Оглавление
John Baxter. Steven Spielberg
Praise
Contents
1 The Man Who Fell to Earth
2 The Boy Who Swallowed a Transistor
3 Amblin’ Towards Bethlehem
4 Universal Soldier
5 Duel
6 The Sugarland Express
7 Jaws
8 Close Encounters of the Third Kind
9 1941
10 Raiders of the Lost Ark
11 Poltergeist and E.T.: The Extraterrestrial
12 The Twilight Zone: The Movie
13 Indiana Jones and the Temple of Doom
14 The Color Purple
15 Empire of the Sun
16 Indiana Jones and the Last Crusade
17 Always and Hook
18 Jurassic Park and Schindler’s List
19 The Dream Team
Notes
Pre-credit Sequence: The Sandcastle
Chapter One: The Man Who Fell to Earth
Chapter Two: The Boy who Swallowed a Transistor
Chapter Three: Amblin’ Towards Bethlehem
Chapter Four: Universal Soldier
Chapter Five: Duel
Chapter Six: The Sugarland Express
Chapter Seven: Jaws
Chapter Eight: Close Encounters of the Third Kind
Chapter Nine: 1941
Chapter Ten: Raiders of the Lost Ark
Chapter Eleven: Poltergeist and E.T.: The Extraterrestrial
Chapter Twelve: The Twilight Zone: The Movie
Chapter Thirteen: Indiana Jones and the Temple of Doom
Chapter Fourteen: The Color Purple
Chapter Fifteen: Empire of the Sun
Chapter Sixteen: Indiana Jones and the Last Crusade
Chapter Seventeen: Always and Hook
Chapter Eighteen: Jurassic Park and Schindler’s List
Chapter Nineteen: The Dream Team
Select Bibliography
Index
Acknowledgements
If you enjoyed Steven Spielberg, check out these other great John Baxter titles
About the Author
Also by the Author
Pre-Credit Sequence
Filmography. SHORT FILMS. 1968
TELEVISION EPISODES AS DIRECTOR. 1969
1970
1971
1972
1985
1987
FEATURE FILMS AS DIRECTOR. 1973
1975
1977
1979
1981
1982
1983
1984
1985
1987
1989
1991
1993
FILMS AS PRODUCER
Copyright
About the Publisher
Отрывок из книги
The Unauthorised Biography
STEVEN SPIELBERG
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Over the next four years he made about fifteen story films. Old enough now to be allowed to see almost anything at his local cinema, the Kiva, he plundered Hollywood for ideas. Some of the lessons of The Great Locomotive Chase, Disney’s version of the Civil War raid on which Buster Keaton had based his classic 1926 comedy The General, were put into effect in Duel, and parts of Henry Levin’s version of Jules Verne’s Journey to the Centre of the Earth would be restaged for Raiders of the Lost Ark. One of the first films he saw which was not straight escapism was The Searchers. John Ford’s story of racist loner John Wayne searching for the niece kidnapped by Indians opened his eyes to the poetic possibilities of landscape. ‘I wasn’t raised in a big city,’ Spielberg says. ‘I lived under the sky all through those formative years, from third grade right through high school. That’s my knowledge of a sort of lifestyle.’ Ford, brought up on the imagery of Catholic paintings and ‘holy pictures’, instinctively employed aspects of the natural world as metaphors for mental and moral states. Dust represented dissolution; rivers a sense of peace and cleansing; silhouettes presaged death. Certain landscapes, like Monument Valley, were for him intellectual universes in miniature. Those weathered towers of limestone rising from the desert against a vast sky became the unalterable precepts by which honourable men must live. Spielberg would make his own pilgrimage to them in Indiana Jones and the Last Crusade, one of many films to exhibit a Fordian vision of the American west.
Frank Capra also returned to the screen in 1959 after eight years in the wilderness to direct A Hole in the Head, though neither it, nor the film that followed, A Pocketful of Miracles, a remake of his 1933 Lady for a Day, in which sentimental gangsters transform an impoverished street-corner apple seller into a socialite so that her daughter can make an advantageous marriage, rivalled Mr Deeds Goes to Town or Mr Smith Goes to Washington.
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