Word: spielbergisms
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Dates: during 1980-1989
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...news. This can mean that the normal weeks of planning may be telescoped into a few days, with the whole meticulous preparation process taking on the look and feel of a speeded-up movie. Such was the case for this week's major story on Film Maker Steven Spielberg...
...well known that two new Spielberg movies-E.T. and Poltergeist-were due to be released, but on paper they did not at first look as if they were likely candidates for Hollywood immortality. Says Associate Editor Richard Corliss, who wrote the main story for this week's effort-with contributions from John Skow and Reporter-Researcher Melissa Ludtke Lincoln: "Here were two movies with no stars. Both were small budget. Together they cost much less than Annie. How important could lowbudget, horror or science-fiction films be?" The answer: so important that Corliss delayed a long-scheduled trip...
...mythology. That mark shows up in some unlikely places. Barks' stories, as Film Director George Lucas points out in his affectionate Appreciation, are "very cinematic. They...don't just move from panel to panel, but flow in sequences-sometimes several pages long." Fans of the Lucas-Steven Spielberg adventure lark Raiders of the Lost Ark will discover a progenitor in The Seven Cities of Cibola. Indeed, Barks' stories and Lucas' Star Wars sagas share not only a gentle satiric edge but a kind of giddy imagination that leads into territory that is, in all senses...
Raiders of the Lost Ark. George (Empire) Lucas + Steven (Close Encounters) Spielberg + Lawrence (Body Heat) Kasdan + Harrison (Star Wars) Ford = intelligent, thrilling blockbuster. Moves like a Rolls-Royce over bad road...
...understandable characters, tantalizing plot precipices. His scripts live comfortably within the conventions of their genres: sci-fi intrigue in The Empire Strikes Back, Saturday-matinee thrills in Raiders of the Lost Ark, the steamy crime story in Body Heat. All these films were made with George Lucas or Steven Spielberg; now Spielberg serves as an executive producer of the script, written in 1977, that brought Kasdan to his attention. Continental Divide may be the most reductive of his screenplays, but in reviving the romantic-comedy format of the '30s, it offers lessons to the student of structure-and pleasure...