Only in Hollywood
Spielberg bares ‘Indiana Jones’ film almost never got made
By Ruben V. Nepales
Philippine Daily Inquirer
First Posted 20:01:00 05/16/2008
LOS ANGELES, California—“I can’t tell you,” Steven Spielberg, breaking into a boyish smile, told a reporter who asked what his favorite scene in “Indiana Jones and the Kingdom of the Crystal Skull” was.
The master filmmaker, wearing a Brown University (stepdaughter Jessica Capshaw graduated from there) cap, was on to the journalist’s ruse. If Steven talked about his favorite scene in the fourth installment of the hit series, he would spill details about the film’s story, which they have gone to great lengths to keep a secret until the movie is shown.
“And my favorite dialogue quote on this one?” Steven teased. Again breaking into an impish grin that makes him look like a boy despite his 61 years and silver hair and beard, the director answered himself, “I can’t tell you.”
What the entire world knows is that “Crystal Skull” stars Harrison Ford, back as the in-over-his-head adventurer-archaeologist, Cate Blanchett and Shia LaBeouf. Also back on board is George Lucas, who cowrote the story with Jeff Nathanson and is the executive producer. David Koepp penned the screenplay that finally made Steven, George and Harrison agree to embark on another “Indiana” adventure.
Except for the film’s story, Steven eagerly spoke about everything else in between sips of caffeine-free Coke. Below are excerpts of our press con with the man many consider as the best living filmmaker today:
Why did it take so long to make another “Indiana Jones” movie?
The thing that is always going to convince me to take on a movie is a good screenplay. We had been tenaciously working on the screenplay and trying really hard to get a good one for almost 15 years. This one started all the way at the 1994 Oscars when “Schindler’s List” won. Harrison presented me with the Oscar for Best Picture. As we were walking backstage, Harrison asked: “When are we going to make another ‘Indiana Jones’ movie? I’m ready.” I said, “Well, you have to call George.” Harrison called George. A week later, George called me and said, “Harrison is serious. He wants to do another [‘Indiana Jones’] picture.”
So it has been 14 years of developing a script. It took all that time before David Koepp came on board and wrote a script that knocked Indiana Jones’ hat off, basically. It had to be the right movie at the right time.
For a long time, you guys couldn’t agree on the script—that’s why it took many years to finally make this movie. Can you elaborate?
There was a point when I thought that George and I would never agree on a story. I was fine with that. George and I are best friends. We’re like brothers. We always argue and debate. It’s just the nature of our relationship since we met in 1967. It has been 41 years since we’ve been friends. Nothing is going to shake that.
I was fine about never making another “Indiana Jones” movie because I wasn’t going to force a story down George’s throat and he wasn’t going to force one down on mine. He didn’t care for the Frank Darabont script. I did. George was strongly opposed to it so I basically said, “Let’s start over again.” And we’ve stayed friends.
How different is the original script from the one that was eventually used?
It’s very different. If it were similar, the Writers Guild [of America] would have given credit to Frank. But even the Writers Guild gave sole screenplay credit to David Koepp.
When we talked to Shia in London for the “Transformers” movie and asked him about this film, he joked that there was a sniper in the room who was ready to shoot him if he did talk about “Crystal Skull.” How protective were you with the script to make sure it was not leaked?
We did extraordinary due diligence in protecting the story. There were many ways we did it. We didn’t give the script, which is unusual, to any crew in the film. Even the production designer and the director of photography couldn’t have a copy of the screenplay. If the production designer wanted to read the script, there was a reading room right next to my office. They could read the script there and make separate notes. Then they left the script in the reading room where it was locked up in a safe.
The only people on the set who had a copy of the screenplay were me and the script person, Anna Maria Quintana. So there were no other scripts out. No agents or actors ever read the script. The actors were just given sides just like in an audition. They were just given their parts. During casting, a script was taken to some of the principal actors. They were allowed to read the script and decide whether they wanted to be in the movie or not. The person who gave them the script was waiting outside the door. When they were done reading the script, they gave the script back to that person, who in turn sent it back to Los Angeles.
When things were stolen from our production office—you probably heard about the almost 4,000 stills which were stolen, which would have given away the entire movie—the person who broke into the production office called a website that is notorious for giving away all of our secrets. But this website loves the “Indiana Jones” series, so they did not want the responsibility of being the spoilers. What they did was call Paramount’s legal department. A sting operation was set up. The FBI came in and arrested the thief, who’s in jail now. He pleaded guilty and he’s serving time as we speak. George Lucas takes no prisoners. I’m more forgiving.
Can you tell us how else George collaborates with you on these movies?
George has a lot of input in the storyline. That is where George plays his strongest cards with me. He’s very good with story. We have a healthy collaboration in story. But once the time comes for me to make the movie, George steps away. On all the “Indiana” movies, George came to the set four or five times—that was it. On this movie, he might have come to the set six or seven times out of the 80 shooting days, which is not a lot.
George lets me make and then cut the movie. As a courtesy, I let George take a look at a very early cut. I let him make suggestions on how he would tighten or move things around. On all the four movies, George has gone to the cutting room and spent a couple of days with my editor. He has made some good contributions. All the stuff that I don’t think is of value, I just put back the other way. That’s our agreement—George is fine with it. He never complains. He just says, “I wanted to illustrate something to you. If you like it, use it. If you don’t, change it back to the way you had it.” It’s a great way to work with a producer who’s as talented like George.
E-mail the columnist at rvnepales_5585@yahoo.com, and read his blog, “The Nepales Report,” on http://blogs.inquirer.net/nepalesreport.
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