#spielberg-influence

#spielberg-influence

In the new film, he plays a hit man named Mike who is attempting to leave the business when he's framed for murder. He's sleeping with loan shark Nick's wife Alice, so Nick tricks him into pulling off one last job.

I don't know any more than any of you do, but I have a very strong suspicion that we are not alone here on Earth right now. And I made a movie about that! This statement reflects Spielberg's public acknowledgment of his belief in extraterrestrial presence on Earth, marking a significant departure from his previous reluctance to discuss such convictions.

I feel incredibly grateful for this kind attention, but to be clear, I also am quite humbled. I'm in a room of actors, many of whom are here because they've been nominated to receive a prize for their amazing work, while I'm here to receive a prize for being alive.

During a junket interview with OutNow, Gyllenhaal explained that the punctuation mark was included to represent the "whole lot of energy" that comes out when the historically muted Bride of Frankenstein is finally allowed to speak. That's all well and good, but to viewers the titular exclamation point is less of a metaphor and more of a golden arrow saying, "This movie is going to be crazy."

George Lucas should have died. It was 1962; the 17-year-old had just crashed his yellow Autobianchi convertible into a walnut tree, in Modesto, California. The car rolled, bounced and came to rest - it was "beyond mangled, flipped upside down and twisted like a crushed Coke can against the tree". When the teenager woke in hospital two weeks later, his heart having nearly stopped, he had a new philosophy: "Maybe there's a reason I survived this accident that nobody should have survived."

Using the diary recollections of Coppola's wife, the late Eleanor Coppola, who was also disconsolately aboard and feeling thoroughly shut out of the alpha male chatting and joshing, Fischer shows our three dishevelled deities dizzied and stunned and even weirdly depressed by their staggering global acclaim.

This significant prop, accompanied by its original case, carries an estimate of $250,000 to $500,000 dollars. Also due to go under the hammer at Propstore auction house in Los Angeles next month is the Fenwick fishing rod with reel, used by Shaw's character, Quint, in his encounter with the ferocious shark. The rod is estimated to sell for between $75,000 and $150,000 dollars.

In fact, I've made a conscious habit of seeking out successful individuals so I can learn from their experiences. But the man often nicknamed the "King of the Hollywood Blockbuster" continues to elude me. And yet, despite never meeting face to face, Spielberg taught me one of the most important lessons of my entire career. It's a lesson I've learned through engaging with his work.

The first full-length preview of Steven Spielberg's highly anticipated sci-fi alien film Disclosure Day debuted during Super Bowl LX. Watch the trailer below.

For readers of dystopian science fiction classics - like Aldous Huxley's Brave New World - aspects of THX 1138 will feel very familiar, but remixed with a brilliant minimalist arthouse flair. This is the kind of science fiction film Terry Gilliam wishes he could have made at some point, or, to put it another way, a non-campy version of 1976's Logan's Run.

In recent years, there's one word you hear again and again from movie distributors and pundits: event. Making a great movie is nice. But creating a culture-shaking event is what's required in the current boom-bust film landscape. It's something everyone has known for a long time, but in 2026 it seems like studios are really beginning to grasp what it actually means. From Tom Cruise in an auteur-driven comedy to the sequels to Devil Wears Prada and The Social Network

"The film was shot in Ultra Panavision 70 with lenses that yielded an aspect ratio of 2.76 to 1, and it was breathtaking," Scorsese said. "But it wasn't just the size of the image, it was the imprint of the man behind the camera who knew how to fill that frame, how to compose it. And composer seems like the right word to describe George Stevens and the extraordinary level of artistry he reached at that point in his life and career."

The esteemed film-maker was licking his wounds: his most recent picture, Far from the Madding Crowd, which imbued its 19th-century rural characters with an anachronistic King's Road style and panache, had flopped stateside. Childers approached the date with mixed feelings. He adored Schlesinger's previous movie, the jazzy Darling, starring Julie Christie as a model on the make, and had seen it three times.

Even in an era of CGI and AI, nothing is more vivid than the intimacy and imagination of radio or more direct than the connection radio has with listeners. I remember when the legendary Stan Freberg drained Lake Michigan and filled it with hot chocolate, a 700-foot mountain of whipped cream, and a 10-ton maraschino cherry. We didn't have to see it. We heard it on the radio. It was Freberg's demonstration of what radio can do better than television.