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Dr. Deimantas Valančiūnas is a lecturer of film and cultural studies at the Institute of Asian and Transcultural Studies, Vilnius University. His research interests include Indian cinema, postcolonial theory, diaspora studies, gothic and horror cinemas in Asia. He is an editor of a volume From Highbrow to Lowbrow. Studies of Indian B-grade Cinema and Beyond (2014) and a number of journal articles on Indian cinema.
The Hollywood juggernaut has permanently altered Bollywood landscape, says Mr. Ahmed. Action thrillers are on the wane, for example. B-grade plots, corny dialogue, homespun production values, and overacting, for example, (gangsters are still referred to as "boss") seem pass. In middle-class homes, the kids can watch American film on cable TV movie channels every night.
This is FRESH AIR. I'm Terry Gross. We're ending 2022 with a few of our favorite interviews of the year. Today - Steven Spielberg. I spoke with him last month. It was a great time to interview him because his new movie, "The Fabelmans," is a personal one. He says all his movies are personal in the sense they come from his experiences, observations and imagination. But this one is personal in a more direct way. "The Fabelmans" is a semi-autobiographical film based on Spielberg's childhood and teenage years and tells the story, in a fictionalized way, of how he fell in love with movies and became a filmmaker. The movie is also about tensions in his family during those years and why his parents divorced when he was 19.
Spielberg has directed over 30 movies, including "Jaws," "E.T.," "Close Encounters Of The Third Kind," the "Indiana Jones" films, "The Color Purple," "Jurassic Park," "Schindler's List," "Saving Private Ryan," "Lincoln," and the recent adaptation of "West Side Story." His movies have grossed more at the box office than any filmmaker. And as Michael Schulman wrote in The New Yorker, Spielberg has shaped nearly half a century of the American popular imagination. "The Fabelmans" is streaming, available for rent or purchase.
Steven Spielberg, welcome to FRESH AIR. I'm so glad we have this opportunity to talk. I wasn't sure I'd ever have that opportunity to talk with you. And congratulations on this film, which I really enjoyed. Let's start with "The Greatest Show On Earth." It's a circus movie with some very disturbing things in it. And I'll preface this by saying the first movie I ever saw was "20,000 Leagues Under The Sea," and I was probably around 6, the same age you were when you saw "The Greatest Show On Earth." And I walked - we walked in late, which people used to do at that time. And the first thing I saw was Kirk Douglas wrestling with an octopus underwater. And I was terrified, and I begged my mother to just take me home. So tell us about what terrified you about "The Greatest Show On Earth," a circus movie directed by Cecil B. DeMille.
STEVEN SPIELBERG: Well, first of all, you know, I sympathize with you. I, too, saw "20,000 Leagues Under The Sea," with James Mason and Kirk Douglas and Peter Lorre. And that sequence with the giant squid attacking the novelist was terrifying, especially because they were cutting the tentacles off with axes. And that was pretty gruesome in those days. And I remember that. But I was older when I saw that movie. But I was only 6 years old when I saw - when my parents took me to "The Greatest Show On Earth," and they thought it was going to be a great picture having to do with circus clowns and three rings of entertainment and, you know, and it was - I actually thought they were saying to me, we're taking you to a circus because I had never been to a movie before. We had television at home, but I had never been to a motion picture. And I thought what they meant to say was, you're going to actually see giraffes and elephants and lions and tigers.
And this movie started playing. And I don't know how long it took me to fall under the spell of the film. And I was enchanted. I remember just being enchanted by - didn't understand the story, didn't understand what they were saying, but the imagery was amazing. But then along came this horrible train crash, and the train wreck was terrifying. And I wanted to leave the theater like you did with - you know, with "20,000 Leagues." And I was knocking on my parents' shoulders. I wanted to - I was sinking as low as I could get in the - in my seat so as not to see the screen. But it was a really terrifying, traumatic thing. And it never left me. My first movie was a movie that scared my pants off, and I'll never forget that.
GROSS: So in your semi-autobiographical film, after seeing that movie, Sammy, who's your alter ego in the film, starts to recreate what terrified him with Lionel toy trains and, you know, crashing into things. And then he starts filming scenes like that. Why did you want to recreate something that was most terrifying? Like, I wanted to just forget "20,000 Leagues Under The Sea," which obviously I haven't done. But why did you want to keep creating it?
SPIELBERG: Well, you know, I don't know, because, remember, I'm a kid. And I think that when I saw that movie for the first time and I had a Lionel electric train set - and by actually crashing the train into things and watching the train derail and watching the passenger cars and a couple boxcars and the caboose pile up, I was able to, I think, intuitively wrest back control of my fear. And I really think it helped assuage the fear. It helped me get in total control over it. So I was the one causing something that was going to maybe have a chance to scare other people but no longer myself.
GROSS: Among the things you're famous for is, you know, movies and TV about World War II, including, of course, "Saving Private Ryan" and "Schindler's List." I mean, World War II was terrifying, and you depicted one of the most terrifying aspects of it, which was D-Day in "Saving Private Ryan." Do you see that as a continuation of what you did when you were a young boy, making little films about things that terrified you, like the - recreating the train crash scene from "The Greatest Show On Earth?"
SPIELBERG: Well, you know, there was a lot - I was very much in those days, when I was, you know, 12, 13, 14, being influenced by television. And - you know, and there were a lot of movies on "The Late Show." You'd get "The Late Show." You'd get "The Late Late Show." You got things called "Million Dollar Movie" back in Phoenix. And I was very influenced by all the war movies they were showing - the John Wayne films like "The Fighting Seabees" and other films like "Bataan" or "Back To Bataan" or "Guadalcanal Diary" or the "Sands Of Iwo Jima." And coupled with the fact that my dad was from the Greatest Generation - he was a veteran of World War II. He fought in the China-Burma-India - the CBI campaign, and he was stationed in Karachi, sometimes in Burma. And he was in charge of all the planes that would often bomb Japanese bridges. And he had a couple of missions in the air. But he was so good with electronics they sort of grounded him and put him in charge of sort of ground-to-air communication. And my dad told me stories about World War II constantly.
So I made 8 mm war movies. "Escape To Nowhere," which I depict in "The Fabelmans," is an actual movie I made when I was about 16 years old called "Escape To Nowhere." And because I was really obsessed with war, I made a World War II Air Force movie called "Fighter Squadron" in black and white when I was about 14 years old. And so that just came out of my sort of fascination with what I was watching on television or the stories my dad was telling me.
SPIELBERG: I had a student deferment, a 2-S deferment as a lot of us had - most of us had. But when my grades dropped below a certain level, my GPA dropped below a certain level, I was - I lost my 2-S deferment, became 1-A, and was ordered up on my first physical - my second physical, actually.
And I'll tell you the power of movies, Terry, which is really interesting. I was terrified. I - that letter was like a death warrant. And my dad was going to drive me home, and I said, no, no, no, I got to see this movie. And I had the letter, and I put the letter in my back pocket and ran back in line, and I saw the movie. And 10 minutes into the movie, I forgot that my father had handed me what could have been my death warrant. That's what that Kubrick film did for me. It took my mind off of anything except that story of Armageddon. And that was another example of just the power of somebody telling me a story.
GROSS: This is FRESH AIR. Let's get back to my interview with Steven Spielberg. His new movie, "The Fabelmans," which he directed and co-wrote, is based on his early life when he was learning to make films - when he was a boy and a teenager, making home movies and casting movies with friends and classmates. 2b1af7f3a8
