George Stevens, Jr.

The idea that you've not made a picture that's going to be forgotten, that you make one and you mention several that are being shown 70 years after he made them. So that is part of our family legacy.

The idea that you've not made a picture that's going to be forgotten, that you make one and you mention several that are being shown 70 years after he made them. So that is part of our family legacy.

You know, I was interested in being a sports writer. You know, in school, I edited the paper and did all of that stuff. But it's unlikely that I would have been attracted to film or have had that sense. Definitely it was because I was around my father. And I have to recall, you know, because when I was young, I worked with them on Shane and then Giant.

You know, I was interested in being a sports writer. You know, in school, I edited the paper and did all of that stuff. But it's unlikely that I would have been attracted to film or have had that sense. Definitely it was because I was around my father. And I have to recall, you know, because when I was young, I worked with them on Shane and then Giant.

And then I went in the Air Force for two years and came back. And then I started working with Jack Webb, who made Dragnet, a terrific actor, producer. And he gave me a chance to start directing television. And I was directing Alfred Hitchcock Presents and Peter Gunn and things like that, and then went to work with my father on the Diary of Anne Frank.

And then I went in the Air Force for two years and came back. And then I started working with Jack Webb, who made Dragnet, a terrific actor, producer. And he gave me a chance to start directing television. And I was directing Alfred Hitchcock Presents and Peter Gunn and things like that, and then went to work with my father on the Diary of Anne Frank.

But I do admit my father was so talented and so in command of what he was doing and so respected that I really kind of in the back of my mind worried about whether I really would ever be able to live up to that quality of work.

But I do admit my father was so talented and so in command of what he was doing and so respected that I really kind of in the back of my mind worried about whether I really would ever be able to live up to that quality of work.

Well, you know, it's interesting. My life took a turn. I was pleased with the work I was doing on Alfred Hitchcock and working with him on the diary of Anne Frank. But then I went to Washington, Edward R. Murrow, the great war correspondent, went to work for President Kennedy, the United States Information Agency, and he invited me to go to Washington.

Well, you know, it's interesting. My life took a turn. I was pleased with the work I was doing on Alfred Hitchcock and working with him on the diary of Anne Frank. But then I went to Washington, Edward R. Murrow, the great war correspondent, went to work for President Kennedy, the United States Information Agency, and he invited me to go to Washington.

And it was a huge decision to leave what I was doing in Hollywood and go off on this other tangent. But being with with President Kennedy and Murrow in the New Frontier, and we made documentary films. And there I really got a sense of my own work, that it was independent of my father, and it was highly regarded. You know, I went on to start the American Film Institute.

And it was a huge decision to leave what I was doing in Hollywood and go off on this other tangent. But being with with President Kennedy and Murrow in the New Frontier, and we made documentary films. And there I really got a sense of my own work, that it was independent of my father, and it was highly regarded. You know, I went on to start the American Film Institute.

And so pretty soon I got comfortable with my own place in the creative world. What was that like getting into politics and putting that on film? Well, it was just great. And, you know, the Kennedy years were just so exciting, the short time they lasted. And President Kennedy was an inspiration. Wonderful quotes he would make. And I wrote down one.

And so pretty soon I got comfortable with my own place in the creative world. What was that like getting into politics and putting that on film? Well, it was just great. And, you know, the Kennedy years were just so exciting, the short time they lasted. And President Kennedy was an inspiration. Wonderful quotes he would make. And I wrote down one.

He loved the ancient Greek poets, and he had one that was the Greek definition of happiness, full use of one's powers along lines of excellence. And I wrote that down, and here I was making these films under Edward R. Murrow, aspiring to make them famous. really excellent. And I realized I was living with President Kennedy, the Greek definition of happiness as a 29-year-old young man.

He loved the ancient Greek poets, and he had one that was the Greek definition of happiness, full use of one's powers along lines of excellence. And I wrote that down, and here I was making these films under Edward R. Murrow, aspiring to make them famous. really excellent. And I realized I was living with President Kennedy, the Greek definition of happiness as a 29-year-old young man.

So Kennedy, he, and then also Bobby, they had a great influence on me in terms of kind of my aspirations and values and ideals.

So Kennedy, he, and then also Bobby, they had a great influence on me in terms of kind of my aspirations and values and ideals.

Yes. I made a film called The Five Cities of June with a director called Bruce Hershenson, which told the story of President Kennedy going to Berlin in 1963 and standing before the Berlin Wall and making his famous Ich bin ein Berliner. I am a Berliner speech before Berlin. 400,000 people at the Berlin Wall. It was a very dramatic movie, and we showed it, of course, overseas.

Yes. I made a film called The Five Cities of June with a director called Bruce Hershenson, which told the story of President Kennedy going to Berlin in 1963 and standing before the Berlin Wall and making his famous Ich bin ein Berliner. I am a Berliner speech before Berlin. 400,000 people at the Berlin Wall. It was a very dramatic movie, and we showed it, of course, overseas.