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* CelebrityCameo: Spielberg has a brief cameo at the end of ''Film/TheBluesBrothers'', where he plays the Assessor of Cook County, Illinois (i.e. the guy they actually need to pay the $5000 bucks to save the orphanage to). He also appears AsHimself in ''Film/AustinPowersInGoldmember''.
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* CreatorCameo: Spielberg has a brief cameo at the end of ''Film/TheBluesBrothers'', where he plays the Assessor of Cook County, Illinois (i.e. the guy they actually need to pay the $5000 bucks to save the orphanage to). He also has a small appearance in his 1972 MadeForTVMovie ''Something Evil'' (a rare non-Creator/{{Universal}} TV effort) and in ''Film/{{Gremlins}}'' as the guy driving the trolley while Billy's dad is on the phone.
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* CreatorCameo: Spielberg has a brief cameo at the end of ''Film/TheBluesBrothers'', where he plays the Assessor of Cook County, Illinois (i.e. the guy they actually need to pay the $5000 bucks to save the orphanage to). He also has a small appearance in his 1972 MadeForTVMovie ''Something Evil'' (a rare non-Creator/{{Universal}} TV effort) effort), is heard as the coast guard in ''Film/{{Jaws}}'' before Quint breaks the radio, walks alongside George Lucas in an airport in ''Film/IndianaJonesAndTheTempleOfDoom'', and watches a CNN broadcast in ''Film/TheLostWorldJurassicPark''. For a case where he produced, in ''Film/{{Gremlins}}'' as Spielberg is the guy driving the trolley while Billy's dad is on the phone.
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* SpecialEffects: Spielberg's films are known for their technical achievements in the fields of special effects, most notably in ''Film/ETTheExtraTerrestrial'' and ''Film/JurassicPark''. However, they always complemented the stories and the characters instead of the other way around.
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* SpecialEffects: Spielberg's films are known for their technical achievements in the fields of special effects, [[StarringSpecialEffects most notably in in]] ''Film/ETTheExtraTerrestrial'' and ''Film/JurassicPark''. However, they always complemented the stories and the characters instead of the other way around.
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* DevelopmentHell: Spielberg was announced to helm a ''ComicBook/{{Blackhawk}}'' film in early 2018 with Creator/DavidKoepp at the script. Outside of a late 2020 update on Instagram about the script by Koepp in which he indicated to still be working on it, nothing has seemingly moved forward on the project.
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* DevelopmentHell: Spielberg was announced to helm a ''ComicBook/{{Blackhawk}}'' film in early 2018 with Creator/DavidKoepp at the script. Outside of a late 2020 update on Instagram about the script by Koepp in which he indicated to still be working on it, nothing has seemingly moved forward on the project.project, likely a result of Warner Bros' well-documented executive leadership problems during that period.
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* BlackAndWhiteMorality: Unsurprisingly, any of his films that deal with [[ThoseWackyNazis the Third Reich]] fall squarely into this.
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* BlackAndWhiteMorality: Unsurprisingly, any of his films that deal with [[ThoseWackyNazis the Third Reich]] fall squarely into this. Even ''Film/SchindlersList'', which makes a point of showing the title character as a deeply flawed and imperfect man, makes clear that his vices are not in the same league as those of the Nazi characters.
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* ''IndianaJonesAndTheDialOfDestiny'' (2023) (Originally set to direct but later stepped down and was replaced by Creator/JamesMangold, still attached as producer)
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* ''IndianaJonesAndTheDialOfDestiny'' ''Film/IndianaJonesAndTheDialOfDestiny'' (2023) (Originally set to direct but later stepped down and was replaced by Creator/JamesMangold, still attached as producer)
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* ''Indiana Jones 5'' (2023) (Originally set to direct but later stepped down and was replaced by Creator/JamesMangold, still attached as producer)
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* ''Indiana Jones 5'' ''IndianaJonesAndTheDialOfDestiny'' (2023) (Originally set to direct but later stepped down and was replaced by Creator/JamesMangold, still attached as producer)
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Trope the work, not the person.
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!!Tropes associated with Spielberg and his filmography.
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!!Tropes associated with Spielberg and his Spielberg's filmography.
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* TheAce: His ample skillset, filming speed and overall command of the medium are legendary, even among his peers.
--> '''Creator/MartinScorsese''': "Steven is able to walk into a room, look for a second or two, say 'here, here, move that here, give me a 25 mm here, put it this way, face forward, move it, silhouette here, two takes, three takes, that's enough, thanks, let's move on.' It was amazing."
--> '''Creator/MartinScorsese''': "Steven is able to walk into a room, look for a second or two, say 'here, here, move that here, give me a 25 mm here, put it this way, face forward, move it, silhouette here, two takes, three takes, that's enough, thanks, let's move on.' It was amazing."
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* AlliterativeName: '''S'''teven '''S'''pielberg.
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* BerserkButton: He gets extremely testy when asked about the rumors that he directed ''Film/{{Poltergeist|1982}}'', as he thinks it dishonors Creator/TobeHooper, especially after his passing.
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* CentralTheme: Spielberg's films touch upon several recurring themes, depending on the film. These films include coming across the extraordinary, faith, and tension of parent-child relationships (especially difficult father-son relationships)
** His family-friendly films often deal with themes of growing up, family, and feelings of wonder and the power of imagination.
** His family-friendly films often deal with themes of growing up, family, and feelings of wonder and the power of imagination.
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* CentralTheme: Spielberg's films touch upon several recurring themes, depending on the film. These films include coming across the extraordinary, faith, and tension of parent-child relationships (especially difficult father-son relationships)
**relationships) His family-friendly films often deal with themes of growing up, family, and feelings of wonder and the power of imagination.
**
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* FriendToAllChildren: His films often use child actors and he's known for being exceptionally kind and paternal to them, with some staying in touch with him years later.
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* MilitarySuperHero: In Spielberg's work soldiers are always cast as brave ordinary people one should look up to, especially if they are American. They won't be perfect people, but they always live up to their duty and do ''what is right''. There's also a strong theme in his more recent work of joining the army ''for the greater good''. In ''Film/{{War of the Worlds|2005}}'' and ''Film/{{Lincoln}}'' a youngster wants to join the army, in both occasions because he wants to do his patriotic duty and help his country out. Needless to say, in both cases the boys survive.
* TheOner: Unlike many other directors, Spielberg's oners are on the short end of the scale (averaging about 1-1:30), and he rarely calls attention to them. Many of them are more "invisible coverage" of a scene, essentially moving around actors, the camera and action to create "separate shots" but without breaking up the action. Some great examples includes Marcus and Indy's dialogue at Indy's home in ''Film/RaidersOfTheLostArk'' (1:36) or the dialogue above the ferry in ''Film/{{Jaws}}'' (1:43).
** His motion capture films like ''WesternAnimation/{{The Adventures of Tintin|2011}}'' and ''Film/{{Ready Player One|2018}}'' all have extensive Oners, however all due in part by what seems to be Spielberg's realization that the limits of a real life cinematographer are missing in the world of animation.
* OddFriendship:
** With Creator/StanleyKubrick. They were polar opposites in terms of style and tone. However, they deeply respected each others works. They would often collaborate. When Kubrick thought he couldn't deliver the film ''Film/AIArtificialIntelligence'' the way he pictured it, he gave Spielberg his blessing to direct it after his death. Spielberg made sure the film was true to Kubrick's style as possible.
** And as a very young man, he hit it off with Creator/JoanCrawford after directing her in an episode of ''Series/NightGallery''. They stayed friends until Crawford's death.
* TheOner: Unlike many other directors, Spielberg's oners are on the short end of the scale (averaging about 1-1:30), and he rarely calls attention to them. Many of them are more "invisible coverage" of a scene, essentially moving around actors, the camera and action to create "separate shots" but without breaking up the action. Some great examples includes Marcus and Indy's dialogue at Indy's home in ''Film/RaidersOfTheLostArk'' (1:36) or the dialogue above the ferry in ''Film/{{Jaws}}'' (1:43).
** His motion capture films like ''WesternAnimation/{{The Adventures of Tintin|2011}}'' and ''Film/{{Ready Player One|2018}}'' all have extensive Oners, however all due in part by what seems to be Spielberg's realization that the limits of a real life cinematographer are missing in the world of animation.
* OddFriendship:
** With Creator/StanleyKubrick. They were polar opposites in terms of style and tone. However, they deeply respected each others works. They would often collaborate. When Kubrick thought he couldn't deliver the film ''Film/AIArtificialIntelligence'' the way he pictured it, he gave Spielberg his blessing to direct it after his death. Spielberg made sure the film was true to Kubrick's style as possible.
** And as a very young man, he hit it off with Creator/JoanCrawford after directing her in an episode of ''Series/NightGallery''. They stayed friends until Crawford's death.
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* MilitarySuperHero: In Spielberg's work work, soldiers are always cast as brave ordinary people one should look up to, especially if they are American. They won't be perfect people, but they always live up to their duty and do ''what is right''. There's also a strong theme in his more recent work of joining the army ''for the greater good''. In ''Film/{{War of the Worlds|2005}}'' and ''Film/{{Lincoln}}'' a youngster wants to join the army, in both occasions because he wants to do his patriotic duty and help his country out. Needless to say, in both cases the boys survive.
* TheOner: Unlike many other directors, Spielberg's oners are on the short end of the scale (averaging about 1-1:30), and he rarely calls attention to them. Many of them are more "invisible coverage" of a scene, essentially moving around actors, the camera and action to create "separate shots" but without breaking up the action. Some great examples includes Marcus and Indy's dialogue at Indy's home in ''Film/RaidersOfTheLostArk'' (1:36) or the dialogue above the ferry in ''Film/{{Jaws}}''(1:43).
**(1:43). His motion capture films like ''WesternAnimation/{{The Adventures of Tintin|2011}}'' and ''Film/{{Ready Player One|2018}}'' all have extensive Oners, however all due in part by what seems to be Spielberg's realization that the limits of a real life cinematographer are missing in the world of animation.
* OddFriendship:
** With Creator/StanleyKubrick. They were polar opposites in terms of style and tone. However, they deeply respected each others works. They would often collaborate. When Kubrick thought he couldn't deliver the film ''Film/AIArtificialIntelligence'' the way he pictured it, he gave Spielberg his blessing to direct it after his death. Spielberg made sure the film was true to Kubrick's style as possible.
** And as a very young man, he hit it off with Creator/JoanCrawford after directing her in an episode of ''Series/NightGallery''. They stayed friends until Crawford's death.animation.
* TheOner: Unlike many other directors, Spielberg's oners are on the short end of the scale (averaging about 1-1:30), and he rarely calls attention to them. Many of them are more "invisible coverage" of a scene, essentially moving around actors, the camera and action to create "separate shots" but without breaking up the action. Some great examples includes Marcus and Indy's dialogue at Indy's home in ''Film/RaidersOfTheLostArk'' (1:36) or the dialogue above the ferry in ''Film/{{Jaws}}''
**
* OddFriendship:
** With Creator/StanleyKubrick. They were polar opposites in terms of style and tone. However, they deeply respected each others works. They would often collaborate. When Kubrick thought he couldn't deliver the film ''Film/AIArtificialIntelligence'' the way he pictured it, he gave Spielberg his blessing to direct it after his death. Spielberg made sure the film was true to Kubrick's style as possible.
** And as a very young man, he hit it off with Creator/JoanCrawford after directing her in an episode of ''Series/NightGallery''. They stayed friends until Crawford's death.
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* PatrioticFervor: Spielberg is quite proud of his home country and likes to show it in his work, especially when American soldiers fight Nazis. However he is also critical of blind patriotism as in ''[[Film/NineteenFortyOne 1941]]'', racism (''Film/{{Amistad}}'', ''Literature/TheColorPurple'', ''Film/{{Lincoln}}''), the RedScare (''Film/BridgeOfSpies''), anti-immigrant attitudes (''Film/TheTerminal''), and also corruption (''Film/ThePost'').
** He also took a small jab at imperialism in ''War of the Worlds'' with a character commenting "occupations never work", referencing the U.S. invasion of Iraq in 2003.
** He also took a small jab at imperialism in ''War of the Worlds'' with a character commenting "occupations never work", referencing the U.S. invasion of Iraq in 2003.
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* PatrioticFervor: Spielberg is quite proud of his home country and likes to show it in his work, especially when American soldiers fight Nazis. However he is also critical of blind patriotism as in ''[[Film/NineteenFortyOne 1941]]'', racism (''Film/{{Amistad}}'', ''Literature/TheColorPurple'', ''Film/{{Lincoln}}''), the RedScare (''Film/BridgeOfSpies''), anti-immigrant attitudes (''Film/TheTerminal''), and also corruption (''Film/ThePost'').
**(''Film/ThePost''). He also took a small jab at imperialism in ''War of the Worlds'' with a character commenting "occupations never work", referencing the U.S. invasion of Iraq in 2003.
**
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* TomHanksSyndrome: Since ''Film/SchindlersList'' most of the films he has directed have been serious (often historical) dramas, rather than action-adventure blockbusters and he has been criticized for this. Arguably a case of perception vs. reality, as he's still directed several action and adventure films since then, some of which are fairly comedic in tone; he's also since made an outright family film (''Film/TheBFG'') and his first musical (''Film/{{West Side Story|2021}}'').
** Of course, Spielberg would point out that most of his early films were on the serious side: ''Film/{{Duel}}'' was a dark bleak thriller with a relentless humourless tone and a not especially likable hero, ''Film/TheSugarlandExpress'' was a bleak UsefulNotes/NewHollywood take about a working-class OutlawCouple with a sad ending, while ''Film/CloseEncountersOfTheThirdKind'' was far more critical of nuclear family values than ''E.T.''. From the very beginning, he had always been a film-maker [[GenreBusting who could shift between genres]] and not be tied to doing "one" kind of film.
** Likewise in TheEighties, he made ''Film/TheColorPurple'' and ''Film/EmpireOfTheSun'' and in TheNoughties, he made genre films like ''Film/AIArtificialIntelligence, ''Film/MinorityReport'', ''Film/{{War of the Worlds|2005}}'' with only ''Film/{{Munich}}'' qualifying as a "serious film". Incidentally, two of the films he made with Creator/TomHanks, (''Film/CatchMeIfYouCan, Film/TheTerminal'') ''are'' comedies.
** Of course, Spielberg would point out that most of his early films were on the serious side: ''Film/{{Duel}}'' was a dark bleak thriller with a relentless humourless tone and a not especially likable hero, ''Film/TheSugarlandExpress'' was a bleak UsefulNotes/NewHollywood take about a working-class OutlawCouple with a sad ending, while ''Film/CloseEncountersOfTheThirdKind'' was far more critical of nuclear family values than ''E.T.''. From the very beginning, he had always been a film-maker [[GenreBusting who could shift between genres]] and not be tied to doing "one" kind of film.
** Likewise in TheEighties, he made ''Film/TheColorPurple'' and ''Film/EmpireOfTheSun'' and in TheNoughties, he made genre films like ''Film/AIArtificialIntelligence, ''Film/MinorityReport'', ''Film/{{War of the Worlds|2005}}'' with only ''Film/{{Munich}}'' qualifying as a "serious film". Incidentally, two of the films he made with Creator/TomHanks, (''Film/CatchMeIfYouCan, Film/TheTerminal'') ''are'' comedies.
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*** He was approached to direct ''Film/ThePhantomMenace'', but he declined, and later apparently offered to direct ''Film/AttackOfTheClones'', but Lucas turned him down. Spielberg later helped direct a few parts of ''Film/RevengeOfTheSith''.
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I think the proper homonym in "Special Effects" is "complemented."
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* SpecialEffects: Spielberg's films are known for their technical achievements in the fields of special effects, most notably in ''Film/ETTheExtraTerrestrial'' and ''Film/JurassicPark''. However, they always complimented the stories and the characters instead of the other way around.
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* SpecialEffects: Spielberg's films are known for their technical achievements in the fields of special effects, most notably in ''Film/ETTheExtraTerrestrial'' and ''Film/JurassicPark''. However, they always complimented complemented the stories and the characters instead of the other way around.
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* AdolfHitlarious: After applying it in some level on films like ''[[Film/NineteenFortyOne1979 1941]]'' and two of the first three ''Indiana Jones'' movies, he put on record that he swore off ever using this Trope again after filming ''Film/SchindlersList'', thinking that portraying the Nazis as anything else but pure unmockable evil was just in poor taste. This is one of the various RealLifeWritesThePlot elements that forced ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' to use Communist Russia as the BigBad.
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* AdolfHitlarious: After applying it in some level on films like ''[[Film/NineteenFortyOne1979 1941]]'' and two of the first three ''Indiana Jones'' movies, he put on record that he swore off ever using this Trope trope again after filming ''Film/SchindlersList'', thinking that portraying the Nazis as anything else but pure unmockable evil was just in poor taste. This is one of the various RealLifeWritesThePlot elements that forced ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' to use Communist Russia Russian Communists as the BigBad.villains.
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* ''Film/AustinPowersInGoldmember'' (cameo appearance AsHimself)
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* ''Indiana Jones 5'' (2023) (Originally set to direct but later stepped down)
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* ''Indiana Jones 5'' (2023) (Originally set to direct but later stepped down)down and was replaced by Creator/JamesMangold, still attached as producer)
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** His motion capture films like ''Film/{{The Adventures of Tintin|2011}}'' and ''Film/{{Ready Player One|2018}}'' all have extensive Oners, however all due in part by what seems to be Spielberg's realization that the limits of a real life cinematographer are missing in the world of animation.
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** His motion capture films like ''Film/{{The ''WesternAnimation/{{The Adventures of Tintin|2011}}'' and ''Film/{{Ready Player One|2018}}'' all have extensive Oners, however all due in part by what seems to be Spielberg's realization that the limits of a real life cinematographer are missing in the world of animation.
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** Editor Michael Kahn has edited all of Spielberg's films since their first collaboration on ''Film/CloseEncountersOfTheKind'' (with the exception of ''Film/ETTheExtraterrestrial'').
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** Editor Michael Kahn has edited all of Spielberg's films since their first collaboration on ''Film/CloseEncountersOfTheKind'' ''Film/CloseEncountersOfTheThirdKind'' (with the exception of ''Film/ETTheExtraterrestrial'').
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* ThematicSeries: Spielberg considers ''Film/{{Duel}}'', ''Film/{{Jaws}}'' and ''Film/JurassicPark'' to be one, and has also connected ''Film/ETTheExtraterrestrial'', ''Film/CloseEncountersOfTheThirdKind'' and ''Film/{{War of the Worlds|2005}}'' (friendly aliens, enigmatic aliens, hostile aliens). Other possible thematic series include ''Film/AIArtificialIntelligence'', ''Film/MinorityReport'' and ''Film/{{Ready Player One|2018}}'' (dystopian scifi exploring the evolution of technology) and ''Literature/EmpireOfTheSun'', ''Film/SchindlersList'' and ''Film/SavingPrivateRyan'' (films exploring the personal impact of World War II on the survivors).
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* ThematicSeries: Spielberg considers ''Film/{{Duel}}'', ''Film/{{Jaws}}'' and ''Film/JurassicPark'' to be one, and has also connected ''Film/ETTheExtraterrestrial'', ''Film/CloseEncountersOfTheThirdKind'' and ''Film/{{War of the Worlds|2005}}'' (friendly aliens, enigmatic aliens, hostile aliens). Other possible thematic series include ''Film/AIArtificialIntelligence'', ''Film/MinorityReport'' and ''Film/{{Ready Player One|2018}}'' (dystopian scifi exploring the evolution of technology) and ''Literature/EmpireOfTheSun'', ''Film/EmpireOfTheSun'', ''Film/SchindlersList'' and ''Film/SavingPrivateRyan'' (films exploring the personal impact of World War II on the survivors).
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** He spent several months working on ''Film/RainMan'' before commitments to ''Film/IndianaJonesAndTheLastCrusade'' forced him to drop out. He gave all his notes to the film's eventual director, Creator/BarryLevinson, and would eventually work with the film's lead actors, Creator/DustinHoffman and Creator/TomCruise, on ''Film/{{Hook}}'' and ''Film/MinorityReport'' and ''[[Film/WarOfTheWorlds2005 War Of the Worlds]]'', respectively.
** Even before he directed ''[[Film/WestSideStory2021 West Side Story]]'', he had long desired to direct a musical. He once noted that ''[[NineteenFortyOne1979 1941]]'' was planned as one but changed during its chaotic production. Later he was attached to a project about opera divas but that was shelved. The closest he came was the opening of ''Film/IndianaJonesAndTheTempleOfDoom''.
** Even before he directed ''[[Film/WestSideStory2021 West Side Story]]'', he had long desired to direct a musical. He once noted that ''[[NineteenFortyOne1979 1941]]'' was planned as one but changed during its chaotic production. Later he was attached to a project about opera divas but that was shelved. The closest he came was the opening of ''Film/IndianaJonesAndTheTempleOfDoom''.
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** He spent several months working on ''Film/RainMan'' before commitments to ''Film/IndianaJonesAndTheLastCrusade'' forced him to drop out. He gave all his notes to the film's eventual director, Creator/BarryLevinson, and would eventually work with the film's lead actors, Creator/DustinHoffman and Creator/TomCruise, on ''Film/{{Hook}}'' and ''Film/MinorityReport'' and ''[[Film/WarOfTheWorlds2005 War ''Film/{{War Of the Worlds]]'', Worlds|2005}}'', respectively.
** Even before he directed''[[Film/WestSideStory2021 West ''Film/{{West Side Story]]'', Story|2021}}'', he had long desired to direct a musical. He once noted that ''[[NineteenFortyOne1979 ''[[Film/NineteenFortyOne1979 1941]]'' was planned as one but changed during its chaotic production. Later he was attached to a project about opera divas but that was shelved. The closest he came was the opening of ''Film/IndianaJonesAndTheTempleOfDoom''.
** Even before he directed
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* AdolfHitlarious: After applying it in some level on films like ''Film/NineteenFortyOne1979'' and two of the first three ''Indiana Jones'' movies, he put on record that he swore off ever using this Trope again after filming ''Film/SchindlersList'', thinking that portraying the Nazis as anything else but pure unmockable evil was just in poor taste. This is one of the various RealLifeWritesThePlot elements that forced ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' to use Communist Russia as the BigBad.
to:
* AdolfHitlarious: After applying it in some level on films like ''Film/NineteenFortyOne1979'' ''[[Film/NineteenFortyOne1979 1941]]'' and two of the first three ''Indiana Jones'' movies, he put on record that he swore off ever using this Trope again after filming ''Film/SchindlersList'', thinking that portraying the Nazis as anything else but pure unmockable evil was just in poor taste. This is one of the various RealLifeWritesThePlot elements that forced ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' to use Communist Russia as the BigBad.
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* BerserkButton: He gets extremely testy when asked about the rumors that he directed ''Poltergeist,'' as he thinks it dishonors Tobe Hooper, especially after his passing.
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* BerserkButton: He gets extremely testy when asked about the rumors that he directed ''Poltergeist,'' ''Film/{{Poltergeist|1982}}'', as he thinks it dishonors Tobe Hooper, Creator/TobeHooper, especially after his passing.
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** One of the very rare straight examples (combined with NakedPeopleAreFunny) is actually a parody of a FanDisservice scene in an earlier Spielberg film. In the opening scene of ''Film/{{Jaws}}'', a young woman goes skinny-dipping on a beach in the early hours of the morning, only to be eaten by a shark. In the opening scene of ''Film/NineteenFortyOne1979'', a young woman goes skinny-dipping on a beach in the early hours of the morning [[spoiler: only to be rather surprised by a surfacing Japanese submarine; unlike in the previous scene, she escapes after suffering nothing more than a NakedFreakOut.]] Bonus points because it was the same actress in both scenes.
* TheFilmOfTheBook: ''{{Film/Jaws}}'', ''Literature/TheColorPurple'', ''Film/EmpireOfTheSun'', ''{{Film/Hook}}'', ''Film/JurassicPark'' and ''Film/TheLostWorldJurassicPark'', ''Film/SchindlersList'', ''Film/CatchMeIfYouCan'', ''Film/WarOfTheWorlds'', ''{{Film/Munich}}'', ''Film/WarHorse'', ''{{Film/Lincoln}}'', ''Film/TheBFG'', and ''Film/ReadyPlayerOne''.
* TheFilmOfTheBook: ''{{Film/Jaws}}'', ''Literature/TheColorPurple'', ''Film/EmpireOfTheSun'', ''{{Film/Hook}}'', ''Film/JurassicPark'' and ''Film/TheLostWorldJurassicPark'', ''Film/SchindlersList'', ''Film/CatchMeIfYouCan'', ''Film/WarOfTheWorlds'', ''{{Film/Munich}}'', ''Film/WarHorse'', ''{{Film/Lincoln}}'', ''Film/TheBFG'', and ''Film/ReadyPlayerOne''.
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** One of the very rare straight examples (combined with NakedPeopleAreFunny) is actually a parody of a FanDisservice scene in an earlier Spielberg film. In the opening scene of ''Film/{{Jaws}}'', a young woman goes skinny-dipping on a beach in the early hours of the morning, only to be eaten by a shark. In the opening scene of ''Film/NineteenFortyOne1979'', ''[[Film/NineteenFortyOne1979 1941]]'', a young woman goes skinny-dipping on a beach in the early hours of the morning [[spoiler: only to be rather surprised by a surfacing Japanese submarine; unlike in the previous scene, she escapes after suffering nothing more than a NakedFreakOut.]] Bonus points because it was the same actress in both scenes.
* TheFilmOfTheBook: ''{{Film/Jaws}}'', ''Literature/TheColorPurple'', ''Film/EmpireOfTheSun'', ''{{Film/Hook}}'', ''Film/JurassicPark'' and ''Film/TheLostWorldJurassicPark'', ''Film/SchindlersList'', ''Film/CatchMeIfYouCan'',''Film/WarOfTheWorlds'', ''Film/{{War of the Worlds|2005}}'', ''{{Film/Munich}}'', ''Film/WarHorse'', ''{{Film/Lincoln}}'', ''Film/TheBFG'', and ''Film/ReadyPlayerOne''.
* TheFilmOfTheBook: ''{{Film/Jaws}}'', ''Literature/TheColorPurple'', ''Film/EmpireOfTheSun'', ''{{Film/Hook}}'', ''Film/JurassicPark'' and ''Film/TheLostWorldJurassicPark'', ''Film/SchindlersList'', ''Film/CatchMeIfYouCan'',
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* GenreRoulette: While often associated with science fiction (''Film/CloseEncountersOfTheThirdKind'', ''Film/ETTheExtraTerrestrial'', ''Film/AIArtificialIntelligence'', ''Film/MinorityReport'', ''Film/ReadyPlayerOne''), he's done monster movies (''Film/{{Jaws}}'', ''Film/JurassicPark''), action adventure (''Franchise/IndianaJones''), comedy (''Film/NineteenFortyOne1979''), romance (''Film/{{Always}}'', ''Film/TheTerminal''), war epics (''Film/EmpireOfTheSun'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Literature/WarHorse''), crime dramas (''Film/TheSugarlandExpress''), disaster movies (''Film/WarOfTheWorlds''), fantasy (''Film/{{Hook}}'', ''Film/TheBFG''), {{biopic}}s (''Film/CatchMeIfYouCan'', ''Film/{{Lincoln}}''), {{period piece}}s and historical dramas (''Film/TheColorPurple'', ''Film/{{Amistad}}''), political thrillers (''Film/{{Munich}}'', ''Film/BridgeOfSpies'', ''Film/ThePost''), suspense thrillers (''Film/{{Duel}}''), comic book movies (''WesternAnimation/{{The Adventures of Tintin|2011}}''), even a musical (''Film/WestSideStory2021'').
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* GenreRoulette: While often associated with science fiction (''Film/CloseEncountersOfTheThirdKind'', ''Film/ETTheExtraTerrestrial'', ''Film/AIArtificialIntelligence'', ''Film/MinorityReport'', ''Film/ReadyPlayerOne''), he's done monster movies (''Film/{{Jaws}}'', ''Film/JurassicPark''), action adventure (''Franchise/IndianaJones''), comedy (''Film/NineteenFortyOne1979''), (''[[Film/NineteenFortyOne1979 1941]]''), romance (''Film/{{Always}}'', ''Film/TheTerminal''), war epics (''Film/EmpireOfTheSun'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Literature/WarHorse''), crime dramas (''Film/TheSugarlandExpress''), disaster movies (''Film/WarOfTheWorlds''), fantasy (''Film/{{Hook}}'', ''Film/TheBFG''), {{biopic}}s (''Film/CatchMeIfYouCan'', ''Film/{{Lincoln}}''), {{period piece}}s and historical dramas (''Film/TheColorPurple'', ''Film/{{Amistad}}''), political thrillers (''Film/{{Munich}}'', ''Film/BridgeOfSpies'', ''Film/ThePost''), suspense thrillers (''Film/{{Duel}}''), comic book movies (''WesternAnimation/{{The Adventures of Tintin|2011}}''), even a musical (''Film/WestSideStory2021'').(''Film/{{West Side Story|2021}}'').
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* GrowingUpSucks: Many of Spielberg's films thrive on innocent, naïve and escapist adventure stories, often shown from a child's point of view. Half of the time they are boyish fantasies. This has lead many movie critics to compare him to a cinematic ''Peter Pan'' character, whose films never touch upon real adult issues. Conincidentally Spielberg even made a Peter Pan film, ''Film/{{Hook}}''! The criticism has died out a little from the moment Spielberg started making more adult films such as ''Film/TheColorPurple'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Film/{{Munich}}'' and ''Film/{{Lincoln}}'', but even in these serious films you'll find lighthearted and comedic moments. Creator/TerryGilliam once (quite unfairly) criticized Spielberg for always wanted to leave his audience with ''happy endings and answers to everything.'' A few of Spielberg's films. most notably ''Film/{{Hook}}'' and ''Film/ReadyPlayerOne2018'', set out about averting this trope, emphasizing the joys of adulthood and engaging with the world and forming relationships in a more mature way.
* HeroicSacrifice: When good people die in Spielberg's films, they often sacrifice themselves to a greater cause. See Eddie Carr in ''Film/TheLostWorldJurassicPark'', Miller in ''Film/SavingPrivateRyan''
* HeroicSacrifice: When good people die in Spielberg's films, they often sacrifice themselves to a greater cause. See Eddie Carr in ''Film/TheLostWorldJurassicPark'', Miller in ''Film/SavingPrivateRyan''
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* GrowingUpSucks: Many of Spielberg's films thrive on innocent, naïve and escapist adventure stories, often shown from a child's point of view. Half of the time they are boyish fantasies. This has lead many movie critics to compare him to a cinematic ''Peter Pan'' ''Literature/PeterPan'' character, whose films never touch upon real adult issues. Conincidentally Spielberg even made a Peter Pan film, ''Film/{{Hook}}''! The criticism has died out a little from the moment Spielberg started making more adult films such as ''Film/TheColorPurple'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Film/{{Munich}}'' and ''Film/{{Lincoln}}'', but even in these serious films you'll find lighthearted and comedic moments. Creator/TerryGilliam once (quite unfairly) criticized Spielberg for always wanted to leave his audience with ''happy endings and answers to everything.'' A few of Spielberg's films. most notably ''Film/{{Hook}}'' and ''Film/ReadyPlayerOne2018'', ''Film/{{Ready Player One|2018}}'', set out about averting this trope, emphasizing the joys of adulthood and engaging with the world and forming relationships in a more mature way.
* HeroicSacrifice: When good people die in Spielberg's films, they often sacrifice themselves to a greater cause. See Eddie Carr in''Film/TheLostWorldJurassicPark'', ''Film/TheLostWorldJurassicPark'' and Miller in ''Film/SavingPrivateRyan''''Film/SavingPrivateRyan''.
* HeroicSacrifice: When good people die in Spielberg's films, they often sacrifice themselves to a greater cause. See Eddie Carr in
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* MilitarySuperHero: In Spielberg's work soldiers are always cast as brave ordinary people one should look up to, especially if they are American. They won't be perfect people, but they always live up to their duty and do ''what is right''. There's also a strong theme in his more recent work of joining the army ''for the greater good''. In ''Film/WarOfTheWorlds'' and ''Film/{{Lincoln}}'' a youngster wants to join the army, in both occasions because he wants to do his patriotic duty and help his country out. Needless to say, in both cases the boys survive.
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* MilitarySuperHero: In Spielberg's work soldiers are always cast as brave ordinary people one should look up to, especially if they are American. They won't be perfect people, but they always live up to their duty and do ''what is right''. There's also a strong theme in his more recent work of joining the army ''for the greater good''. In ''Film/WarOfTheWorlds'' ''Film/{{War of the Worlds|2005}}'' and ''Film/{{Lincoln}}'' a youngster wants to join the army, in both occasions because he wants to do his patriotic duty and help his country out. Needless to say, in both cases the boys survive.
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** His motion capture films like ''Tintin'' and ''Ready Player One'' all have extensive Oners, however all due in part by what seems to be Spielberg's realization that the limits of a real life cinematographer are missing in the world of animation.
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** His motion capture films like ''Tintin'' ''Film/{{The Adventures of Tintin|2011}}'' and ''Ready ''Film/{{Ready Player One'' One|2018}}'' all have extensive Oners, however all due in part by what seems to be Spielberg's realization that the limits of a real life cinematographer are missing in the world of animation.
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* PatrioticFervor: Spielberg is quite proud of his home country and likes to show it in his work, especially when American soldiers fight Nazis. However he is also critical of blind patriotism as in ''1941'', racism (''Amistad, The Color Purple, Lincoln''), the RedScare (''Bridge of Spies''), anti-immigrant attitudes (''The Terminal''), and also corruption (''The Post'').
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* PatrioticFervor: Spielberg is quite proud of his home country and likes to show it in his work, especially when American soldiers fight Nazis. However he is also critical of blind patriotism as in ''1941'', ''[[Film/NineteenFortyOne 1941]]'', racism (''Amistad, The Color Purple, Lincoln''), (''Film/{{Amistad}}'', ''Literature/TheColorPurple'', ''Film/{{Lincoln}}''), the RedScare (''Bridge of Spies''), (''Film/BridgeOfSpies''), anti-immigrant attitudes (''The Terminal''), (''Film/TheTerminal''), and also corruption (''The Post'').(''Film/ThePost'').
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** Music/JohnWilliams has composed the scores to all but four of his movies: ''Film/TheColorPurple'' was scored by Music/QuincyJones, ''Film/BridgeOfSpies'' which was scored by Music/ThomasNewman, ''Film/ReadyPlayerOne'' which was scored by Music/AlanSilvestri, and ''Theatre/WestSideStory'', for which Music/DavidNewman rearranged Music/LeonardBernstein's original score.
** Cinematographer Janusz Kaminski and Production Designer Rick Carter have worked on nearly all of Spielberg's movies since the 90s.
** Cinematographer Janusz Kaminski and Production Designer Rick Carter have worked on nearly all of Spielberg's movies since the 90s.
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** Music/JohnWilliams has composed the scores to all but four of his movies: ''Film/TheColorPurple'' was scored by Music/QuincyJones, ''Film/BridgeOfSpies'' which was scored by Music/ThomasNewman, ''Film/ReadyPlayerOne'' which was scored by Music/AlanSilvestri, and ''Theatre/WestSideStory'', ''Film/{{West Side Story|2021}}'', for which Music/DavidNewman rearranged Music/LeonardBernstein's original score.
** Cinematographer Janusz Kaminski andProduction Designer production designer Rick Carter have worked on nearly all of Spielberg's movies since the 90s.
** Cinematographer Janusz Kaminski and
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** Editor Michael Kahn has edited all of Spielberg's films since their first collaboration on ''Close Encounters'' (with the exception of ''E.T.'').
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** Editor Michael Kahn has edited all of Spielberg's films since their first collaboration on ''Close Encounters'' ''Film/CloseEncountersOfTheKind'' (with the exception of ''E.T.'').''Film/ETTheExtraterrestrial'').
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* SummerBlockbuster: He invented and popularized the genre after ''Film/{{Jaws}}'' became the best-selling film of all time in 1975. He broke his own record twice with the release of ''Film/ETTheExtraTerrestrial'' (1982) and ''Film/{{Jurassic Park}}'' (1993).
* SpecialEffects: Spielberg's films are known for their technical achievements in the fields of special effects, most notably in ''E.T.'' and ''Jurassic Park''. However, they always complimented the stories and the characters instead of the other way around.
* SpecialEffects: Spielberg's films are known for their technical achievements in the fields of special effects, most notably in ''E.T.'' and ''Jurassic Park''. However, they always complimented the stories and the characters instead of the other way around.
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* SummerBlockbuster: He invented and popularized the genre after ''Film/{{Jaws}}'' became the best-selling film of all time in 1975. He broke his own record twice with the release of ''Film/ETTheExtraTerrestrial'' (1982) and ''Film/{{Jurassic Park}}'' ''Film/JurassicPark'' (1993).
* SpecialEffects: Spielberg's films are known for their technical achievements in the fields of special effects, most notably in''E.T.'' ''Film/ETTheExtraTerrestrial'' and ''Jurassic Park''.''Film/JurassicPark''. However, they always complimented the stories and the characters instead of the other way around.
* SpecialEffects: Spielberg's films are known for their technical achievements in the fields of special effects, most notably in
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* ThematicSeries: Spielberg considers ''Duel'', ''Jaws'' and ''Jurassic Park'' to be one, and has also connected ''E.T.'', ''Close Encounters'' and ''War of the Worlds'' (friendly aliens, enigmatic aliens, hostile aliens). Other possible thematic series include ''A.I.'', ''Minority Report'' and ''Ready Player One'' (dystopian scifi exploring the evolution of technology) and ''Empire of the Sun'', ''Schindler's List'' and ''Saving Private Ryan'' (films exploring the personal impact of World War II on the survivors).
* TomHanksSyndrome: Since ''Film/SchindlersList'' most of the films he has directed have been serious (often historical) dramas, rather than action-adventure blockbusters and he has been criticized for this. Arguably a case of perception vs. reality, as he's still directed several action and adventure films since then, some of which are fairly comedic in tone; he's also since made an outright family film (''The BFG'') and his first musical (''West Side Story'').
* TomHanksSyndrome: Since ''Film/SchindlersList'' most of the films he has directed have been serious (often historical) dramas, rather than action-adventure blockbusters and he has been criticized for this. Arguably a case of perception vs. reality, as he's still directed several action and adventure films since then, some of which are fairly comedic in tone; he's also since made an outright family film (''The BFG'') and his first musical (''West Side Story'').
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* ThematicSeries: Spielberg considers ''Duel'', ''Jaws'' ''Film/{{Duel}}'', ''Film/{{Jaws}}'' and ''Jurassic Park'' ''Film/JurassicPark'' to be one, and has also connected ''E.T.'', ''Close Encounters'' ''Film/ETTheExtraterrestrial'', ''Film/CloseEncountersOfTheThirdKind'' and ''War ''Film/{{War of the Worlds'' Worlds|2005}}'' (friendly aliens, enigmatic aliens, hostile aliens). Other possible thematic series include ''A.I.'', ''Minority Report'' ''Film/AIArtificialIntelligence'', ''Film/MinorityReport'' and ''Ready ''Film/{{Ready Player One'' One|2018}}'' (dystopian scifi exploring the evolution of technology) and ''Empire of the Sun'', ''Schindler's List'' ''Literature/EmpireOfTheSun'', ''Film/SchindlersList'' and ''Saving Private Ryan'' ''Film/SavingPrivateRyan'' (films exploring the personal impact of World War II on the survivors).
* TomHanksSyndrome: Since ''Film/SchindlersList'' most of the films he has directed have been serious (often historical) dramas, rather than action-adventure blockbusters and he has been criticized for this. Arguably a case of perception vs. reality, as he's still directed several action and adventure films since then, some of which are fairly comedic in tone; he's also since made an outright family film(''The BFG'') (''Film/TheBFG'') and his first musical (''West (''Film/{{West Side Story'').Story|2021}}'').
* TomHanksSyndrome: Since ''Film/SchindlersList'' most of the films he has directed have been serious (often historical) dramas, rather than action-adventure blockbusters and he has been criticized for this. Arguably a case of perception vs. reality, as he's still directed several action and adventure films since then, some of which are fairly comedic in tone; he's also since made an outright family film
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** Likewise in TheEighties, he made ''Film/TheColorPurple'' and ''Film/EmpireOfTheSun'' and in TheNoughties, he made genre films like ''Film/AIArtificialIntelligence, Film/MinorityReport, War of the Worlds'' with only ''Munich'' qualifying as a "serious film". Incidentally, two of the films he made with Tom Hanks, (''Film/CatchMeIfYouCan, Film/TheTerminal'') ''are'' comedies.
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** Likewise in TheEighties, he made ''Film/TheColorPurple'' and ''Film/EmpireOfTheSun'' and in TheNoughties, he made genre films like ''Film/AIArtificialIntelligence, Film/MinorityReport, War ''Film/MinorityReport'', ''Film/{{War of the Worlds'' Worlds|2005}}'' with only ''Munich'' ''Film/{{Munich}}'' qualifying as a "serious film". Incidentally, two of the films he made with Tom Hanks, Creator/TomHanks, (''Film/CatchMeIfYouCan, Film/TheTerminal'') ''are'' comedies.
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** ''Film/{{Interstellar}}'' was written for him to direct. Many have noted that a certain plot twist near the end would fit far better into a Spielberg film than a Christopher Nolan one.
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** ''Film/{{Interstellar}}'' was written for him to direct. Many have noted that a certain plot twist near the end would fit far better into a Spielberg film than a Christopher Nolan Creator/ChristopherNolan one.
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** Even before he directed ''[[Film/WestSideStory2021 West Side Story]]'', he had long desired to direct a musical. He once noted that ''[=1941=]'' was planned as one but changed during its chaotic production. Later he was attached to a project about opera divas but that was shelved. The closest he came was the opening of ''Film/IndianaJonesAndTheTempleOfDoom''.
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** Even before he directed ''[[Film/WestSideStory2021 West Side Story]]'', he had long desired to direct a musical. He once noted that ''[=1941=]'' ''[[NineteenFortyOne1979 1941]]'' was planned as one but changed during its chaotic production. Later he was attached to a project about opera divas but that was shelved. The closest he came was the opening of ''Film/IndianaJonesAndTheTempleOfDoom''.
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* AssociatedComposer: All those {{leitmotif}}s you currently have stuck in your head are composed by Music/JohnWilliams, who has scored all but four of Spielberg's films since ''Film/TheSugarlandExpress''. (The sole exceptions are ''Film/TheColorPurple'', which they mutually agreed would be better served with music by Music/QuincyJones; ''Film/BridgeOfSpies'', due to a health issue; ''Ready Player One'', due to time constraints[[labelnote:*]]post-production for Spielberg's other film ''Film/ThePost'', as well as ''Film/TheLastJedi'', were both occurring concurrently with that of ''Ready Player One''[[/labelnote]]; and ''West Side Story'', due to the film having a built-in soundtrack from the [[Theatre/WestSideStory original musical]].)
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* AssociatedComposer: All those {{leitmotif}}s you currently have stuck in your head are composed by Music/JohnWilliams, who has scored all but four of Spielberg's films since ''Film/TheSugarlandExpress''. (The sole exceptions are ''Film/TheColorPurple'', which they mutually agreed would be better served with music by Music/QuincyJones; ''Film/BridgeOfSpies'', due to a health issue; ''Ready ''Film/{{Ready Player One'', One|2018}}'', due to time constraints[[labelnote:*]]post-production for Spielberg's other film ''Film/ThePost'', as well as ''Film/TheLastJedi'', were both occurring concurrently with that of ''Ready Player One''[[/labelnote]]; and ''West ''Film/{{West Side Story'', Story|2021}}'', due to the film having a built-in soundtrack from the [[Theatre/WestSideStory original musical]].)
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* FriendToAllChildren: His films often use child actors and he's known for being exceptionally kind and paternal to them, with some staying in touch with him years later.
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* ''Film/{{1941|1979}}'' (1979)
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* ''Film/{{1941|1979}}'' ''[[Film/NineteenFortyOne1979 1941]]'' (1979)
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* ''Film/{{NineteenFortyOne|1979}}'' (1979)
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* ''Film/{{NineteenFortyOne|1979}}'' ''Film/{{1941|1979}}'' (1979)
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* ''Film/NineteenFortyOne1979''
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* ''Film/NineteenFortyOne1979''''Film/{{NineteenFortyOne|1979}}'' (1979)
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* GenreRoulette: While often associated with science fiction (''Film/CloseEncountersOfTheThirdKind'', ''Film/ETTheExtraTerrestrial'', ''Film/AIArtificialIntelligence'', ''Film/MinorityReport'', ''Film/ReadyPlayerOne''), he's done monster movies (''Film/{{Jaws}}'', ''Film/JurassicPark''), action adventure (''Franchise/IndianaJones''), comedy (''Film/NineteenFortyOne1979''), romance (''Film/{{Always}}'', ''Film/TheTerminal''), war epics (''Film/EmpireOfTheSun'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Literature/WarHorse''), crime dramas (''Film/TheSugarlandExpress''), disaster movies (''Film/WarOfTheWorlds''), fantasy (''Film/{{Hook}}'', ''Film/TheBFG''), {{biopic}}s (''Film/CatchMeIfYouCan'', ''Film/{{Lincoln}}''), {{period piece}}s and historical dramas (''Film/TheColorPurple'', ''Film/{{Amistad}}''), political thrillers (''Film/{{Munich}}'', ''Film/BridgeOfSpies'', ''Film/ThePost''), suspense thrillers (''Film/{{Duel}}''), comic book movies (''WesternAnimation/{{The Adventures of Tintin|2011}}''), even a musical (''Theatre/WestSideStory'').
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* GenreRoulette: While often associated with science fiction (''Film/CloseEncountersOfTheThirdKind'', ''Film/ETTheExtraTerrestrial'', ''Film/AIArtificialIntelligence'', ''Film/MinorityReport'', ''Film/ReadyPlayerOne''), he's done monster movies (''Film/{{Jaws}}'', ''Film/JurassicPark''), action adventure (''Franchise/IndianaJones''), comedy (''Film/NineteenFortyOne1979''), romance (''Film/{{Always}}'', ''Film/TheTerminal''), war epics (''Film/EmpireOfTheSun'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Literature/WarHorse''), crime dramas (''Film/TheSugarlandExpress''), disaster movies (''Film/WarOfTheWorlds''), fantasy (''Film/{{Hook}}'', ''Film/TheBFG''), {{biopic}}s (''Film/CatchMeIfYouCan'', ''Film/{{Lincoln}}''), {{period piece}}s and historical dramas (''Film/TheColorPurple'', ''Film/{{Amistad}}''), political thrillers (''Film/{{Munich}}'', ''Film/BridgeOfSpies'', ''Film/ThePost''), suspense thrillers (''Film/{{Duel}}''), comic book movies (''WesternAnimation/{{The Adventures of Tintin|2011}}''), even a musical (''Theatre/WestSideStory'').(''Film/WestSideStory2021'').
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* DevelopmentHell: Spielberg was announced to helm a ''ComicBook/{{Blackhawk}}'' film in early 2018 with Creator/TonyKushner at the script. Outside of a late 2020 update on Instagram about the script by Kushner in which he indicated to still be working on it, nothing has seemingly moved forward on the project.
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* DevelopmentHell: Spielberg was announced to helm a ''ComicBook/{{Blackhawk}}'' film in early 2018 with Creator/TonyKushner Creator/DavidKoepp at the script. Outside of a late 2020 update on Instagram about the script by Kushner Koepp in which he indicated to still be working on it, nothing has seemingly moved forward on the project.
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* ''ComicBook/{{Blackhawk}}'' (TBA)
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* DevelopmentHell: Spielberg was announced to helm a ''ComicBook/{{Blackhawk}}'' film in early 2018 with Creator/TonyKushner at the script. Outside of a late 2020 update on Instagram about the script by Kushner in which he indicated to still be working on it, nothing has seemingly moved forward on the project.
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* ''Film/NineteenFortyOne'' (1979)
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* ''Film/NineteenFortyOne'' (1979)''Film/NineteenFortyOne1979''
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* AdolfHitlarious: After applying it in some level on films like ''Film/NineteenFortyOne'' and two of the first three ''Indiana Jones'' movies, he put on record that he swore off ever using this Trope again after filming ''Film/SchindlersList'', thinking that portraying the Nazis as anything else but pure unmockable evil was just in poor taste. This is one of the various RealLifeWritesThePlot elements that forced ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' to use Communist Russia as the BigBad.
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* AdolfHitlarious: After applying it in some level on films like ''Film/NineteenFortyOne'' ''Film/NineteenFortyOne1979'' and two of the first three ''Indiana Jones'' movies, he put on record that he swore off ever using this Trope again after filming ''Film/SchindlersList'', thinking that portraying the Nazis as anything else but pure unmockable evil was just in poor taste. This is one of the various RealLifeWritesThePlot elements that forced ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' to use Communist Russia as the BigBad.
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** One of the very rare straight examples (combined with NakedPeopleAreFunny) is actually a parody of a FanDisservice scene in an earlier Spielberg film. In the opening scene of ''Film/{{Jaws}}'', a young woman goes skinny-dipping on a beach in the early hours of the morning, only to be eaten by a shark. In the opening scene of ''Film/NineteenFortyOne'', a young woman goes skinny-dipping on a beach in the early hours of the morning [[spoiler: only to be rather surprised by a surfacing Japanese submarine; unlike in the previous scene, she escapes after suffering nothing more than a NakedFreakOut.]] Bonus points because it was the same actress in both scenes.
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** One of the very rare straight examples (combined with NakedPeopleAreFunny) is actually a parody of a FanDisservice scene in an earlier Spielberg film. In the opening scene of ''Film/{{Jaws}}'', a young woman goes skinny-dipping on a beach in the early hours of the morning, only to be eaten by a shark. In the opening scene of ''Film/NineteenFortyOne'', ''Film/NineteenFortyOne1979'', a young woman goes skinny-dipping on a beach in the early hours of the morning [[spoiler: only to be rather surprised by a surfacing Japanese submarine; unlike in the previous scene, she escapes after suffering nothing more than a NakedFreakOut.]] Bonus points because it was the same actress in both scenes.
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* GenreRoulette: While often associated with science fiction (''Film/CloseEncountersOfTheThirdKind'', ''Film/ETTheExtraTerrestrial'', ''Film/AIArtificialIntelligence'', ''Film/MinorityReport'', ''Film/ReadyPlayerOne''), he's done monster movies (''Film/{{Jaws}}'', ''Film/JurassicPark''), action adventure (''Franchise/IndianaJones''), comedy (''Film/NineteenFortyOne''), romance (''Film/{{Always}}'', ''Film/TheTerminal''), war epics (''Film/EmpireOfTheSun'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Literature/WarHorse''), crime dramas (''Film/TheSugarlandExpress''), disaster movies (''Film/WarOfTheWorlds''), fantasy (''Film/{{Hook}}'', ''Film/TheBFG''), {{biopic}}s (''Film/CatchMeIfYouCan'', ''Film/{{Lincoln}}''), {{period piece}}s and historical dramas (''Film/TheColorPurple'', ''Film/{{Amistad}}''), political thrillers (''Film/{{Munich}}'', ''Film/BridgeOfSpies'', ''Film/ThePost''), suspense thrillers (''Film/{{Duel}}''), comic book movies (''WesternAnimation/{{The Adventures of Tintin|2011}}''), even a musical (''Theatre/WestSideStory'').
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* GenreRoulette: While often associated with science fiction (''Film/CloseEncountersOfTheThirdKind'', ''Film/ETTheExtraTerrestrial'', ''Film/AIArtificialIntelligence'', ''Film/MinorityReport'', ''Film/ReadyPlayerOne''), he's done monster movies (''Film/{{Jaws}}'', ''Film/JurassicPark''), action adventure (''Franchise/IndianaJones''), comedy (''Film/NineteenFortyOne''), (''Film/NineteenFortyOne1979''), romance (''Film/{{Always}}'', ''Film/TheTerminal''), war epics (''Film/EmpireOfTheSun'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Literature/WarHorse''), crime dramas (''Film/TheSugarlandExpress''), disaster movies (''Film/WarOfTheWorlds''), fantasy (''Film/{{Hook}}'', ''Film/TheBFG''), {{biopic}}s (''Film/CatchMeIfYouCan'', ''Film/{{Lincoln}}''), {{period piece}}s and historical dramas (''Film/TheColorPurple'', ''Film/{{Amistad}}''), political thrillers (''Film/{{Munich}}'', ''Film/BridgeOfSpies'', ''Film/ThePost''), suspense thrillers (''Film/{{Duel}}''), comic book movies (''WesternAnimation/{{The Adventures of Tintin|2011}}''), even a musical (''Theatre/WestSideStory'').
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* ''The Fabelmans'' (2022)
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* ''The Fabelmans'' ''Film/TheFabelmans'' (2022)
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Tastes Like Diabetes is now a disambig between Sweetness Aversion and Sickingly Sweet. Zero Context Example entries and entries that do not fit anywhere else will be deleted.
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* TearJerker[[invoked]]: Despite being a special effects innovator Spielberg is known for his emotional depth in his stories and has a great sense of CharacterDevelopment, though sometimes he is accused of taking it to [[TastesLikeDiabetes over-the-top]] levels.
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* TearJerker[[invoked]]: Despite being a special effects innovator Spielberg is known for his emotional depth in his stories and has a great sense of CharacterDevelopment, though sometimes he is accused of taking it to [[TastesLikeDiabetes over-the-top]] over-the-top levels.
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* ''Something Evil'' (1972 MadeForTVMovie)
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* ''Something Evil'' ''Film/SomethingEvil'' (1972 MadeForTVMovie)
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* GrowingUpSucks: Many of Spielberg's films thrive on innocent, naïve and escapist adventure stories, often shown from a child's point of view. Half of the time they are boyish fantasies. This has lead many movie critics to compare him to a cinematic ''Peter Pan'' character, whose films never touch upon real adult issues. Conincidentally Spielberg even made a Peter Pan film, ''Film/{{Hook}}''! The criticism has died out a little from the moment Spielberg started making more adult films such as ''Film/TheColorPurple'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Film/{{Munich}}'' and ''Film/{{Lincoln}}'', but even in these serious films you'll find lighthearted and comedic moments. Creator/TerryGilliam once (quite unfairly) criticized Spielberg for always wanted to leave his audience with ''happy endings and answers to everything.'' A few of Spielberg's films. most notably ''Film/Hook'' and ''Film/ReadyPlayerOne2018'', set out about averting this trope, emphasizing the joys of adulthood and engaging with the world and forming relationships in a more mature way.
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* GrowingUpSucks: Many of Spielberg's films thrive on innocent, naïve and escapist adventure stories, often shown from a child's point of view. Half of the time they are boyish fantasies. This has lead many movie critics to compare him to a cinematic ''Peter Pan'' character, whose films never touch upon real adult issues. Conincidentally Spielberg even made a Peter Pan film, ''Film/{{Hook}}''! The criticism has died out a little from the moment Spielberg started making more adult films such as ''Film/TheColorPurple'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Film/{{Munich}}'' and ''Film/{{Lincoln}}'', but even in these serious films you'll find lighthearted and comedic moments. Creator/TerryGilliam once (quite unfairly) criticized Spielberg for always wanted to leave his audience with ''happy endings and answers to everything.'' A few of Spielberg's films. most notably ''Film/Hook'' ''Film/{{Hook}}'' and ''Film/ReadyPlayerOne2018'', set out about averting this trope, emphasizing the joys of adulthood and engaging with the world and forming relationships in a more mature way.
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* BerserkButton: He gets extremely testy when asked about the rumors that he directed ''Poltergeist,'' as he thinks it dishonors Tobe Hooper, especially after his passing.
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Spielberg was born on December 18, 1946 in Cincinnati, Ohio to Leah (née Posner, later Adler), and Arnold Spielberg. After playing with his father's 8mm camera as a kid, he enrolled in a community college with a small film program and used those connections to get work directing TV episodes, including the pilot episode of ''Series/NightGallery''.[[note]]That ''Night Gallery'' episode turned out to be quite a Hollywood passing of the torch, since the star was none other than Creator/JoanCrawford.[[/note]]. He also worked as an assistant at Creator/{{Universal}}'s editorial department, and snooped around on film sets to learn more about the trade [[note]]Creator/CharltonHeston recounted in his autobiography ''In the Arena'' how Spielberg tried several times to infiltrate the set of 1965's ''Film/{{The War Lord|1965}}'', only to be ejected. Director Franklin J. Schaffner finally gave in and let him watch what was being filmed[[/note]]. In 1971 he got his big break, a low-budget, cult hit TV film ''Film/{{Duel}}''. ''Duel'' was an expertly made, taut thriller that was such a hit on TV that he was allowed to shoot more scenes to give it a cinema release in Europe.
It got him a lot of attention, enough to be brought on as the director for the film that would launch him into the stratosphere: ''Film/{{Jaws}}'', the [[UrExample first]] summer blockbuster (setting the record for highest grossing movie just before ''[[Film/ANewHope Star Wars]]'' came out, pushing the record up even further).
It got him a lot of attention, enough to be brought on as the director for the film that would launch him into the stratosphere: ''Film/{{Jaws}}'', the [[UrExample first]] summer blockbuster (setting the record for highest grossing movie just before ''[[Film/ANewHope Star Wars]]'' came out, pushing the record up even further).
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Spielberg was born on December 18, 1946 in Cincinnati, Ohio to Leah (née Posner, later Adler), and Arnold Spielberg. After playing with his father's 8mm camera as a kid, he enrolled in a community college with a small film program and used those connections to get work directing TV episodes, including the pilot episode of ''Series/NightGallery''.[[note]]That ''Night Gallery'' episode turned out to be quite a Hollywood passing of the torch, since the star was none other than Creator/JoanCrawford.[[/note]]. [[/note]] He also worked as an assistant at Creator/{{Universal}}'s editorial department, and snooped around on film sets to learn more about the trade [[note]]Creator/CharltonHeston recounted in his autobiography ''In the Arena'' how Spielberg tried several times to infiltrate the set of 1965's ''Film/{{The War Lord|1965}}'', only to be ejected. Director Franklin J. Schaffner finally gave in and let him watch what was being filmed[[/note]]. In 1971 he got his big break, a break directing the low-budget, cult hit TV film ''Film/{{Duel}}''. ''Duel'' was an expertly made, taut thriller that was such a hit on TV that he was allowed to shoot more scenes to give it a cinema release in Europe.
It got him a lot of attention, enough for him to be brought on as the director for the film that would launch him into the stratosphere: ''Film/{{Jaws}}'', the [[UrExample first]] summer blockbuster (setting the record for highest grossing movie just before ''[[Film/ANewHope Star Wars]]'' came out, pushing the record up even further).
It got him a lot of attention, enough for him to be brought on as the director for the film that would launch him into the stratosphere: ''Film/{{Jaws}}'', the [[UrExample first]] summer blockbuster (setting the record for highest grossing movie just before ''[[Film/ANewHope Star Wars]]'' came out, pushing the record up even further).
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* GenreRoulette: While often associated with science fiction (''Film/CloseEncountersOfTheThirdKind'', ''Film/ETTheExtraTerrestrial'', ''Film/AIArtificialIntelligence'', ''Film/MinorityReport'', ''Film/ReadyPlayerOne''), he's done monster movies (''Film/{{Jaws}}'', ''Film/JurassicPark''), action adventure (''Franchise/IndianaJones''), comedy (''Film/NineteenFortyOne''), romance (''Film/{{Always}}'', ''Film/TheTerminal''), war epics (''Film/EmpireOfTheSun'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Literature/WarHorse''), disaster movies (''Film/WarOfTheWorlds''), fantasy (''Film/{{Hook}}'', ''Film/TheBFG''), {{biopic}}s (''Film/CatchMeIfYouCan'', ''Film/{{Lincoln}}''), {{period piece}}s and historical dramas (''Film/TheColorPurple'', ''Film/{{Amistad}}''), political thrillers (''Film/{{Munich}}'', ''Film/BridgeOfSpies'', ''Film/ThePost''), comic book movies (''WesternAnimation/{{The Adventures of Tintin|2011}}''), even a musical (''Theatre/WestSideStory'').
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* GenreRoulette: While often associated with science fiction (''Film/CloseEncountersOfTheThirdKind'', ''Film/ETTheExtraTerrestrial'', ''Film/AIArtificialIntelligence'', ''Film/MinorityReport'', ''Film/ReadyPlayerOne''), he's done monster movies (''Film/{{Jaws}}'', ''Film/JurassicPark''), action adventure (''Franchise/IndianaJones''), comedy (''Film/NineteenFortyOne''), romance (''Film/{{Always}}'', ''Film/TheTerminal''), war epics (''Film/EmpireOfTheSun'', ''Film/SchindlersList'', ''Film/SavingPrivateRyan'', ''Literature/WarHorse''), crime dramas (''Film/TheSugarlandExpress''), disaster movies (''Film/WarOfTheWorlds''), fantasy (''Film/{{Hook}}'', ''Film/TheBFG''), {{biopic}}s (''Film/CatchMeIfYouCan'', ''Film/{{Lincoln}}''), {{period piece}}s and historical dramas (''Film/TheColorPurple'', ''Film/{{Amistad}}''), political thrillers (''Film/{{Munich}}'', ''Film/BridgeOfSpies'', ''Film/ThePost''), suspense thrillers (''Film/{{Duel}}''), comic book movies (''WesternAnimation/{{The Adventures of Tintin|2011}}''), even a musical (''Theatre/WestSideStory'').
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* AdolfHitlarious: After applying it in some level on films like ''Film/NineteenFortyOne'' and the first three ''Indiana Jones'' movies, he put on record that he swore off ever using this Trope again after filming ''Film/SchindlersList'', thinking that portraying the Nazis as anything else but pure unmockable evil was just in poor taste. This is one of the various RealLifeWritesThePlot elements that forced ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' to use Communist Russia as the BigBad.
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* AdolfHitlarious: After applying it in some level on films like ''Film/NineteenFortyOne'' and two of the first three ''Indiana Jones'' movies, he put on record that he swore off ever using this Trope again after filming ''Film/SchindlersList'', thinking that portraying the Nazis as anything else but pure unmockable evil was just in poor taste. This is one of the various RealLifeWritesThePlot elements that forced ''Film/IndianaJonesAndTheKingdomOfTheCrystalSkull'' to use Communist Russia as the BigBad.
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After playing with his father's 8mm camera as a kid, he enrolled in a community college with a small film program and used those connections to get work directing TV episodes, including the pilot episode of ''Series/NightGallery''.[[note]]That ''Night Gallery'' episode turned out to be quite a Hollywood passing of the torch, since the star was none other than Creator/JoanCrawford.[[/note]]. He also worked as an assistant at Creator/{{Universal}}'s editorial department, and snooped around on film sets to learn more about the trade [[note]]Creator/CharltonHeston recounted in his autobiography ''In the Arena'' how Spielberg tried several times to infiltrate the set of 1965's ''Film/{{The War Lord|1965}}'', only to be ejected. Director Franklin J. Schaffner finally gave in and let him watch what was being filmed[[/note]]. In 1971 he got his big break, a low-budget, cult hit TV film ''Film/{{Duel}}''. ''Duel'' was an expertly made, taut thriller that was such a hit on TV that he was allowed to shoot more scenes to give it a cinema release in Europe.
to:
Spielberg was born on December 18, 1946 in Cincinnati, Ohio to Leah (née Posner, later Adler), and Arnold Spielberg. After playing with his father's 8mm camera as a kid, he enrolled in a community college with a small film program and used those connections to get work directing TV episodes, including the pilot episode of ''Series/NightGallery''.[[note]]That ''Night Gallery'' episode turned out to be quite a Hollywood passing of the torch, since the star was none other than Creator/JoanCrawford.[[/note]]. He also worked as an assistant at Creator/{{Universal}}'s editorial department, and snooped around on film sets to learn more about the trade [[note]]Creator/CharltonHeston recounted in his autobiography ''In the Arena'' how Spielberg tried several times to infiltrate the set of 1965's ''Film/{{The War Lord|1965}}'', only to be ejected. Director Franklin J. Schaffner finally gave in and let him watch what was being filmed[[/note]]. In 1971 he got his big break, a low-budget, cult hit TV film ''Film/{{Duel}}''. ''Duel'' was an expertly made, taut thriller that was such a hit on TV that he was allowed to shoot more scenes to give it a cinema release in Europe.
