Steven Spielberg (122 page)

Frank Darabont’s rejected script draft
Indiana Jones and the City of the Gods
, from a story by Lucas, November 4, 2003, was found online at wikileaks.org/leak/indiana-jones. Spielberg’s desire to film that script was reported in Windolf, “Q&A: Steven Spielberg.”
The Complete Making of Indiana Jones
notes that Darabont was the screenwriter who
brought back the character of Marion Ravenwood. The evident borrowing of the film’s Doom Town sequence from a draft of the Robert Zemeckis–Bob Gale screenplay
Back to the Future
is discussed in a post by Maxim on spielbergfilms.com, June 4, 2008, including an excerpt from that script. “Nuking the fridge” as a slang term is from imdb.com.

Joseph McBride discussed critical attacks on Spielberg, the issues involved, and Spielberg’s growing reputation among critics and academics in “A Reputation: Steven Spielberg and the Eyes of the World,”
New Review of Film and Television Studies
(UK), vol. 7, no. 1, March 2009 (from which this book’s section on Spielberg’s reputation is partly drawn). That special issue on Spielberg includes other essays drawn from presentations at the November 20–21, 2007, “Spielberg at Sixty” conference at the University of Lincoln in England, at which the author was a keynote speaker along with Linda Ruth Williams, Murray Pomerance, and Peter Kramer; the conference presentations are summarized in the program booklet. Peter Biskind discusses the blockbuster syndrome in his essay “Blockbuster: The Last Crusade,” in Mark Crispin Miller, ed.,
Seeing Through Movies
, Pantheon, New York, 1990. Pauline Kael’s charge about Spielberg encouraging “an infantilization of the culture” (see chapter 1 of this book) is from David Blum, “Steven Spielberg and the Dread Hollywood Backlash,”
New York
, March 24, 1986. Jean-Luc Godard’s attacks on Spielberg in his film
In Praise of Love
(2001) are discussed in Scott, “The Studio-Indie, Pop-Prestige, Art-Commerce King: Why Steven Spielberg really is the greatest living American director,” which considers the state of Spielberg’s critical reputation.

Lester D. Friedman reports in
Citizen Spielberg
(University of Illinois Press, Champaign, 2006) on the maligning of Spielberg and of his choice of Spielberg as a subject for scholarly analysis. Other recent critical studies include Warren Buckland,
Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster
, Continuum, London and New York, 2006; Nigel Morris,
The Cinema of Steven Spielberg: Empire of Light
, Wallflower, London, 2007; and Andrew M. Gordon,
Empire of Dreams: The Science Fiction and Fantasy Films of Steven Spielberg
, Rowman & Littlefield, Lanham, Maryland, 2008. See also Friedman and Brent Notbohm, eds.,
Steven Spielberg: Interviews
, University Press of Mississippi, Jackson, 2000; Ian Freer,
The Complete Spielberg
, Virgin Books, London, 2001; Susan Goldman Rubin,
Steven Spielberg: Crazy for Movies
, Harry N. Abrams, New York, 2001; Charles L. P. Silet, ed.,
The Films of Steven Spielberg: Critical Essays
, Scarecrow, Lanham, Maryland, 2002; Ray Morton,
Close Encounters of the Third Kind: The Making of Steven Spielberg’s Classic Film
, Applause, New York, 2007; and Dean A. Kowalski, ed.,
Steven Spielberg and Philosophy: We’re Gonna Need a Bigger Book
, University Press of Kentucky, Lexington, 2008. J. G. Ballard’s defense of Spielberg is from his autobiography,
Miracles of Life: Shanghai to Shepperton,
Fourth Estate, London, 2008. Lucas’s comment on Spielberg being “far, far away” is from Corliss and Ressner. Baz Luhrmann’s description of Spielberg as the “president of cinema” is from Galloway, “A Life in the Pictures.”

David Bordwell’s observations on Spielberg are from “Reflections in a Crystal Eye: The Spielberg Touch,” davidbordwell.net, June 4, 2008. John Powers’s accusation “He can’t make an honest film” is from his review of
The Color Purple
, “Sister, Where Art Thou?”
L.A. Weekly
, December 20, 1985; his amended views are in “Majority Report,” his
L.A. Weekly review of Minority Report
. Geoff King’s criticism of
Jurassic Park
is from his book
Spectacular Narratives: Hollywood in the Age of the Blockbuster
, I. B. Tauris, London, 2000; Susan Aronstein criticized Spielberg in “Not Exactly a Knight: Arthurian Narrative and Recuperative Politics in the
Indiana Jones
Trilogy,”
Cinema Journal
34, no. 4, Summer 1995. Peter Benson’s comment on psychoanalysis and criticism is from his letter to
Movie
33, Winter 1989, responding to Andrew Britton, “Blissing Out: The Politics of Reaganite Entertainment,”
Movie
31/32, Winter 1986 (reprinted in
Britton on Film: The Complete Film Criticism of Andrew Britton
, ed. Barry Keith Grant, introduction by Robin Wood, Wayne
State University Press, Detroit, 2008). Henry Sheehan’s comment on the prevalence of anxiety in Spielberg’s work is from his 1992 two-part
Film Comment essay
“The Panning of Steven Spielberg,” May–June, and “Spielberg II,” July–August. Terrence Rafferty defended Spielberg against his detractors in “Raiders of the Lost Art?”
GQ
, May 1999. Rabbi Albert Lewis told the author in the 1990s that he thought anti-Semitism underlies some attacks on Spielberg. Background on Lewis is from “Rabbi Emeritus Albert L. Lewis” (biography), Temple Beth Sholom Web site tbsonline.org, Cherry Hill, New Jersey. G. K. Chesterton discusses Charles Dickens as a popular artist in his book
Charles Dickens
, Methuen, London, 1906.

The “rude awakening” the DreamWorks partners experienced at Paramount was discussed in Carl DiOrio, “Dream still works for Paramount,”
HR
, April 3, 2008. Sources on their other problems with Paramount include that article; Kimmel; Peter Bart, “Can this marriage be saved?”
DV
, July 23, 2007; and Lauren A. E. Schuker and Merissa Marr, “Spielberg, India Firm Near Deal to Ally With DreamWorks,”
Wall Street Journal
, June 18, 2008.

Michael Bay’s comment on
Transformers
to Wesleyan University students is reported in Thom Beckwith, “Bay ’87 screens
Transformers
, discusses post-Wes career,”
The Wesleyan Argus
, October 19, 2007. David Denby’s criticism of Bay is from his capsule review of
Transformers: Revenge of the Fallen, in The New Yorker
, July 27, 2009. Marr and Kelly reported on DreamWorks’ free creative rein with budgets under $85 million in “Aftermath of Fight for Movie Studio Vexes Both Companies,”
Wall Street Journal
, February 5, 2006. Sources (2006) on Stacy Snider’s departure from Universal for DreamWorks include Claudia Eller, “Snider Eyes Studio Switch,”
LAT
, February 17; Marr and Kelly, “Universal Pics Chairman Jumps to Paramount”; and Eller, “Universal Chief Drawn by Spielberg,”
LAT
, February 27, including Spielberg’s praise of Snider’s “unique combination” of abilities.

Quotes from Spielberg’s June 2006 interview on the AMC program
Sunday Morning Shootout
appear in Gabriel Snyder, “Spielberg may downsize pics,”
DV
, June 9, 2006, along with comments by Snyder; the article includes Spielberg’s declaration of intent to make small prestige pictures. Spielberg’s comment “Paramount treats us” is from Paul J. Gough, “Spielberg chides broadcasters,”
HR
, November 21, 2006. Kim Masters described Paramount’s Brad Grey as “a mortal enemy” of DreamWorks in “Spielberg’s Lincoln Troubles,”
The Big Money
, February 17, 2009.
DV
’s report that “Spielberg and Snider thought” and “analysts thought” is from Tatiana Siegel and Anne Thompson, “D’Works split from Par turns messy,” DV, September 22, 2008. Spielberg’s interest in directing
The Trial of the Chicago
7 is discussed in Leo Barraclough and Michael Fleming, “
Trial
Moving to top Spielberg’s docket?”
DV
, January 2, 2008. Geffen’s departure from DreamWorks was reported by Cieply, “David Geffen Makes a Sudden Exit.” Spielberg’s early-exit clause was reported in DiOrio, “Spielberg works on $1 billion dream,”
HR
, June 10, 2009.

Sources on DreamWorks’ deal with Reliance Big Entertainment include (2008) Schuker and Marr, “Spielberg, India Firm Near Deal to Ally With DreamWorks,”
Wall Street Journal
, June 18; Heather Timmons and Cieply, “Spielberg Said to Be in Talks with Reliance,”
NYT
, June 19; Brooks Barnes, “A Director’s Cut,”
NYT
, July 27; Bart, “Crunch may clobber D’Works’ dreams,”
DV
, December 22; and (2009) Alex Dobuzinskis, “DreamWorks could get $825 million film financing,” Reuters, July 15; Eller, “Spielberg’s DreamWorks finally lands movie funds,”
LAT
, August 17; Eller, “DreamWorks gets
go-ahead
for action,”
LAT
, August 18; and Cieply, “DreamWorks Wins Financing for Its Films,”
NYT
, August 18 (including Spielberg quote “We had a year”).

The abortive Universal deal with DreamWorks was announced in Siegel, “Universal Appeal,”
DV
, October 14, 2008; in “Spielberg’s Lincoln Troubles,” Masters also reported on the negotiations. Universal’s statement “DreamWorks has demanded” is from Barnes
and Cieply, “Spielberg’s DreamWorks Said to Be Headed to Disney,”
NYT
, February 6, 2009. In “DreamWorks and Disney Agree to a Distribution Deal,”
NYT
, February 9, 2009, Barnes and Cieply reported that no paperwork was signed with Universal before DreamWorks moved to Disney. Masters reported on “Universal’s spurning of DreamWorks.” In “DreamWorks does a fast U-turn,”
Variety
, February 16, 2009, Siegel wrote that Spielberg having offices at Universal was “like a divorcee.”

Sources (2009) on the DreamWorks deal with Disney include Barnes and Cieply, “DreamWorks and Disney Agree to a Distribution Deal”; Peter Sanders and Schuker, “Disney, Spielberg to Team Up,”
WSJ {Wall Street Journal} Online
, February 10; and Bart, “Spielberg’s Corporate Odyssey,”
DV
, February 20. The negotiations over Paramount projects were discussed in Masters; Thompson, “D’works and Par do divorce divvy,”
DV
, October 13, 2008; Siegel, “Digging Deep,”
DV
, January 15, 2009; and Thompson, “DreamWorks vs. Paramount Lives On,”
toh! Thompson on Hollywood, indieWIRE
, December 22, 2009. The source on Spielberg putting up $60 million of his own money to keep DreamWorks afloat is LaPorte, whose book
The Men Who Would Be King
reports that the retooled company was being called “DreamWorks 2.0” and summarizes the history of DreamWorks as a “failure of expectation.”

Spielberg’s
Lincoln
project is based on Doris Kearns Goodwin,
Team of Rivals: The Political Genius of Abraham Lincoln
, Simon & Schuster, New York, 2005. Spielberg’s intent to have
Lincoln
released in 2009 was reported in “Lincoln biopic moves up Spielberg’s agenda,”
Screen International
, May 16, 2008. Masters reported on problems with the
Lincoln
project and on “The spectacle of Steven Spielberg.”

Spielberg’s comments that he “ventured into the brave new world” and “found motion-capture to be liberating” on
The Adventures of Tintin: Secret of the Unicorn
are from his article “A Message from the Editor,”
Empire
(UK), April 2009 (Spielberg was guest editor-in-chief of the magazine’s twentieth-anniversary issue).
The Adventures of Tintin
is based on
Le Secret de la Licorne/The Secret of the Unicorn
by Hergé (Georges Remi), first published in
Le Soir
(Belgium) from June 11, 1942, to January 14, 1943, and by Casterman, Belgium, 1943, and in English translation by Leslie Lonsdale-Cooper and Michael Turner, Methuen, London, 1959; and on material from other comic books by Hergé. Hergé’s background and the history of the Tintin comics were discussed in Henry Chu, “At 80, comic-book hero Tintin is ready for Hollywood,”
LAT
, March 22, 2009 (with Hergé’s quote “Yes, I think”).

Sources (2009) on Spielberg’s involvement with the comics and the making of the film include Siegel, “Helmers Share in
Tintin
Toil,”
Variety
, March 9; Abramowitz, “It takes 2 moguls to make a
Tintin
,”
LAT
, March 22; and “Walter Scott’s Personality Parade,”
Parade
, April 12. Earlier Tintin films and TV adaptations were mentioned in “Jackson sets
Tintin
scoop,”
HR
, May 15, 2007. Spielberg’s comment “We want Tintin’s adventures” is from Thompson and Pamela McClintock, “Helmers pushing
Tintin
for D’Works,”
DV
, May 15, 2007. Spielberg’s comment “Every movie I made” is from Josh Quittner, “The Next Dimension,”
Time
, March 30, 2009. The
War Horse
project is described in Pamela McClintock, “Spielberg rides with
War Horse
,”
DV
, May 3, 2010; the novel by Michael Morpurgo was first published in 1982 by Kaye & Ward, London, and was reissued in 2007 by Egmont, London.

Spielberg said in Corliss and Ressner that he needs to do work that “will frighten me.” His admission of feeling ill every time he makes a film is from “Cries and whispers,”
HR
, June 14, 2005. His comment “I don’t have enough time” is from Grover, “Steven Spielberg: The Storyteller.”

Running times and some dates approximate; in 8mm unless otherwise indicated. See text for information on other early filmmaking by S.

1957
The Last Train Wreck
.
D-CAM
:
S
.
L
: 3 min.

1958
The Last Gunfight
(aka
The Last Gun, The Last Shootout, Gunsmog
).
D-CAM
: S, Arnold Spielberg.
WITH
Jim Sollenberger, Barry Sollenberger. L: 9 min.

1958
A Day in the Life of Thunder
.
D-CAM
: S.
WITH
: Thunder (S’s

cocker spaniel).

1959
Documentary on Soviet Union.
D-CAM
: Arnold Spielberg.
EDITING
and
TITLES
: S.

1959
Western.
D-CAM
: S, Terry Mechling.
WITH
: Steve Swift.
L
: 6

min.

1959
Films of Ingleside Elementary School (Phoenix, Az.) flag football games.
D-CAM
: S.

1960
(begun in 1959)
Fighter Squad
.
D
: S.
CAM
: S, Jim Sollenberger.
WITH
: Jim Sollenberger, Roger Sheer, Mike McNamara, Steve Suggs, S.
L
: 15 min.

1960
Film noir
in wide-screen.
D-CAM
: S.
WITH
: Jim Sollenberger.

1960
Steve Spielberg’s Home Movies
(slapstick comedy for Ingleside Halloween carnival).
D-CAM
: S.

1961
Western made for Patricia Scott’s eighth-grade class “career exploration” project at Ingleside.
D-CAM
: S.

1961
Scary Hollow
(film of Ingleside school play).
D-CAM
: S, Roger Sheer.
WITH
: Sheer.

1962
(begun in 1959)
Escape to Nowhere
.
D-CAM
: S.
WITH
: Haven Peters, Jim Sollenberger, Barry Sollenberger, George Mills, Leah Spielberg.
L
: 40 min.

1964
(begun in 1963)
Firelight
.
P
: Arnold Spielberg, Leah Spielberg (for American Artist Productions).
D-SCR-CAM
: S.
WITH
: Robert Robyn, Beth Weber, Clark (Lucky) Lohr, Margaret Peyou, Nancy Spielberg.
R
: March 24, 1964 (Phoenix Little Theatre).
L
: 135 min.

1964
Films of Saratoga (Ca.) High School football games.
D-CAM
: S.

1964
–
65
Film about John F. Kennedy.
D-CAM
: S (with Mike Augustine).
L
: 3 min.

1965
Senior Sneak Day
(documentary filmed in Santa Cruz, Ca.).
D-CAM
: S.
WITH
: Members of Saratoga High School Class of ’65.

1965
–
66
Encounter
(16mm).
D-CAM
: S (with Charles [Butch] Hays).
WITH
: Roger Ernest, Peter Maffia.
L
: 20 min.

1966
The Great Race
(16mm).
D-CAM
: S (with Charles [Butch] Hays).
WITH
: Roger Ernest, Halina Junyszek.

1967
Slipstream
(35mm).
P
: Ralph Burris (for Playmount Productions).
D
: S.
SCR
: S, Roger Ernest.
CAM
: Serge Haignere, Allen Daviau.
WITH
: Tony Bill, Roger Ernest, Peter Maffia, Andre (Andy) Oveido, Jim Baxes. (Uncompleted; parts shown in the 1987
documentary
Citizen Steve
.)

1968
Amblin
’ (35mm).
DIST
: Sigma III; Four Star Excelsior Releasing Co.; UPA (
non-theatrical
).
P
: Denis C. Hoffman (with Ralph Burris, “in charge of production”).
D-SCR
: S.
CAM
: Allen Daviau.
WITH
: Pamela McMyler, Richard Levin.
R
: December 18, 1968.
L
: 26 min.

1969
Night Gallery
: “Eyes” (one segment of a three-part TV movie pilot; other
segments
directed by Boris Sagal, Barry Shear).
P
: William Sackheim (for U-TV).
D
: S.
SCR
: Rod Serling, from his own short story.
CAM
: Richard Batcheller.
WITH
: Joan Crawford, Barry Sullivan, Tom Bosley.
AIR
: November 8, 1969, NBC World Premiere.
L
: 95 min. (“Eyes”: 26 min.)

1970
Marcus Welby, M.D.:
“The Daredevil Gesture.”
P
: David J. O’Connell (for U-TV).
D
: S.
SCR
: Jerome Ross.
CAM
: Walter Strenge.
WITH
: Robert Young, Frank Webb, James Brolin, Elena Verdugo, Marsha Hunt.
AIR
: March 17, 1970, ABC.
L
: 52 min.

1971
Night Gallery:
“Make Me Laugh.”
P
: Jack Laird (for U-TV).
D
: S (and Jeannot Szwarc, uncredited).
SCR
: Rod Serling.
CAM
: Richard C. Glouner.
WITH
: Godfrey Cambridge, Tom Bosley, Jackie Vernon, Al Lewis, Sidney Clute.
AIR
: January 6, 1971, NBC (as part of the
Four-in-One series
).
L
: 24 min.

1971
The Name of the Game:
“LA 2017.”
P
: Dean Hargrove (for U-TV).
D
: S.
SCR
: Philip Wylie.
CAM
: Richard A. Kelley.
WITH
: Gene Barry, Barry Sullivan, Edmond O’Brien, Sharon Farrell, Severn Darden.
AIR
: January 15, 1971, NBC.
L
: 74 min.

1971
The Psychiatrist:
“The Private World of Martin Dalton.”
P
: Jerrold Freedman (for U-TV).
D
: S.
SCR
: Bo May.
CAM
: Lloyd Ahern.
WITH
: Roy Thinnes, Jim Hutton, Kate Woodville, Stephen Hudis, Pamelyn Ferdin.
AIR
: February 10, 1971, NBC (as part of the
Four-in-One series
).
L
: 52 min. (U-TV combined this program with a
Psychiatrist
episode directed by Jeff Corey to make up an 88-min. feature,
Whispering Death
, released in European theaters by CIC in 1971 and given its American premiere on CBS in 1980.)

1971
The Psychiatrist:
“Par for the Course.”
P
: Jerrold Freedman (for U-TV).
D
: S.
SCR
: Thomas Y. Drake, Herb Bermann, Jerrold Freedman, Bo May, from a story by Drake.
CAM
: Lloyd Ahern.
WITH
: Roy Thinnes, Clu Gulager, Joan Darling, Michael C. Gwynne.
AIR
: March 10, 1971, NBC (as part of the
Four-in-One series
).
L
: 52 min. (This program was combined with a
Psychiatrist
episode directed by Douglas Day Stewart to make up a 90-min. feature,
The Visionary
, released on home video in 1990 by ACE Video.)

1971
Columbo
: “Murder by the Book.”
P
: Richard Levinson, William Link (for U-TV).
D
: S.
SCR
: Steven Bochco.
CAM
: Russell L. Metty.
WITH
: Peter Falk, Jack Cassidy, Martin Milner, Rosemary Forsyth, Barbara Colby.
AIR
: September 15, 1971, NBC Mystery Movie.
L
: 76 min.

1971
Owen Marshall, Counselor at Law:
“Eulogy for a Wide Receiver.”
P
: Jon Epstein (for U-TV).
D
: S.
SCR
: Richard Bluel.
CAM
: Harkness Smith. With: Arthur Hill, Lee Majors, Stephen Young, Anson Williams, Joan Darling.
AIR
: September 30, 1971, ABC.
L
: 52 min.

1971
Duel
.
P
: George Eckstein (for U-TV).
D
: S.
SCR
: Richard Matheson, based on his story.
CAM
: Jack A. Marta.
WITH
: Dennis Weaver, Carey Loftin, Dale Van Sickle, Jacqueline Scott, Lucille Benson.
AIR
: November 13, 1971, ABC Movie of the Weekend.
L
: 73 min. (An expanded, 91-min. version, including additional scenes directed by S in 1972, was released theatrically by CIC in Europe, 1972–73, and in U.S. by Universal, 1983, as well as being shown on TV in the U.S. from August 15, 1973, to the present.
The longer version also has been released by MCA Home Video on videocassette and laserdisc.)

1972
Something Evil
.
P
: Alan Jay Factor (for CBS).
D
: S.
SCR
: Robert Clouse.
CAM
: Bill Butler.
WITH
: Sandy Dennis, Darren McGavin, Ralph Bellamy, Johnny Whitaker, Jeff Corey.
AIR
: January 21, 1972, CBS Friday Night Movie.
L
: 72 min.

1973
Savage
.
P
: Paul Mason (for U-TV).
D
: S.
SCR
: Richard Levinson, William Link, Mark Rodgers.
CAM
: Bill Butler.
WITH
: Martin Landau, Barbara Bain, Will Geer, Barry Sullivan, Michele Carey.
AIR
: March 31, 1973, NBC World Premiere.
L
: 76 min. (Working title:
The Savage Report
.)

1984
Strokes of Genius
. A series of profiles of artists: Willem de Kooning, Arshile Gorky, Jackson Pollock, David Smith, and Franz Kline.
P
: Courtney Sale Ross, Karen Lindsay (for Cort Productions/KERA, Dallas–Fort Worth).
D
: Charlotte Zwerin, Amanda C. Pope, Jay Freund, Carl Colby.
CAM
: Francis Kenny.
AIR
: May 1984, PBS. (S directed the introductory segments hosted by Dustin Hoffman.)

1985
Amazing Stories:
“Ghost Train.”
P
: David E. Vogel (for U-TV/Amblin Television).
D
: S.
SCR
: Frank Deese, from a story by S.
CAM
: Allen Daviau.
WITH
: Roberts Blossom, Scott Paulin, Gail Edwards, Lukas Haas, Renny Roker.
AIR
: September 29, 1985, NBC.
L
: 25 min.

1987
(filmed in 1985)
Amazing Stories:
“The Mission.”
P
: David E. Vogel (for U-TV/Amblin Television).
D
: S.
SCR
: Menno Meyjes, from a story by S.
CAM
: John McPherson.
WITH
: Kevin Costner, Casey Siemaszko, Kiefer Sutherland, Jeffrey Jay Cohen, John Philbin.
AIR
: May 15, 1987, NBC.
L
: 50 min. (Working title: “Round Trip.”) (“The Mission” also became part of
Amazing Stories: The Movie
, released theatrically outside the U.S. by CIC in 1987 and subsequently to TV syndication in the U.S.; the other parts are “Go to the Head of the Class,” directed by Robert Zemeckis, and “Mummy Dearest,” directed by William Dear and based on a story by S.)

1999
The Unfinished Journey
(documentary).
DIST
: CBS-TV.
P
: Michael Stevens.
D
: S.
SCR
: Tim Willocks.
CAM
: (none listed).
WITH
: President Bill Clinton, Maya Angelou, Ossie Davis, Ruby Dee, Edward James Olmos.
AIR
: December 31, 1999 (on the TV special
America’s Millennium
).
L
: 20 min.

2008
A Timeless Call
(documentary).
DIST
: Democratic National Convention.
P
: Bruce Cohen, Dan Jinks, James Moll.
D
: S.
SCR
: Lorna Graham.
CAM
: (none listed).
WITH
: Tom Hanks (narrator).
AIR
: August 27, 2008.
L
: 7 min.

1973
(filmed in 1971)
Ace Eli and Rodger of the Skies
.
DIST
: Twentieth Century–Fox.
P
: Boris Wilson (Robert Fryer, James Cresson).
D
: Bill Sampson (John Erman).
SCR
: Chips Rosen (Claudia Salter), from a story by S.
CAM
: David M. Walsh.
WITH
: Cliff Robertson, Pamela Franklin, Eric Shea, Rosemary Murphy, Bernadette Peters.
R
: April 1, 1973.
L
: 92 min.

1985
The Goonies
.
DIST
: WB.
P
: Richard Donner, Harvey Bernhard. 
D
: Donner.
SCR
: Chris Columbus, from a story by S.
CAM
: Mike McLean.
WITH
: Sean Astin, Josh Brolin, Jeff Cohen, Corey Feldman, Ke Huy Quan.
R
: June 7, 1985.
L
: 111 min.

1986
Poltergeist II: The Other Side
.
DIST
: MGM/UA.
P
: Mark Victor, Michael Grais.
D
: Brian Gibson.
SCR
: Grais, Victor, based on S’s story for the original 1982 film
Poltergeist
(see below).
CAM
: Andrew Laszlo.
WITH
: JoBeth Williams, Craig T. Nelson, Heather O’Rourke, Oliver Robins, Zelda Rubinstein. R: May 23, 1986.
L
: 91 min.

1988
Poltergeist III
.
DIST
: MGM.
P
: Barry Bernardi.
D
: Gary Sherman.
SCR
: Sherman, Brian Taggert, based on S’s story for
Poltergeist
.
CAM
: Alex Nepomniaschy.
WITH
: Tom Skerritt, Nancy Allen, Heather O’Rourke, Zelda Rubinstein, Lara Flynn Boyle.
R
: June 10, 1988.
L
: 97 min.