Steve Ahlman

I'm typically hyper-proposed here, but even Indiana Jones, Indiana Jones and all of that stuff is keeping evil out of the hands of people that want to exploit it, excuse me, keeping beauty out of the evil people that want to exploit it, whether it be the Ark of the Covenant, the children that are being exploited in Temple of Doom, or the Holy Grail.

This movie, while it has all the trappings of a Spielberg movie, doesn't have any of the stuff in the middle that really made the movie special.

It is legitimately like,

40-some-odd rewrites on the script.

Like, no, no, no, no, no, no.

They... He developed 42 different drafts.

Jesus.

42 different drafts.

So the...

And you can tell.

Yeah.

Like, when you're actually in the movie, like, you can tell that we got to get this part of it in.

To your point, we got to get this in.

We got to do this.

It's E.T., but Close Encounters, but War of the Worlds.

But Catch Me If You Can.

But kind of the terminal a little bit.

And I think the excitement from the film was that this in some kind of way was going to be the culmination of the Spielbergian film experiment.

That in some kind of way, it was going to be all of those things, but in this grand sort of crescendo.

I'm not burying Steven Spielberg or anything like that.