Steven Spielberg is an American film director best known for directing and producing some of the biggest film franchises ever created, such as Indiana Jones (1981, 1984, 1989, 2008) and Jurassic Park (1993, 1997, 2001, 2015, 2018). The most well-known films he has directed are Jaws (1975), Close Encounters of the Third Kind (1977), and E.T. (1982), as well as more recently, A.I. Artificial Intelligence (2001), Minority Report (2002), and The Post (2017).
He grew up making films, with his first acclaimed short film, Amblin' (1968), landing him a seven year contract at Universal studios when he was only 21 years old. He then went on to work on TV shows such as Night Gallery (1969-1971), and Columbo (1971), which led to him making the TV movies Duel (1971), and Something Evil (1972).
His style of directing aims to emotionally impact the audience, but also give them information through visuals, as well as sound and music, rather than dialogue. One of the main themes in his films is childhood, and the different obstacles some children must overcome, such as the divorce of their parents for the children in E.T., the obsession of his father to find the Holy Grail meaning young Indiana Jones is left to mostly fend for himself in The Last Crusade, and gaining the love of his human mother for David as an A.I. kid in A.I. Artificial Intelligence.
The main reason I decided to research Steven Spielberg for this project was because of how his directing style requires him to move the camera often, and rhythmically, experimenting with the space he has to film in. I also thought the way his style is made to emotionally impact audiences would be interesting to mix with the character driven style of Once Upon A Time, as well as how this impact can be used to build tension by placing the audience close to, or far away from the characters. I have also grown up watching his films so have admired his directing style for a long time.
Long takes:
Steven Spielberg frequently uses long takes in his films, some of which are invisible.
Jaws (1975)
Once of the most famous example is this clip from Jaws, as the camera tracks with the characters, and the characters move within the frame as they talk. However, the camera is not attached to the characters, as they do sometimes move into and out of the frame, making the movement seem natural and the audience feel as if they are observing a real conversation taking place in front of them.
Raiders of the Lost Ark (1981)
A more invisible long take in Steven Spielberg's films is this one from Raiders of the Lost Ark, as the camera pans between the two characters competing in a drinking contest. It is broken down into shots of the character's faces and hands as they drink as the characters do not move anywhere from their seats at the table, making the shot more interesting than if it had only panned between their faces. The action is seen clearly but not followed entirely, as Marion's competition falls out of the frame at the end. Different frame sizes are also used as the camera zooms in from a wide at the beginning to the close-ups of the characters as it begins to pan between the action.
What are they looking at?:
Top left: Raiders of the Lost Ark (1981), Middle and bottom left: Close Encounters of the Third Kind (1977), Top right: E.T. (1982), Bottom right: Jurassic Park (1993)
Characters are often depicted as looking at something the audience has not yet seen by Steven Spielberg, which creates tension because of the uncertainty.
For example, in E.T. Elliott hears strange noises in the family's shed while he is outside. The audience see his reaction to these noises as the banging changes into waddling footsteps. Elliott's fear at the uncertainty creates tension as the audience are unsure, as he is, as to whether the creator of this noise will cause him any harm. It is then revealed to be E.T., who turns out to be harmless.
This uncertainty and unknown nature is mirrored in Close Encounters of the Third Kind when the alien is seen for the first time as it exits its spacecraft. The alien is unsure of the world, as the audience of humans in the film and in the cinema are unsure of them, creating a tension but also a curiosity between the two different species.
Jurassic Park (1993)
In this clip from Jurassic Park, curiosity can also be seen to be created in the audience, because of the wonder shown on the character's faces, making it even more of an impressive sight when the dinosaurs finally become visible to the audience.
Because of how Steven Spielberg withholds information from the audience through this technique, they are able to identify with the characters, as they feel similar emotions.
Zooming in/out:
This emotional identification is strengthened through how Steven Spielberg uses shots that zoom in or out.
Jaws (1975)
By zooming in during this moment from Jaws, the moment of realisation of the character has more of an impact on the audience, as his face goes from being held in a mid-shot, to being extremely close-up, heightening the reaction by it being highlighted this explicitly. This almost intrudes on the audience, and mirrors their own shock at the shark attack that is currently happening, which furthers identification.
The Terminal (2004)
This is similar to this clip from The Terminal, although a zoom out is used. However, emotional identification is still possible with Tom Hanks' character, Viktor, because it is as if the audience go with him into the city after being stuck in the airport for the duration of the movie. By zooming out, the size of the outside world is made evident compared to the cramped inside of the airport, emphasising Viktor's new freedom, and allowing the audience to feel it for themselves.
Shadows and silhouettes:
Top left: E.T. (1982), Top middle: Amblin' (1968), Top right: A.I. Artificial Intelligence (2001), Second row: The Color Purple (1985), Third row left: Empire of the Sun (1987), Third row middle: War Horse (2011), Third row right: Munich (2005), Bottom row: War Horse (2011)
Steven Spielberg often uses silhouettes, which contrast with the usual brightness of his films, and can withhold information from the audience as they hide the character's features.
For example, in A.I. Artificial Intelligence (2001), when David (Haley Joel Osment) falls into the pool with his human brother, he is left floating alone when the parent's concentration is focused on saving their human son, rather than David, an artificial robot child. By using a silhouette as he floats alone, although the urgency of the situation has passed because David will not be harmed underwater unlike his human brother, the darkness of leaving what looks like a child in the water is highlighted. This is because his features can not be seen, so it is possible for the audience to briefly forget he is not as real as a human child, who would drown if they were left.
In Amblin', a silhouette is used to hide the characters as they share a cigarette. This creates intimacy between the characters away from the audience because of how their faces are hidden, so it is impossible to know what they are thinking, and therefore feeling in this moment, it is only shared between them.
Steven Spielberg often uses silhouettes, which contrast with the usual brightness of his films, and can withhold information from the audience as they hide the character's features.
For example, in A.I. Artificial Intelligence (2001), when David (Haley Joel Osment) falls into the pool with his human brother, he is left floating alone when the parent's concentration is focused on saving their human son, rather than David, an artificial robot child. By using a silhouette as he floats alone, although the urgency of the situation has passed because David will not be harmed underwater unlike his human brother, the darkness of leaving what looks like a child in the water is highlighted. This is because his features can not be seen, so it is possible for the audience to briefly forget he is not as real as a human child, who would drown if they were left.
In Amblin', a silhouette is used to hide the characters as they share a cigarette. This creates intimacy between the characters away from the audience because of how their faces are hidden, so it is impossible to know what they are thinking, and therefore feeling in this moment, it is only shared between them.
Top left: Lincoln (2012), Top right: The Lost World: Jurassic Park (1997), Bottom: Indiana Jones and the Kingdom of the Crystal Skull (2008)
Shadows are used in a similar way to silhouettes in Steven Spielberg's films.
For example, when Indiana Jones is reintroduced to the audience in Indiana Jones and the Kingdom of the Crystal Skull, it is through his shadow. This is because his shadow is already so iconic to the audience, so it acts as shorthand for what the audience already knows, but also makes it more exciting when he is later revealed in the scene.
This technique is used in a similar way in The Lost World: Jurassic Park, as the T-Rex is already known to the audience through the previous film. However, the way the shadow conceals its face makes it more menacing and mysterious, as part of it cannot be seen by the audience so it is unknown.
White light:
Top left: A.I. Artificial Intelligence (2001), Top right and portrait: War of the Worlds (2005), Middle left: Ready Player One (2018), Bottom: Minority Report (2002)
White light is often used in Steven Spielberg's films. As this colour is often linked with goodness, purity, safety, and innocence it fits with his main theme of childhood, and can show how this innocence is disrupted as it is so harsh it illuminates everything it focuses on.
In the example from A.I. Artificial Intelligence, it highlights the blue colour of David's eyes, and shows his innocence, as although he is a robot he is still a child. This could make the audience feel sympathetic towards him, as they reflect on the hardships he has been through throughout the rest of the film.
Top left and right: E.T. (1982), Bottom left: Indiana Jones and the Kingdom of the Crystal Skull (2008), Bottom right: The BFG (2016)
Flashlights of white light are also used for this same purpose.
In E.T., the disruption and harm adults cause to the alien is shown in this shot where Elliott is surrounded by them with flashlights. This not only shows the disruption to Elliott's life, but also hides information from the audience, as only Elliott is visible, the adults being silhouettes. Therefore, the audience are more likely to identify with Elliott rather than the adults who they cannot see, as they are focused on him.
However, flashlights are also sometimes used to reveal information, as in Indiana Jones and the Kingdom of the Crystal Skull, it makes this skeleton visible to the characters. Therefore, it shows the harshness and reality of the situation, breaking the hope, and therefore innocence, of the characters if they were under any illusions that this place could not be dangerous, and they would definitely get out alive.
Focus on inanimate objects:
Top left: Jurassic Park (1993), Top right: Amblin' (1968), Bottom: Close Encounters of the Third Kind (1977)
Rather than focusing on the characters in the scene, Steven Spielberg often chooses to focus on inanimate objects.
For example, in Jurassic Park it is known that the T-Rex is approaching because of how its footsteps make the water in the cups vibrate. This builds tension as the audience can hear the noise and see the effect the vibration is having, but cannot see what is making the noise, or the characters reactions to it.
This is similar to the focus on the guitar case in Amblin', but action goes on behind it in the background as the boy swims in the ocean. However, the audience are made to focus on the guitar case as throughout the film the boy takes care when carrying it, and is protective over it, making the audience wonder what is in there. This shot occurs before the girl comes and opens it, foreshadowing that she will do this after the audience have been focused on it, as she has.
Rather than focusing on the characters in the scene, Steven Spielberg often chooses to focus on inanimate objects.
For example, in Jurassic Park it is known that the T-Rex is approaching because of how its footsteps make the water in the cups vibrate. This builds tension as the audience can hear the noise and see the effect the vibration is having, but cannot see what is making the noise, or the characters reactions to it.
This is similar to the focus on the guitar case in Amblin', but action goes on behind it in the background as the boy swims in the ocean. However, the audience are made to focus on the guitar case as throughout the film the boy takes care when carrying it, and is protective over it, making the audience wonder what is in there. This shot occurs before the girl comes and opens it, foreshadowing that she will do this after the audience have been focused on it, as she has.
Frame within a frame:
To show several actions going on at once, or to frame the action, Steven Spielberg will sometimes combine frames to create the effect of a frame within a frame.
For example, this is used in Duel when someone opens the door of a washing machine and this frames the character having a conversation on the phone. This is similar to how he uses circles (see below), but also makes the simple action of the character standing there talking more interesting for the audience as they are aware that other action is occurring around him, so it makes the film world believable as shows the character is not isolated in a world of his own.
In Empire of the Sun this works in a similar way, but is also used to frame several actions going on at once. Outside the hotel the scene is set in there is an explosion, which throws Jim (Christian Bale), across the room. However, instead of following him as he flies across the room, the shot cuts to this frame showing three mirrors. Therefore, when his father enters, this can be seen by the audience without cutting to a different shot, combining three angles in one frame. This is not only more economic, but also focuses the audience on the effect the explosion has as they are not distracted by fast cuts jumping to several different angles, but instead shown it as a whole.
Rearview mirror shots:
Also able to combine angles, Steven Spielberg often frames what is behind his characters in rearview mirrors, especially in chase scenes.
This is particularly efficient in Jurassic Park, because the writing on the mirror causes the audience to question what they seeing, and fear for the characters as their reactions are seen when they realise how close the T-Rex actually is.
However, it can show desperation, as well as fear, as in Amblin' when the boy is running to catch the car, he can be seen getting smaller in the mirror as the car gets further away from him, even though he begins to run faster.
Circles:
Top left and middle: E.T. (1982), Top right: Duel (1971), Middle left: Amblin' (1968), Middle: Empire of the Sun (1987), Middle right and bottom left: A.I. Artificial Intelligence (2001), Bottom middle: Minority Report (2002), Bottom left: Catch Me If You Can (2002)
To break the rectangle of the cinema screen, Steven Spielberg often uses circles, in the shape of mirrors, tunnels, eyes, and even the moon.
This is used most iconically in E.T. when they fly past the moon on Elliott's bike, as even though they are a silhouette in the dark night sky, they can still be seen, and are made the focus by the contrasting white light of the moon.
90 degree character shots:
Top left: The Color Purple (1985), Top right: The Terminal (2004), Middle left: Munich (2005), Middle and middle right: The Post (2017), Bottom: War Horse (2011)
Steven Spielberg also positions his characters opposite each other, and then films them from a ninety degree angle, placing them in positions of conflict, or intimacy.
For example, in The Color Purple, it can be seen that in this shot the woman and the man, who is presumably her husband, have disagreed and are arguing. This is clearly shown as the position of them being opposite each other makes them seem directly opposed to each other.
This is different from The Terminal when this is used for a group shot, as it seems more intimate, and secret as they plot for a way to get Viktor out of the airport. The effect of this on the audience is different from the interpretation of conflict, as they are placed on the inside as if they are a member of the group rather than outside.
Overall, Steven Spielberg's directing style is much more cinematic and stylised than that of Sophia Coppola, due to his use of techniques that consciously break the boundaries of the cinema screen, use artificial white lighting, and withhold and reveal information to the audience, as well as the detailed images that require a bigger screen to notice their complexities, especially because of the amount the camera is moved.
E.T. (1982)
These techniques can be seen in this clip from E.T., as the fast cuts create the tension of the chase, as well as the focus on the house when the bike wheels screech past, and the cuts that zoom into Elliott's face as they are barricaded in by the police. There is also the circle of the setting sun, which creates silhouettes as they fly past it.
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