Steven Spielberg "Film was power"

[Sam Emerson]

"I could use my sisters as actors in my films, I could trash them in any way I felt like. Kill them over and over, and it was all in the interest of telling a good story. And then I could show my little 8mm films to my parents and get them to react. It was how I originally found my position in the family. I discovered something I could do, and people would be interested in it and me. I knew after my third or fourth little 8mm epic that this was going to be a career, not just a hobby. I had learned that film was power."

I asked Spielberg what he specifically meant by power. "Well, he explained, I remember in high school there was a bully who used to give me a hard time and, with his very limited vocabulary, made anti-Semitic slurs. I was always a Jew with a hyphenate to him. I remember asking if he'd star in one of my films. I converted him to being my friend, even though I dont think I was ever his friend, because I never quite forgot the taunting and how intimidated I was around him. Even when he was in one of my movies, I was afraid of him. But I was able to bring him over to a place where I felt safer: in front of my camera. I didn't use words. I used a camera, and I discovered what a tool and a weapon, what an instrument of self-inspection and self-expression it is."

http://www.parade.com/articles/editi...e.html?index=2

[M. Gerard]

This sounds like the old - "Everybody picked on me, poor little Jewish kid, and I found out if I made them laugh, they wouldn't hit me, and that's how I grew up to be a comedian."

Take with a big grain of salt.

[Jason 916]

The "bully" wasn't one of those eevill Nazis that got his face melted in Raiders of the Lost Ark, was it?

[M. Gerard]

Of course, making movies DOES give the Jews incredible power over "The Other" (us). That's one of the reasons why they do it.

Holocaustholocaustholocaustholocaustholocaust...

[Sam Emerson]

Originally Posted by M. Gerard

This sounds like the old - "Everybody picked on me, poor little Jewish kid, and I found out if I made them laugh, they wouldn't hit me, and that's how I grew up to be a comedian."

Take with a big grain of salt.

He may be fudging the details (nothing improves a Jewish biography like a dash of anti-semitism) but I believe him when he says he knew film was power when he was a kid. He knows how to use it, watch Jaws if you don't agree.

[Sam Emerson]

Originally Posted by M. Gerard

Of course, making movies DOES give the Jews incredible power over "The Other" (us). That's one of the reasons why they do it.

Holocaustholocaustholocaustholocaustholocaust...

Spielberg directs two kinds of movies. Jaws, Close Encounters and Raiders of the Lost Ark manipulate and cater to the audience to make them feel good and tell their friends to see the movie, and maybe see it again. Amistad, Schindler's List and Munich manipulate the audience to spread Jewish ideas. Spielberg wants the first kind of movies to make loads of cash. He will put propaganda in them, but only if it won't cut into the profits. He casts two Jews, Richard Dreyfuss and Roy Schneider, as heroes in Jaws, but he doesn't say they're Jews (or if he did I missed it, and I've seen Jaws a three or four times). He has Nazis as movie serial villains in Raiders of the Lost Ark but they're cartoon characters almost as silly as the ones in Hogan's Heroes.

The other kind of Spielberg film is primarily made to carry ideas. Schindler's List isn't a feel good hit, but it has a gentile hero to act as a role model for the goyim, and the lovable Jews on his list (SPOILER WARNING) dodge the gas chambers in the end. What distinguishes Spielberg from the many other Jew propagandists working in Hollywood is his willingness to pander to the goyim. He'll to put aside his personal hatred for whites (Spielberg hates whites enough to have broken with Hollywood tradition and married a real Jewess) long enough to create sympathetic white characters so the audience isn't stuck trying to empathize with a repulsive Jew swearing and whining and chasing after white women. He also knows that the Jew victims can't be real Jews.

Spielberg knows that gentiles won't pay to see Schindler's List the way they paid to see Jurassic Park, but he knows hundreds of millions of them will eventually see it on television, or on video, or at least they'll hear about the highlights (The Nazi commandant would sit in his office with a hunting rifle and blow Jew kids heads right off. That was cold, man!)

As Spielberg has become richer and more secure there has been some blurring of the lines between his cash cow movies and the propaganda. Jurassic Park almost goes off the rails with Jeff Goldblum's Frankfurt School lectures and the deconstruction of dinosaur park financier Hammond's dream, but the dinosaurs save it by making it a grade A monster movie. War of the Worlds has a anti-gun scene and an anti-survivalist scene. The anti-gun scene undermines the hero, and later makes it harder to believe that he can ever get the better of the martians.

I haven't seen Lincoln but I'm guessing he made it as an antidote to the wave of revisionist Lincoln scholarship. The same motives inspired Schindler's List, aimed against a different kind of revisionist.

[Sam Emerson]

A Light Unto Amity Island

Jaws the film includes a number of subtle pro-jewish and anti-gentile tropes. Spielberg, studio head Sid Sheinberg's favorite, had considerable artistic freedom in changing the story from the novel, revising the script and casting the leads. The extent of Spielberg's special relationship with the studio is shown by their willingness to allow him to go so far over budget and schedule without replacing him (back then it wasn't unusual for films to go through a couple of directors if there were too many screw ups).

But to the propaganda.

The villagers, a dumb gentile lynch mob

An unruly gang capable only of fleeing in panic or boating into disaster, the locals are helpless against the shark and their best efforts only make things worse. Unable to be trusted with guns they almost shoot a kid playing a prank.

Corrupt gentiles

The mayor (with his ludicrous anchor sport coat) is the main human villain of the film. He is a stereotypical greedy gentile fat cat, willing to risk the lives of the swimming public to keep the tourist money coming in. His underlings are no better, all conspiring to keep the beaches open against Brody and Hooper's advice.

Noble Jews

Sheriff Brody, former New York City cop with an obvious Jewess wife (Spielberg, always a skilled Hollywood diplomat, cast studio head Sid Sheinberg's real life wife) played by Jew Roy Schneider, tries to do the right thing and close the beaches, only to be overruled by the mayor. This leads to the death of a young boy, after which Brody pressures the mayor into hiring Quint to hunt down and kill the shark.

Hooper, a wealthy shark expert from the Oceanographic Institute, played by Jew Richard Dreyfuss, shows up and sets everyone straight with his scientific knowledge. Brody's Jewdar immediately senses a kindred spirit and they're united in their mission to overcome the foolish villagers and their corrupt leadership and defeat the shark. Spielberg was going to cast a gentile in this role, but after Dreyfuss was cast it was rewritten and Spielberg has claimed Hooper is his alter ego. But Hooper, unlike Spielberg who fled the set to escape being thrown in the water, is braver than the average Jew. In fact he willingly takes the greatest risk by climbing into the (supposedly) shark-proof cage to spear the great white with a poison harpoon. The shark, naturally, rips the cage to bits. By the end of the film Hooper, the most overtly Jewish character, is arguably the most admirable and courageous. Brody was along for the ride (until the ship starts sinking!) and Quint was doing it for money. Hooper chooses to get in the shark cage and face the dragon.

Quint is the one gentile hero, the most popular character with gentiles, and he has an important role in this passion play. Quint sacrifices his life fighting the shark. The gentile dies, the Jews live. Quint is noble because he will give up his life to save Jews. But being a foolish gentile he doesn't know how to kill the Great White. It's left to the wise Jew Brody to figure that out.

In the end Brody kills the shark with a technically impossible exploding scuba tank set off by a gunshot. The brave, wise Jew has saved the foolish goyim of Amity Island. Truly a light unto the villagers.

It should be mentioned that Dreyfuss and Schneider are never identified as Jews in the film. Gentiles were considered for both roles. Had the casting gone a different way the ending could have been adjusted. Or perhaps not. Spielberg may have been acting entirely on instinct when he just happened to end up with the gentile dead and the Jews alive. Or maybe he was grinning about what a great joke he had pulled. A joke that paid off big.

So the most successful movie of all time (which was no accident, by the way) conveys the following messages in a subtle and deniable way:

Jews are smart, brave, pure and honest.

Gentiles are stupid, dangerous and corrupt.

Gentiles can't be trusted with guns.

Gentiles will form a lynch mob at the first sign of trouble.

The only good gentile is one who dies saving Jews.

The Hollywood Jews really did cheat Spielberg when they didn't give him a best director Oscar that year. Maybe it went over their heads.