thing: making films.’ The inference is inescapable, however, that Spielberg put back his birthday so as to maintain the illusion that he might still make his first film before he was twenty-one.
As for the usefulness of his time at Universal, Spielberg admits, ‘I never made any deals, but I used the phone a lot (to call up the time) and learned how to play the game. I got fed up with the joint though, and left, and went to Long Beach College and made a short called Amblin’.’
The short-film route to a job in movies was a traditional one in the sixties. Some cinemas still showed a ‘full supporting programme’, and there were plenty of festivals interested in good new work. George Lucas had just made Filmmaker, a thirty-minute documentary about Francis Coppola shooting The Rain People. Noel Black had won his first feature with a short called Skater Dater, a teenage romance with skateboards shot in San Francisco.
Spielberg now understood enough of Hollywood to realise that only a 35mm film carried conviction. Fortunately, he says, ‘I met someone who was as enthusiastic to make movies as I was. The difference was that he was a millionaire, Dennis Hoffman. He had a [special effects] optical company. He saw some of my 8mm and 16mm films and said he’d give me $10,000 – which to me was a bloody fortune – to make a short film, but he wanted the possessory credit. That means the films said “Dennis Hoffman’s Amblin’”. I said, “Fine.” I took the money and made the film in 35mm. 1.85:1 ratio [of wide screen used by all professional cinemas]. The big time for me!’
Later Hoffman, who diversified out of the lab business into a chain called Designer Donuts, the investors in which included Spielberg, would claim that their 1968 contract covered not only Amblin’ but a feature, to be directed for Hoffman during the next ten years. The deal was one that would come back to haunt Spielberg.
Amblin’ is a twenty-four-minute story of a young couple who meet in the Mojave desert and hitchhike to the Californian coast. Amateurs Pamela McMyler and Richard Levin played the lovers. Allen Daviau shot it, delighted to be working in 35mm after long periods of documentaries. The landscape was beautiful, the cars sleek, the lovers – who had no dialogue – affectingly clean-cut and attractive. A brief love scene and a shared joint gave the film a trendy modernism. Spielberg, however, was under no illusions about the worth of Amblin’. It had only one function: to demonstrate his and Daviau’s grasp of cinema technique and their ability to make a slick Hollywood product. He called it ‘a Pepsi commercial’, and joked that it had the empty decorative appeal of a piece of driftwood.
Hoffman was delighted, however, and in 1969 entered Amblin’ in the second Atlanta Film Festival, where it won an award. Convinced that his career as a producer was assured, he threw what Spielberg remembers as ‘an inflated premiere… to all the execs in Los Angeles. Or rather, he invited all the execs, but no one came.’ Fortunately, a few ‘lower-echelon studio people’ saw the film. One was Chuck Silver, who took a copy to show a Universal executive named Sidney Jay Sheinberg.
Sheinberg started his working life as a law instructor at UCLA, but in 1959 Albert Dorskind hired him as an assistant; Sheinberg’s father-in-law was business manager for a number of MCA executives. Courteous, even formal in manner, and intensely discreet, Sheinberg called everybody, even his juniors, ‘sir’, a habit he never lost. He quickly impressed the Universal hierarchy, and Jennings Lang, who ran the television division, put him in charge of long-term production planning, which included keeping an eye out for new talent.
Sheinberg remembers Chuck Silver buttonholing him one night when he’d been previewing a film in one of the studio screening rooms. ‘He said there’s this guy who’s been hanging around the place who’s made a short film,’ said Sheinberg. ‘So I watched it and I thought it was terrific. I liked the way he selected the performers, the relationships, the maturity and the warmth that was in that short. I told Chuck to have the guy come see me.’
Nervous that his moonlighting on the lot had been found out, Spielberg presented himself at Sheinberg’s office in the Black Tower.
‘Sidney is very austere. He said, “Sir, I liked your film. How would you like to go to work professionally? You sign the contract, you start in television. After TV, if you do a few good television shows and other producers on the lot like your work, you go into feature films.” It wasn’t that easy, but it sounded great.’
Spielberg dithered. ‘But I have a year left to go in college.’
‘Do you want to go to college,’ Sheinberg asked, ‘or do you want to direct?’
Spielberg’s formal education ended in that moment. ‘I left so quickly that I never even cleared out my locker,’ he said. Years later, at odd moments, he’d think of the chicken salad sandwich he’d left rotting there.
As Spielberg signed his contract a few weeks later, he murmured, ‘My father will never forgive me for leaving college.’ It was a reaction Sheinberg understood. Like Leah’s parents, his father had emigrated to escape anti-Semitic persecution. He and his attractive young wife, the actress Lorraine Gary, were devoted to each other and to their two boys.
The contract was the standard seven-year pact for ‘personal services’, under which Spielberg sold every working minute to Universal to use as they pleased. The business called it ‘the Death Pact’. Only the desperate – or the desperately ambitious – would sign it, and Spielberg was both. So was his Amblin’ star, Pamela McMyler, whom Universal also put under contract. Coincidentally, John Milius was also offered the same seven-year deal, but as a writer. He turned it down.
How old was Spielberg when Universal signed him? In early versions of what was to become a legend, he claimed unashamedly that he was twenty. ‘One day in 1969, when I was twenty-one…’ he told the Hollywood Reporter in 1971. In another version, he says he told Sheinberg when he signed the contract, ‘I just have one request, and I’d like you to give me not so much a commitment, Mr Sheinberg, as a promise. I want to direct something before I’m twenty-one. That would be very important to me.’ Sheinberg, he said, agreed. Yet for Spielberg to have signed a contract as a minor would have necessitated investigation of his age, which would have brought his true date of birth to light.
The likelihood is that Sheinberg knew that Spielberg had turned twenty-one in December 1967, and was therefore twenty-two when he signed their deal, but that he went along with the illusion for publicity reasons. Already the older man sensed an affinity that would grow over the years. Some people felt the two even looked alike. As his own children failed to show any of his flair for show business, he began to regard Spielberg as a surrogate son.
The people who do well in the system are the people who do films that producers like to produce, not that people want to see.
Orson Welles
STROLLING AROUND the studio where he’d spent so much time as an interloper, Spielberg could hardly believe his luck.
He’d rented a cramped $130 a month apartment on Laurel Canyon and furnished it with an ad hoc mixture of bean bags and movie posters, but he spent little time there. Each evening he caught whatever film was previewing in the studio’s theatres. Next day he was on the phone, complimenting actors on their performances, directors of their direction, producers on their acumen. Producer/writer William Link remembers him as ‘a great politician. Even then, we knew we would all be working for him one day.’
He relished the sense of Universal as another world, sealed off from the city of Los Angeles. Science fiction writer and sometime scenarist Ray Bradbury, who was also, coincidentally, afflicted with some of Spielberg’s phobias, about heights, elevators and flying, shared his love of working on a movie lot, where
everything was clearly defined. Here there were absolutely sharp beginnings, and ends that were neat and irreversible. Outside, beyond the stages, I did not much trust life with its dreadful surprises and ramshackle plots. Here, walking among the alleys just at dawn or twilight, I could