How much did steven spielberg make from et

This, I suppose, may derive from an impression that, after forty-plus-years making movies, somewhere along the line Spielberg's interest in the filmmaking process might wane. Spielberg has had those days where he wanted to get as far away from a movie set, or a production meeting, as he could.

However, according to his colleagues on Catch Me If You Canit didn't happen while making that film. In casual brown khakis and a light brown tweed sport-coat, Mr.

Spielberg sat on the edge of his chair with his back straight posture any mother would be proud ofeager to talk about Catch Me If You Can. And anything else that spurs his enthusiasm. I steered the conversation in one direction or another with questions. Yes, I'm just a conduit, a guy with a notepad and a recorder, but someone has to do it.

And in our roundtable conversation with Mr. Spielberg, the discussion traveled to story development, production design, cinematography, authenticity, Leonardo DiCaprio, Frank Abagnale, Tom Hanks, cons, cars and Duel. And when you became involved, that was three years ago?

Of course writers and producers have been trying to shake this out of a tree for a while. You were able to facilitate it? The thing is, a man came along named Jeff Nathanson, and finally wrote the best script based on Frank's [Abagnale] life, and his book. And it was all about the writer. If it hadn't have been for Jeff, DreamWorks wouldn't have made the movie either. How many versions of Catch Me If You Can were out there? Was Jeff the only screenwriter? This movie wasn't even on my radar until, you know, the product was purchased.

I didn't even know the history of the project, didn't know this incredible journey the project had taken. I didn't realize that Frank had actually bought and sold his book four times. I mean, which is very Frank.

The 15 Essential Steven Spielberg Films

But, I didn't realize any of this until we were in production on the screenplay that Walter Parkes supervised. In terms of stories about ethics and morality, do you see any relationship between this and Minority Report? I mean, some of my films have had to do with broken homes and people on the run from their sad pasts. But except for those touchstones for me, there are those strands that got me to say: Catch Me If You Can does crystallize those things you just mentioned, broken homes running from your past.

Well, maybe recently I've made a lot, but that's not the reason I commit to direct a movie, because there is a theme in it that I'm not through exploring. I committed to directing Catch Me If You Can not because of the divorce component, but principally because Frank Abagnale did things that were the most astonishing scams I had ever heard.

And I'm a big fan of scams. I love The Flim-Flam Man. I loved Scarecrow with Gene Hackman. The Sting and Butch Cassidy and the Sundance Kid were kind of scams.

You know, some of these villains, you have to sympathize with them. In this current climate where modern, updated versions of the scams that Frank pulled are very possible, what did you think about the possibility of glamorizing this sort of thing? Would people perhaps walk away from the film with the wrong idea? I don't think they can get the wrong idea because, because Frank Abagnale is the only person who ever did it to this extent, and that was 37, 38 years ago. He was just this 16, 17, 18 year-old kid.

So, you have to understand these things. Especially, there were no safeguards. There was no electronic safeguards that we have today with this kind thing. It's a lot harder to internet stock trading secrets a bad check today than it was eight years ago.

An Interview with Steven Spielberg - IGN

Frank was a 21st century genius working within the innocence of the how much did steven spielberg make from et '60s, when people were more trusting than they are now. So, I don't think this is the kind of movie where somebody could say, "I have a career plan. Does it matter to you that there's a level of poetic license taken in telling a true story? I think it's important in certain stories. Like, I took no poetic license with Schindler's List because that was historical, factual documents.

I certainly think that we took poetic license with Saving Private Ryan. The poetic american express currency exchange london heathrow that Jeff Nathanson, Walter [Parkes] and I took with this movie simply was to motivate: The whole body of all the scams are true, but the poetic license is in the details. When Frank ran away from home, he never saw his father again.

And I wanted to continue to have that connection where Frank kept trying to please his father; by making him proud of him; by seeing him in the uniform, the Pan-American uniform. How to get quick cash on tapped out yet when [the real] Frank saw the movie, and when he read the script, especially when you're a skeptic, he said, "Even though I didn't see my dad again, every night after living a brilliant day and meeting many women, and making much money, I'd come back alone to a hotel room and I would just think of my mom and dad and fantasize about getting them back together again, and cry.

But the substantial part of the movie is true. Except for small bits. I added that he laughs. Little touches like that I changed. We worked all so very hard to state to everybody, because we don't want to have happen to our movie what happened to A Beautiful Mind and The Hurricane. We start by carbon cap and trade system california, "Inspired by a true story.

With Amistadthat was about the lawsuit that got more publicity than the movie itself. And, of course, the audience perceives DiCaprio as a party boy, either legitimately or forex easy robot. Since the audience brings their own associations, was that one of the reasons for casting him? I got to know Leo really well with this movie; to know his mom and dad and his grandmother.

He's such a family-guy. I realized things about him that I'd never realized before, because I did believe the tabloids, I did believe these news stories. He's gone to parties. He's a young kid. I went to parties too when I was his age, I just wasn't that good looking and couldn't get all the girls he laughs. But I went to as many parties as Leo ever went to, but nobody wrote about my involvement at parties in dating.

And at a young age, DiCaprio was in the worldwide spotlight, primarily due to Titanic. Leo wouldn't have been talked about so much had Titanic not been such a titanic phenomenon. I think Titanic actually kept Leo from working.

And I think right now he's reborn. He's gonna start working a lot now. I think Titanic created a gap in Leo's filmography because he couldn't go anywhere. He was too much the focus of rumor, innuendo. But I didn't think of Leo being right for the part just because of the party stuff. Leo had such a wiley intelligence in his eyes, he had such a great presentational style. It's all about presentation. Do you think Frank could've walked into Universal and become a director?

Just as he became an airline pilot In this case, just walk into Universal Studios. He could do that today.

That's one thing he could do today. He could walk right past the guard, convince the guard of anything. And he wanted to he laughs. But right now he's on the side of law and order, and he's helping the FBI to catch other people like him, like he used to be.

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

I actually had taken the tour the day before at Universal, and actually jumped off the tour bus. It was a bus in those days. I spent the whole day on the lot. Met a nice man named Chuck Silvers. Told him I was a filmmaker from Arizona. He said, "Kid, come back tomorrow. I'll write you a pass and you can show me some of your 8mm films. He said, "You're great.

I hope you make it. But, because I'm just a librarian I can't write you anymore passes. He waved me in. For three months, that whole summer vacation, I came on the lot every single day.

Went to a little store that sold cameras and also plastic title letters to title your films. Found an abandoned office, and put my name and the number of my office on this directory. Opened up the glass directory and stuck these stick-on letters on the directory. And basically went into business for myself. But it never amounted to anything. I learned a lot about editing and dubbing by watching all the professionals do it, but I never got a job out of my imposition.

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