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Steven Spielberg

SF Radio 9.08: The Mythology of THE FABELMANS

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Steven Spielberg has made a career out of sharing stories of others in ways that capture the heart and imagination. But with THE FABELMANS, he turns the camera on his own life, delving into his family and passion for film with captivating results. This week, author and friend to the show, Wade Bearden returns to talk about the magic of Spielberg, the power of storytelling and what it means to be ‘real’ at the movies.

You can stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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The Fabelmans: Telling Your Own Story

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At the age of 77, Steven Spielberg shows no signs of slowing down. 

However, as he progressives into the later years of his life, his latest film, The Fabelmans is no doubt the filmmakers attempt to tell his own story while he has the opportunity to do so. And, frankly, one cannot be more grateful that he has taken the chance to do so. Spielberg has a way of telling stories with such joy and humility that one cannot help but fall in love with them. 

And The Fabelmans is no different.

Written and directed by Spielberg, The Fabelmans tells the story of Sammy Fabelman (Gabriel LaBelle), a young man in the 1950s who’s life is changed after his first experience in a cinema. Living with his parents (Michelle Williams and Paul Dano) and two sisters, Sammy pours his life into making movies of his own, becoming more intricate and elaborate as he grows up. However, after his family moves due to his father’s work, Sammy’s life slowly begins to unravel. Stresses from outside and within the home put pressure on the young man, leaving him to process his life through the lens of his camera.

Funny, heartfelt and powerful, The Fabelmans is the infectious tale of one man’s love of the arts and the passion he has to impact others through it. In a lot of ways, the film feels as close to an independent film as the director has ever made. Small in scale, Fabelmans has few special effects and doesn’t focus on any world-shattering events. Even so, as the personal tale of his own journey into filmmaking, the film is yet another stunning piece of wonder from the master himself. Like all of his work, the film is fueled by innocence but also willing to dig into the dark corners when needed. Tackling themes of anti-Semitism, marital infidelity and constant bullying, Spielberg does not shy away from the more painful details of his family history.

While LaBelle carries the film with a truly joyful performance as Sam, the entire cast is noteworthy. As his struggling mother, Williams brings an unpredictable wildness and strength to the role. At the same time, Dano also holds his own as his passionate father, as Spielberg portrays him with a sense of grace and responsibility. (Growing up, Spielberg‘s estranged relationship with his own father was challenging to say the least so it is interesting to see how positively he is portrayed within this film.) However, without question, the best performance lies with Judd Hirsch as Sam’s Uncle Boris. Despite the brevity of his appearance, Hirsch quickly becomes the most talked about piece of the film as he pushes young Sam to follow his dreams, even if it means stepping on some people along the way. Despite the limited screen time, Hirsch is such a joy that one cannot imagine him to receive some recognition come Oscar season.

(from left) Reggie Fabelman (Julia Butters) and Sammy Fabelman (Gabriel LaBelle) in The Fabelmans, co-written, produced and directed by Steven Spielberg.

It’s worth noting that the change in family name is significant. (The film isn’t called The Spielbergs for a reason.) By renaming his family the Fabelmans, Spielberg allows himself the freedom to play with history in a way that mythologizes is his own personal journey. Although there are undoubtedly portions of his life that are shared with the utmost of honesty, so too are there aspects of it that have been adapted for storytelling purposes (or Spielberg’s own personal interests). 

This fable is Spielberg’s life but, at the same time, it’s not. 

As a result, Spielberg is allowed to view the events of his past with a certain sense of nostalgia. In this way, The Fabelmans is a film that very much understands the power of storytelling. Young Sam is a man with dreams in his eyes who simply wants to tell stories and live his life with integrity along the way. To him, making short films is as essential as it is to breathe and he takes every opportunity to do so. With grace and conviction, he believes that the camera has the ability to change the way that people see the world. Whether it’s confronting a bully or exposing the secrets of his family, he recognizes that cinema both reveals and shapes the truth. Though his father writes off his love of filmmaking as a hobby, Sam understands that storytelling has a responsibility to communicate the truth about what matters. His passion for filmmaking drives him to see the best in humanity, even amidst their failings and flaws. (In fact, it even helps him view his own family with eyes of affection, even in their most difficult moments.) 

For Spielbe… um… Sam, storytelling allows him to show our scars but still believe that there is good in the world.

Fueled by love, The Fabelmans is a different type of story for Spielberg. There’s no doubt that this project is a labor of for the Hollywood icon, allowing him to share pieces of his own journey while still playing with history. Spielberg clearly understands the impact that he’s had on the industry, yet there also remains a humility about the film that shows that the real power is in the stories themselves. 

And, make no mistake, Fabelmans is very much a fable worth telling.

The Fabelmans is available in theatres on Friday, November 23rd, 2022.

TIFF ’22: The Fabelmans

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Written and directed by Steven Spielberg, The Fabelmans tells the story of Sammy Fabelman (Gabriel LaBelle), a young man in the 1950s who’s life is changed after his first experience in a cinema. Living with his parents (Michelle Williams and Paul Dano) and two sisters, Sammy pours his life into making movies of his own, becoming more intricate and elaborate as he grows up. However, after his family moves due to his father’s work, Sammy’s life slowly begins to unravel. Stresses from outside and within the home put pressure on the young man, leaving him to process his life through the lens of his camera.

Funny, heartfelt and powerful, The Fabelmans is the infectious tale of one man’s love of the arts and the passion he has to impact others through it. While LaBelle carries the film with a truly joyful performance as Sam, the entire cast is noteworthy. However, without question, the best performance lies with Judd Hirsch as Sam’s Uncle Boris. Despite the limited screen time, Hirsch is such a joy that one cannot imagine him to receive some recognition come Oscar season. 

In a lot of ways, the film feels as close to an independent film as the director has ever made. Small in scale, Fabelmans has few special effects and doesn’t focus on any world-shattering events. Even so, as the personal tale of his own journey into filmmaking, the film is yet another stunning piece of wonder from the master himself. Like all of his work, the film is fueled by innocence but also willing to dig into the dark corners when needed. Tackling themes of anti-Semitism, marital infidelity and constant bullying, Spielberg does not shy away from the more painful details of his family history.

The Fabelmans is premiered at TIFF ’22. 

Monster Mondays – The Lost World: Jurassic Park (1997)

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By Ben Dower

When Jurassic Park hit screens in 1993, the film not only wowed audiences with its realistic looking dinosaurs, but also made a fortune at the box office. Almost immediately it seemed that a second Jurassic Park film would be inevitable, but there was a big challenge facing the writers: what could possibly happen next?

Author Michael Crichton was initially not too keen on writing a sequel for Jurassic Park, but he eventually decided to write a follow-up, titled The Lost World after the Sir Arthur Conan Doyle book of the same name. Crichton’s The Lost World novel was loosely adapted to film by director Steven Spielberg and screenwriter David Koepp, and was released to movie theatres in May 1997 as The Lost World: Jurassic Park. The film was an instant hit upon its release, smashing several box office records.

The Lost World: Jurassic Park is a mixed bag. The core of the film’s story is that two rival teams – the hunters and the gatherers – have arrived on Isla Sorna. The hunters come from InGen and they want to trap some of the dinosaurs to take them to a new Jurassic Park facility in San Diego. This would allow InGen to recoup some of the money lost by the failure of Jurassic Park on Isla Nublar. The gatherers, meanwhile, were sent by John Hammond in an attempt to thwart the hunters and allow the dinosaurs to live free on Isla Sorna. The gatherer team is meant to be our heroes and consists of Dr. Ian Malcolm, Dr. Sarah Harding, Nick Van Owen, and Eddie Carr. Kelly Curtis, Ian’s young daughter, also joins the gatherers after she stows away on the ship to Isla Sorna to be with her dad.

Jeff Goldblum returns to the role of Dr. Ian Malcolm for a second time. The character was very well- liked by audiences in the first film, with his funny but insightful philosophical musings helping to carry the key messages of the film. Crichton wisely resurrected the character for his The Lost World novel, and Spielberg and Koepp had the good sense to follow Crichton’s lead and keep Malcolm as the protagonist of their film adaptation.

Another standout from the cast is Pete Postlethwaite who plays Roland Tembo, an experienced hunter who has been hired by InGen to run their expedition to the island. The reason Tembo took the job is because he wants the chance to hunt the ultimate predator: Tyrannosaurus rex. Postlethwaite is fantastic in the role, and the character of Roland Tembo has become a fan favourite, even getting a new toy in 2022 as part of Mattel’s Jurassic World Legacy Collection line.

The Lost World: Jurassic Park also manages to keep the dinosaurs on screen looking just as realistic as they did in Jurassic Park, even with more screentime and more reliance on CGI. The film is bolder than the first in how it pushes the envelop of CGI effects, with the scene where the InGen hunters trap several herbivorous dinosaurs on a game trail being a highlight. Several new dinosaur species appear in the film: Compsognathus, Stegosaurus, Mamenchisaurus, and Pachycephalosaurus, as well as the pterosaur Pteranodon.

There are a few little homages to earlier dinosaur-related media sprinkled throughout The Lost World: Jurassic Park. The ship used to transport the adult Tyrannosaurus rex to San Diego is named the S.S. Venture, a call-back to the ship in King Kong (1933). The T. rex rampage through San Diego is an homage to the film The Lost World (1925), which has a sequence where a Brontosaurus escapes captivity and rampages through London. There is also a little wink at the Godzilla films in that scene as well.

Unfortunately, The Lost World: Jurassic Park also makes quite a few misteps, particularly with its handling of its characters. Perhaps the most poorly handled character by the script is Dr. Sarah Harding, who is portrayed by Julianne Moore. Though Dr. Harding is supposed to be very knowledgeable about research methods and animal behaviour, she foolishly interacts with a baby Stegosaurus. Dr. Harding also brings an injured baby Tyrannosaurus back to base camp, leading its parents to attack the trailer and kill Eddie Carr. After surviving that attack, she walks through the jungle with the infant’s blood on her clothes, which results in the adult Tyrannosaurus pursuing her and killing several members of InGen’s team.

Also problematic is the script’s handling of Nick Van Owen, played by Vince Vaughn. Though he is supposed to be one of the “good guys”, Nick Van Owen sabatoges InGen’s camp, allowing the dinosaurs they’ve captured to go free, and takes the injured young Tyrannosaurus rex to Dr. Harding. This ultimately leads to both groups being stranded on Isla Sorna with no way to contact rescue teams. Later in the film, he deliberately removes bullets from Roland Tembo’s gun so that he won’t be able to hunt a Tyrannosaurus. When the group is attacked by the two adult Tyrannosaurus, Tembo is forced to use a tranquilizer, which leads to the Tyrannosaurus being taken to San Diego and several lives lost on the U.S. mainland.

Then there is Kelly Curtis, Ian Malcolm’s daughter, played by Vanessa Lee Chester. As there really is no place for a child in this particular story, Kelly’s inclusion feels forced into the plot to provide a point of identification for younger viewers and to raise the stakes in a few scenes. Unlike Lex and Tim in the previous film, Kelly seems to get carried around by the plot as opposed to being an active participant in key plot points.

Lastly, there is the final act of the film, which features the adult male Tyrannosaurus loose in San Diego. Though a fun idea on paper, on screen it is a little silly and filled with ridiculous sight gags. It doesn’t really fit the darker tone of the island-set portion of the film.

In the end, The Lost World: Jurassic Park is a worthy attempt at a sequel to one of the greatest movies ever made. It was never going to be able to live up to its predecessor, but considering how self- contained and outright spectacular the previous film was, it’s a testament to Spielberg’s skill as a filmmaker that The Lost World: Jurassic Park turned out so well and managed to recapture some of the magic from Jurassic Park.

8.10 Retelling a WEST SIDE STORY + Christmas Wishes!

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It’s always a challenge to bring a classic story back to life. However, with his new version of WEST SIDE STORY, Steven Spielberg seems to have a hit on his hands with critics. But why is this film still relevant today? This week, Wade Bearden (@WadeHance) returns to talk about updating a legend, and hope for the ‘bad guys’. PLUS, Wade and Steve offer up their ‘Christmas Wishes’ for 2022!

You can watch the episode on YouTube and stream on podomatic, Alexa (via Stitcher), Spotify, iHeart Radio or Amazon Podcasts! Or, you can downoad the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

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West Side Story: Spielberg’s Update Dances into our Hearts

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When I heard that a new West Side Story was due to premiere, I was sceptical. Did I really want to see a remake of one of my favourite movies? When I heard that Steven Spielberg was directing, and that he had wanted to make this movie for over 30 years, I was intrigued. When 91 year old Stephen Sondheim died in late November, seeing this new iteration became a necessity. When I heard that a new role had been written into the movie for 89-year-old Rita Moreno, seeing the movie became a happy obligation.

I was not disappointed. 

Sixty years after the original movie walked away with 10 Oscars, Spielberg’s new version soars to even greater heights – singing and dancing its way into our hearts. All of the songs are there; sung by new magnificent voices. The star-crossed lovers still pine for each other. The Jets and the Sharks still battle for their piece of the American dream. Everything beloved from 1961 is intact. 

What West Side Story 2021 adds is context, depth and a magnificent New York city backdrop. The movie starts in black and slowly expands to light, showing derelict, crumbling buildings. “Dump”. “Slum Clearance”. It’s the late 50’s and what has been the fought over home turf to both the Irish and Polish Jets and the Puerto Rican Sharks (now played by Latinx actors) will become the beautiful Lincoln Centre and the home for the gentrified rich. It’s an old story that continues to the present. The gang boys and girls aren’t just fighting each other; they’re fighting for a future that has no place for them. 

If we ever wondered why Tony no longer fights with the Jets, now we know. He has spent time in prison for almost killing a boy and he does not want to become that hate-filled person again.  The neighbourhood store owner, Doc is now replaced by his widow, Valentina. She is played by the magnificent Rita Moreno. She is the one steady adult in the film – linking both gangs and acting as their conscience. And she can still sing. I thought I would get through this movie without a tear but her rendition of a WSS favourite song (always sung by another character) defeated me. Is it possible for an actor to get the same Oscar for another role in the same movie – 60 years later?

West Side Story is known for its amazing songs and fabulous dancing. This movie does not disappoint. Here, however, New York City and its streets and stores are highlighted, along with the colourful explosion of the dancers’ movements and costumes. 

All the actors should also be congratulated. Tony (Ansel Elgort) and Maria (newcomer Rachel Zegler) are perfect for the Romeo and Juliet leads. They’re both beautiful, have wonderful singing voices, and are able to bring both gravitas and lightness to the roles. Canadian David Alvarez is tough and focused as Bernardo (Shark leader) and is also a wondrous singer and dancer. My favourite character, surprisingly, was Riff (Mike Faist), the leader of the Jets. Faist brings a quirky vulnerability to the role – the kid with no family, whose future can only be assured if he enacts the toughness that will eventually kill him.

So head to the theatre this week. West Side Story 2021 will not disappoint you. If you don’t know the story, it will be a joyous, heart-rending experience. And if you do know the story, it will be a joyous, heart-rending experience. 

West Side Story opens in theatres on Friday, December 10th, 2021.  

Animaniacs: Long May Insaney-ness Reign

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It’s not supposed to work this way.

Beloved shows are cancelled all the time and, occasionally, get revived by other networks or sheer fan support. However, because of the passage of time, aging cast or simply just changing cultural trends, these shows are rarely as good as the original incarnation.

So, how is Animaniacs managing to meet the massive expectations of the original series and (maybe) even surpassing it?

First incarnated from 1993-1998, Animaniacs is the animated adventures of the Warner siblings, Wakko, Yakko and Dot, who live in the Warner Bros. Water Tower on the WB Studio lot in Burbank, California. In a collection of short cartoons, the Warners move through time, argue with network executives, battle monsters and try to get their email working properly. At the same time, the show also features characters like Pinky and the Brain, two laboratory mice committed every night to ‘trying to take over the world’ and others who are involved in their own silliness along the way.

Confused? That’s okay. They promise in the theme song that they’re ‘totally insane-y’.

Produced by Steven Spielberg, Animaniacs has always banked on the ridiculous in order to set it apart from other animated fare. For a series that disappeared almost 25 years ago, it’s remarkable that it remains as frenetic as ever. Sharply written and furiously executed, the show has maintained a sort of ‘timeless’ quality to its storytelling. Taking the most basic of premises (‘trapped in a movie studio’ and ‘taking over the world’), Animaniacs remains somewhat disjointed from any particular place and time. As a result, they have maintained the ability to adapt to the moment, blowing up the cultural icons of the time with satire and silliness. With ‘Chuck Jones-esque’ vitality, this remains a series that wants to bombard the viewer with as much humour as possible, making it easily re-watchable as well. 

Interestingly though, while it’s not unusual for animated fare to include pop culture references that skew towards adults, Animaniacs almost feels like it has taken the opposite approach. Leaning into allusions to Donald Trump, Oliver Twist and even 90s sitcoms such as Cheers and Fresh Prince of Bel Air, sometimes the show feels like its writing for parents as its primary audience. That’s not to say that it’s not appropriate for children. This is very much a children’s product with its eye-popping animation and physical humour. (In fact, both my 6- and 11-year old boys find the show hilarious.) Even so, the series’ emphasis on meta humour (they remind you that they did ‘do meta first’) and political references still seem more targeted to parents as opposed to little ones.

What’s always been interesting about Animaniacs is the role of the Warners themselves. As the show’s central characters, they have always exemplified pure, borderline anarchistic joy and fun. (I mean, the whole premise of the show is that they refuse to remain trapped in a water tower…) Shattering rules in the name of youthful playfulness, Yakko, Wakko and Dot exemplify innocence… in their own way. However, there’s a question that arises during season two that I’d never considered before.

Are they heroes?

Held up against the hilarious maniacism of Pinky and the Brain, the Warners seem to be the ‘good’ characters of the series. Even so, the Warners are not types to proclaim any sort of pious values or virtue that they’re ‘fighting for’. Ultimately, their primary concern seems to be… well… fun. However, in the Oliver Twist parody, there’s a moment this season where they are asked to join Fagan as pickpockets and Wakko refuses. (‘Stealing is bad,’ he proclaims.) Although, when Fagan ‘reframes’ it—they’re actually redistributing wealth—they’re willing to participate. To them, that makes sense… and the activity still feels innocent. They may not be intentionally trying to make the world a better place… but neither do they want to hurt anyone either.

In this way, maybe ‘heroes’ is too specific a term for the Warners. With childlike inexperience and enthusiasm, they’re trying to learn about the world and why the things that we value are important to us in the first place. Their ‘insany-ness’ stems from an innate desire to explore and bust down the social barriers that we’ve constructed around ourselves. To the Warners, spoiled children, Roman empires and spam folders are all just opportunities to ask questions and push boundaries. 

When others are asking ‘why?’, they’re simply going to ask ‘why not?’

The truth is that, regardless as to the Warners’ true motivations, Animaniacs continues to sparkle with an innate and infectious joy. Despite their age, the adventures of the Warners and misadventures of Pinky and the Brain show no signs of rust. With that in mind, although the series technically was rebooted with the intent to create two seasons, these chaotic cartoons still definitely have a lot of life left in them should they (hopefully) decide to extend the contract. Even if it’s not ‘supposed to work this way’, it’s definitely still working.

So, long may insaney-ness reign.

To hear our interview with co-executive producer Gabe Swarr, and voice icons Tress MacNeille and Jess Harnell, click here (YouTube) or here (audio)

To hear our interview with voice icons Rob Paulson and Maurice LaMarche, click here (YouTube) or here (audio)

Animaniacs returns on Hulu on Friday, November 5th, 2021.

4.15 Finding your Oasis in READY PLAYER ONE

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Set in the year 2045, the global population seeks solace in the OASIS, a digital haven with limitless possibilities. However, when the creator dies, he challenges the world to unlock an Easter egg hidden somewhere in the game, giving them total control over the system itself.

Filled with pop culture references and stunning visual effects, READY PLAYER ONE heralds a return to the adventure genre for Steven Spielberg. Though one could argue the film is primarily a nostalgia bonanza, Spielberg imbeds his story with his own Easter eggs of truth. This week, Steve welcomes Jeff Baker and Benjamin Porter to discuss about the nature of identity in the digital world and the relationship between Creator and his creation.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

4.15 Ready Player One

Thanks Jeff and Benjamin for joining us!

READY PLAYER ONE Giveaway!

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Are you ready?

In the year 2045, much of Earth’s population centers have become slum-like cities due to overpopulation, pollution, corruption, and climate change. To escape their desolation, people engage in the virtual reality world of the OASIS (Ontologically Anthropocentric Sensory Immersive Simulation), where they can engage in numerous activities for work, education, and entertainment.

Wade Watts (Sheridan) is a teenage Gunter (short for “egg hunter”) from Columbus, Ohio who frequents the OASIS and attempts to win “Anorak’s Quest”, a game created by the deceased creator of the OASIS, James Halliday (Rylance), by finding the Easter Eggs. The winner is to be granted full ownership of the OASIS, among other things.

To enter, simply like or share our post on Facebook and answer the following question in the comment section: Tell us your favourite Steven Spielberg film and why!

The winner will receive a copy of the original book for Ready, Player One, written by Ernest Cline.

For a bonus entry, like or retweet this post on Twitter.

All entries must be completed by 11:59pm on Thursday, March 29th, 2018.

 

Ready, Player One will be unleashed in theatres on March 29th, 2018

4.09 Digging for Truth in THE POST

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In his latest film, THE POST, Steven Spielberg and his all-star cast aren’t satisfied with merely retelling a chapter in American history. They’re on a search for truth and justice in our culture today. This week, Steve welcomes back Kevin McLenithan (Seeing and Believing) to dig into THE POST while also offering their Top 3 Movie Moments of 2017.

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

A special thanks to Kevin for joining us!

4.09 The Post

For those of you in Canada who are interested, you can donate to ScreenFish by clicking the link below and simply selecting ‘ScreenFish’ from the ‘Apply Your Donation…’ area. 

https://www.canadahelps.org/en/charities/connect-city/