The two scenes Steven Spielberg will regret for his entire career

Steven Spielberg is a name that resonates throughout the cinematic world, symbolizing not only commercial success but also artistic achievement. As one of the most influential filmmakers of modern cinema, Spielberg has directed over 37 feature films, earning accolades for masterpieces like Jaws, Schindler’s List, and Saving Private Ryan. However, like any artist, Spielberg has moments of regret—specifically two scenes from his career that he has openly criticized.

Regret in the Art of Filmmaking

Creating art is intrinsically a journey filled with experimentation, exploration, and sometimes, painful hindsight. Spielberg’s legacy includes groundbreaking storytelling that combines human emotion with incredible visuals. While many directors may feel satisfied with their work, it’s not uncommon for artists to disapprove of specific choices made during the creative process. These decisions can haunt creators like Spielberg, who have a deep emotional connection to their work.

The two scenes that Spielberg has publicly expressed regret over stand out, reflecting his artistic integrity and the pressures of filmmaking. Each scene exists in stark contrast to his creative vision, ultimately representing moments where external pressures led him to alter his original intent.

Scene One: Close Encounters of the Third Kind

The first regrettable scene comes from Close Encounters of the Third Kind, a film steeped in wonder about extraterrestrial life. Spielberg was motivated by a personal experience of a meteor shower that ignited his passion for storytelling about the cosmos. The film was a landmark achievement for him, following the monumental success of Jaws. However, when it came to the film’s post-production, Spielberg faced immense pressure from the studio to meet tight deadlines, which ultimately led him to compromise his vision.

In a pivotal moment, he agreed to show Richard Dreyfuss walking inside the alien mothership. Spielberg later lamented this decision, saying, "I never should have done that, because that should have always been kept a mystery." The film was initially compelling because of its ambiguity and the suspense surrounding the aliens. By revealing the interior of the mothership, Spielberg feels he undermined the film’s original enigmatic allure.

This regret is a profound reflection on the role of artistic control. Spielberg wished he had adhered more closely to his intuitive understanding of storytelling, rather than giving in to the financial pressures from the studio. The experience serves as a reminder for creators about the importance of preserving their vision, even under external pressures.

Scene Two: E.T. the Extra-Terrestrial

The second scene that haunts Spielberg comes from E.T. the Extra-Terrestrial, a defining film that captivated audiences with its emotional depth. Released in 1982, the film chronicles the journey of children trying to help an alien return home, mixing adventure with profound themes of friendship and acceptance. Fast forward to the 20th anniversary re-release, Spielberg felt a need to sanitize the movie, particularly the scene involving government agents pointing guns at children.

In an effort to modernize, Spielberg replaced the guns with walkie-talkies. However, this change became another source of regret for him. “That was a mistake,” he stated during a Time 100 summit, emphasizing that E.T. is a "product of its era." He acknowledged that films should reflect the context in which they were made, and that revising them can obscure their original message. “All our movies are a kind of signpost of where we were when we made them,” he remarked.

This scenario illustrates the challenges filmmakers face as societal norms evolve. Spielberg’s desire to adapt his work to fit a contemporary perspective led him to modify a classic film, which he later recounted as a misstep. His regret underscores the importance of authenticity in storytelling and the need for creators to remain true to their initial intentions, regardless of changing societal values.

Artist vs. Business

The overarching theme connecting these two regrettable scenes is the tension between artistry and commercial pressures. Spielberg’s experience is a reflection of a broader phenomenon in the creative industries, where financial motivations can sometimes overshadow the original artistic vision.

As a filmmaker, Spielberg understands the risks involved in navigating between being a commercial giant and remaining true to his artistic integrity. His journey reveals that creativity often requires sacrifices, but it’s vital for creators to remain vigilant against compromising their own visions for external expectations.

Conclusion

In conclusion, Steven Spielberg’s career encapsulates both the triumphs and trials of a legendary filmmaker. The two scenes he regrets—one from Close Encounters of the Third Kind and the other from E.T. the Extra-Terrestrial—serve as poignant reminders of the complexities involved in creative expression.

His reflections show that, while commercial success is essential, the heart of filmmaking still lies in authenticity and personal vision. These moments of regret allow us to appreciate the immense pressures artists like Spielberg face while reminding us of the importance of staying true to one’s artistic intent.

As audiences, we can continue to celebrate Spielberg’s incredible contributions to cinema while acknowledging that even the greatest artists experience moments of doubt and regret along their creative journeys. The dialogues about these particular scenes enhance our understanding of what it means to create and the delicate balance between artistic expression and commercial viability.

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