Laurent Bouzereau, a renowned author and documentary filmmaker, vividly recalls his initial encounter with Steven Spielberg. It occurred three decades ago when Bouzereau was commissioned to create a documentary about Spielberg’s film “1941,” an intriguing choice given its lackluster reception. Bouzereau describes Spielberg’s humility during their meeting, acknowledging that the final product may have deviated from his original vision. This encounter marked the beginning of Bouzereau’s extensive career as Spielberg’s resident documentarian, uncovering the behind-the-scenes stories of films like “Jaws,” “Jurassic Park,” and most recently, “The Fabelmans.” Bouzereau has now compiled his firsthand knowledge into a lavishly illustrated book, “Spielberg: The First 10 Years,” which delves into the director’s influential formative period from 1972’s “Duel” to 1982’s “E.T.” (Click here for an exclusive excerpt from the book discussing “Close Encounters of the Third Kind.”)
In this Insight Editions publication, Bouzereau acts as a character within the book. Each chapter features Bouzereau analyzing a specific Spielberg film, interspersed with an extensive Q&A session with the director himself. Bouzereau explains that his intention was to embrace the decade that resonated with his passion for movies and fascination with America, which ultimately led to his desire to meet Spielberg. As a result, he chose to focus solely on this formative period.
While the author devotes considerable attention to the past, he clarifies that he has not contemplated a sequel covering Spielberg’s subsequent ten years, which encompassed films like “Indiana Jones and the Temple of Doom,” “Empire of the Sun,” and “Hook.” Bouzereau’s interest lies primarily in exploring the origins of Spielberg’s career, as the first ten years often set the stage for future endeavors.
In a fascinating section discussing the chapter on “Close Encounters,” Bouzereau shares two intriguing insights. Firstly, Spielberg initially intended to cast Steve McQueen rather than Richard Dreyfus as the lead character, Roy Neary. Bouzereau acknowledges McQueen’s talent, but he believes the film’s success hinges on Dreyfus’ remarkable portrayal. He praises Dreyfus’ relatability, noting that McQueen may not have brought the same depth to the role due to an inability to cry onscreen. Bouzereau suggests that the inclusion of these two actors would have significantly altered the film’s impact.
Secondly, Bouzereau mentions that if Spielberg were to make “Close Encounters” today, he would have chosen a different ending, one where Roy does not abandon his family. Bouzereau sees this as a reflection of Spielberg’s growth as a storyteller. Interestingly, Bouzereau draws parallels between “Close Encounters” and “E.T.,” as both films explore themes of leaving home. While Roy leaves his family in “Close Encounters,” Elliot in “E.T.” decides to stay with his mother and siblings. Bouzereau finds these two films to be complementary, emphasizing the insight they provide into Spielberg’s personal and creative evolution.
Moving on to Spielberg’s film “1941,” Bouzereau comments on its unique position within the director’s early filmography. Unlike the financial success of the film, it suffered from scathing reviews, which Bouzereau had to license for his documentary. Despite the negative reception, Bouzereau has always had a fondness for the film and appreciates its celebration of the artifice of cinema. He commends the movie’s use of miniatures and on-set special effects, which contributed to its unique charm. Additionally, Bouzereau singles out the score by John Williams as one of his favorites, emphasizing its impact.
Bouzereau concludes by discussing Spielberg’s most recent film, “The Fabelmans.” As the behind-the-scenes documentarian for the film, Bouzereau witnessed Spielberg’s personal connection to the story. He highlights screenwriter Tony Kushner’s observation that Spielberg has often camouflaged elements of his family and personal life in his films, and “The Fabelmans” marks a departure from this approach. Bouzereau notes that while the movie is autobiographical, the central character is a “Fabelman,” not Spielberg himself, adding an extra layer of movie magic. Reflecting on his interviews with Spielberg for the book, Bouzereau identifies a common theme of home in the director’s early films. Whether it’s the desire to return home or create a new one, Spielberg’s films explore the concept of home through a variety of genres, including supernatural, science-fiction, and historical narratives.
To read an exclusive excerpt from “Spielberg: The First 10 Years,” visit the provided link. The book is available for purchase at major booksellers, such as Amazon.com.
