Steven Spielberg

So I don't know anyone that I wasn't, I was unaware of it.

Look, half the audience could have walked out and I would not have noticed.

Right.

I, I, I looked, I looked dead center, dead left to center, dead right of center, because that was my field of vision.

And I was completely, um, you know, I guess completely magnetized by what was happening.

Yeah, listen, a lot of people walked out of the sneak preview of Goodfellas, one of the greatest films I've ever seen and one of the greatest films Marty's ever made.

And yet I didn't go to the preview, but Brian De Palma was there.

And he just said there were a lot of walkouts in that because of the violence.

But the movie went on to become a piece of our collective history.

Well, what context did I say that?

If I said it, I'm sure there was a context for saying it.

I'm not sure it was a declarative statement.

Well, I think because Stanley in all the films, for one thing, he started out as a still photographer for Look magazine.

So he had an audacious, rambunctious, ambitious eye.

And his compositions and his choices of what to show, what pictures to take, already set him apart.

I mean, if he wanted to become a war correspondent, like Bob Capa, Robert Capa, he could have become that too.

But he turned that still eye into 24 Frames of Stills II and became one of the greatest, I think, professors we've ever had.

My generation always looked up to him as one of our greatest teachers.

And what made him that way was he knew how to tell a story.

He knew how to tell a story unconventionally.