams
were nominated for Academy Awards, and Walken won the Best Supporting
Actor Award from the British Academy of Film and Television Arts
Awards (BAFTA), the Screen Actors Guild (SAG), and the National
Society of Film Critics Award, USA (NSFC). Usually typecast as cold
and cruel, Walken shines as a hapless but loving father fi gure to DiCaprio.

80 STEVEN SPIELBERG
praises the acting of Colin Farrell, Tom Cruise, and Samantha Morton,
and says that the movie is “laced with dark humor and powered by a topical
idea.” 6 He writes that Spielberg uses technology and suspense to its
best, but that the ending is too predictable and that the fi lm raises moral
questions but does not answer them. “Final report: Good, yes; great, no.” 7
Writing for scifi .com, Cindy White calls Minority Report “that rare kind of
high-concept fi lm that marries a well-told story with eye-popping visual
effects. Engaging from the very fi rst scene, it grabs the audience and never
lets go.” 8 Minority Report ’ s budget was approximately $102 million. In its
opening weekend of June 23, 2002, it made $35,677,125; and by October
2002, its gross proceeds in the United States were $132,014,112. The fi lm
was nominated for one Academy Award and won four Saturns, including
Best Picture, from the Academy of Science Fiction, Fantasy and Horror
Films, USA.
CATCH ME IF YOU CAN
From a futuristic drama, Spielberg went back in time to the 1960s
for a comedy/drama, Catch Me If You Can, which came out during the
Christmas season of 2002 and starred two of Hollywood’s best: Tom Hanks
and Leonardo DiCaprio. The idea came about when DreamWorks bought
the story by Frank W. Abagnale, Jr., a man who had successfully passed
himself off as an airline pilot, a lawyer, and a doctor—all before the age
of 21. As he read the story, Spielberg says that it was easy to see how
Abagnale’s charm made it possible to pull off his hoaxes. “I have always
loved movies about sensational rogues—they break the law, but you just
have to love them for their moxie.” 9 The director likes DiCaprio’s creativity
and his striving for perfection, and DiCaprio likes Spielberg’s ability
to bring out the best in his actors. One reason that Hanks signed on to
play Carl Hanratty, the FBI agent who tracks down Abagnale and fi nally
catches him, is because Hanratty recognizes the sadness and potential in
the young man. He sees him as someone who is redeemable and, sure
enough, Abagnale serves his time and then becomes a member of the FBI.
As do most of his movies, Catch Me If You Can appealed to Spielberg’s
own history. The young Abagnale was a child of the 1960s who was raised
in a suburban neighborhood and heartbroken when his parents divorced.
He was so torn by the divorce and trying to decide which parent he should
live with that he ran away. When he made a lot of money, he thought it
would bring his parents back together and impress his father (Christopher
Walken), who is charming but broke. The fact that Abagnale was not an
adult when he performed his amazing stunts is another familiar Spielberg

Chapter 7
THE LEGEND CONTINUES,
2002–2005
MINORITY REPORT
Spielberg’s next project, Minority Report, fi nally brought him together with
Tom Cruise. Both men had long wanted to work together, and moviegoers
had long wanted to see what magic the two would produce. Based on
the 1956 short story by Philip K. Dick, the story was adapted and updated
to the year 2054. A science fi ction and detective story in one, Minority
Report is about a group of investigators who try to prevent crimes by arresting
the potential perpetrators before they commit the crime. Spielberg
has long been intrigued with the idea of knowing the future. Although
the movie was a winner at the box offi ce, it received mixed reviews. On
Variety ’ s Web site, critic Todd McCarthy writes that there was not enough
action for thrill seekers yet it was not different enough for “highbrows.” 1
He also writes that the movie was Spielberg’s “darkest and most socially
relevant” 2 but did not have the box offi ce appeal expected of a Spielberg/
Cruise combination. On the other hand, Times critic Richard Corliss
writes that the movie did achieve the balance between the thrill seekers
and highbrows and is Spielberg’s best “entertainment fi lm” 3 since Raiders
of the Lost Ark. Roger Ebert writes that Minority Report shows Spielberg
at his best. He calls the movie a “triumph” and “a fi lm that works on
our minds and our emotions.” 4 J. Hoberman of the Village Voice thinks
the movie is entertaining and the “least pretentious genre movie Steven
Spielberg has made in the decade since Jurassic Park. ” 5 But Hoberman
likes the sweetness for which Spielberg is known and prefers that the director
stay away from social commentary. Peter Travers of the Rolling Stone

INTO THE NEW MILLENNIUM, 1994–2001 77
34 . Quoted in Gardner, 204.
35 . Quote in Barry Koltnow, “The Misfi ts: Hanks and Spielberg never fi t
in—which is why they’re friends,” Orange County Register, June 16, 2004. www.
infotrac.galegroup.com.
36 . Quoted in Koltnow.
37 . Ibid.
38 . Quoted in Sean Smith, “King of the Worlds; Spielberg Talks about Movies,
Terror and Wonder, and Why the Oprah Thing Bothered Him—But Only a
Little.” Newsweek . June 27, 2005, 58. www.web2.infotrac.galegroup.com.
39 . Quoted in Rubin, 86.
40 . Jonathan Rosenbaum, Essential Cinema: On the Necessity of Film Canons
(Baltimore: Johns Hopkins University Press, 2004), 272.
41. Patrick Lee, “ A.I. Artifi cial Intelligence .” www.scifi .com (accessed January 30,
2006).
42 . Ibid.
43 . Ibid.
44 . Roger Ebert, “ A.I. Artifi cial Intelligence ,” June 29, 2001. www.rogerebert.
suntimes.com.
45 . Carnegie Mellon University Department of Media Relations, “Carnegie
Mellon University Announces 2006 Inductees Into Robot Hall of Fame,” April 19,
2006. www.roboticonline.com.