Steve Ahlman

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.

But what I'm saying is that this was going to be something that with all of these movies that he's made before, he's also made films that veered from this.

He's made movies that are smaller.

He's made movies that are more direct.

He made The Color Purple.

So he's the greatest filmmaker probably of all time in terms of his ability to touch different people.

But in this one, there was so much in it that at the end, it was kind of barren.

It didn't get there.

Give me an example of that.

Give me an example of something where, because I'm not disagreeing with you that I had a problem with that, but give me an example of particularly an Amblin or Spielberg movie where something just works out because it does and there's no explanation.

But I do think that that would happen.

So this is, I do think that