Steven Spielberg

If I may push back slightly on this, in preparing for this, I watched Close Encounters and I obviously went to Disclosure Day.

And the thing that I found so striking was that Close Encounters opens more slowly.

The storytelling feels more slow at the beginning.

Whereas in Disclosure Day, you are dropped right in the middle of the action.

And to me, I felt like this was a reflection of specifically attention spans.

Is there something to be said about how quickly or slowly you are making your films?

I mean, how could you not, basically, given the world that we live in?

Well, I consciously wanted to start Disclosure Day as if we were starting with a third act and then adding a fourth, fifth, and sixth act.

What do you mean by that, especially for people that haven't seen it?

Because the movie starts in mid-scene, mid-action.

The movie starts with essentially an abduction.

That's not reflective of me trying to appeal to a more impatient generation of moviegoers.

It was basically the biorhythm of the movie that I sat down to write.

I wrote it that way because I felt like we had been awaiting answers.

about where's the truth where has the truth been about you know uh communication or the government hiding the fact that there is uh interaction between species and it's maybe we've been interacting for 80 or longer years and so and and that to me felt like it was already on a fast track it was already moving for eight decades very very quickly and now it was coming to a head

That was dictating how fast I started Disclosure Day, not trying to appeal to a generation that has a need for speed.

My colleague Wesley Morris recently did quite a masterful, I thought, profile of you.

It was amazing.

Yeah, yeah.

He is incredible.