Steven Spielberg

And that was, I think, the main link between 2001 and his version of AI.

Yeah, I think everybody does.

And I think the thing that Stanley does to all of us is if we're just surfing the channels and we come across Stanley, one of Stanley's movies, 30 Minutes In, I dare anybody to switch it off.

Even if you have a meeting at 7 o'clock the next morning and it's already midnight, I don't know how you get your finger on that off switch.

I don't know how you do that.

I don't care what the movie is, you know, from, you know, you know, you know, from, uh, killer's kiss to eyes wide shut, whether you love, love, love these films more than others of his or not it, you completely become, you know, in a, you become a zombie, right?

Come at Stanley zombie.

And I'm, and you just stare at you, you walk straight ahead and you sit there and you wait till it's over.

I think the first movie I saw was – I know the first movie I saw in a movie theater was Dr. Strangelove.

That was the first one.

The other films I saw were in art houses later in my life.

For instance, you know, Killer's Kiss and those and Paths of Glory I saw on television actually for the first time.

But I caught up with Stanley in terms of going –

on a regular basis to his films, right around, I would think, Clockwork Orange.

I don't know if it's a movie so much.

It may be the sphere in Las Vegas.

Maybe the equivalent of 2001 A Space Odyssey.

But I mean, I mean, I mean, Stanley Kubrick with 2001 created, I think, the first 3D experience.

The first, not 3D in terms of, you know, of interocular, but I'm talking about wraparound, three-dimensional sight and sound experience.

And even though the screen did have its boundaries and you could look off the screen, top, bottom, left, right, it didn't matter because it had enough of a fold around the audience that the audience was really enwrapped by the experience.