Does any director have a better filmography thanSteven Spielberg? It’s all a matter of opinion, but when you see a list that includesJaws,Raiders of the Lost Ark,E.T.,Jurassic Park,Schindler’s List,Saving Private Ryan, andCatch Me If You Can— and you’re not even a quarter of the way through — it becomes hard to argue otherwise. In his 50-plus years in the industry, Spielberg has left a mark no other director can compete with, and his films continue to delight everyone from the most casual of moviegoers to the most ardent of critics. Even as he nears his 80th birthday, he is still reliably making films that rival his greatest work. WithThe Fablemanslooking to be the latest candidate for his late-career masterpiece, the power of his filmography looks set to grow even further.
Given the longitude of his career, it shouldn’t come as a surprise that many projects he was attached to didn’t come to fruition. Some of these never made it past the scripting phase, with examples including an adaptation ofThe Catcher in the Ryeand a sci-fi horror film calledNight Skies(although elements of the latter were used inPoltergeist, a film Spielberg served as producer on). However, others were eventually completed by someone else, prompting speculation about how these unrealized Spielberg films would have differed from the versions we got. In another world, Spielberg accomplished the impossible and made his filmography even stronger, but given how many masterworks he’s given us, we shouldn’t complain too much.
Rain Man (1988)
Rain Manis one of the best examples ofDustin Hoffman’sandTom Cruise’sacting talents, and remains the only film to win the top prize at both the Berlin International Film Festival and the Academy Awards. WhileBarry Levinsonhelmed the project (winning an Oscar for his work),multiple directors were considered for the job. Spielberg was one of them, and even though he didn’t end up making it, his influence can still be felt given that he was the one whosuggested Hoffman’s character should be an autistic savantrather than someone suffering from severe intellectual disabilities as was originally the case. Obligations toIndiana Jones and the Last Crusadeled to him passing on the film, and he has since described his failure to directRain Manas one of his biggest regrets.
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Cape Fear (1991)
Cape Fearis one ofMartin Scorsese’smost underrated films, and while it doesn’t reach the filmmaking prowess of something likeTaxi Driver, that he can so easily maintain his directorial trademarks in the confines of a crowd-pleasing genre pic makes it an essential watch regardless. However, the project was originally developed with Spielberg in mind, and he envisioned a much different film. Rather thanRobert De Niroflexing his inner psychopath in the role of Max Cady,Spielberg wantedBill Murray, a change of such seismic proportions it’s hard to see how the film would have retained its psychological horror tone. Ultimately Spielberg stepped down in favor ofSchindler’s List, a film he’d been developing for over a decade but had been reluctant about directing due to the subject matter. After deciding it was his moral duty to make the film,Spielberg offered Scorsese the directing chair onCape Fearin return forSchindler’s List. Scorsese had no issue stepping aside, allowing Spielberg to make the most important film of his career.
Meet the Parents (2000)
While the sequels may have diminished its quality, the originalMeet the Parentsis still a solid comedy that exemplifies just how important chemistry between actors is when creating humor. The film was directed byJay RoachofAustin Powersfame, but his relative inexperience made Universal reluctant to give him the job despite his obvious enthusiasm — reluctance that was compounded by Spielberg’s interest in the job.Spielberg had the script rewrittenso the character of Greg Focker would line up with his intended casting choice ofJim Carrey,but he eventually passeddue to good old-fashioned scheduling conflicts. However, his simple presence was enough to convince Universal they had something good on their hands, and it didn’t take long before Roach was handed the keys to his dream job.
Harry Potter and the Sorcerer’s Stone (2001)
The most tragic of Spielberg’s unmade films is undoubtedlyHarry Potter and the Sorcerer’s Stone. Not only would it have cemented his place in the history books, but its whimsical mix of escapism, adventure, and traditional family fun is exactly the sort of thing Spielberg was put on this planet to make. Since he was the studio’s first choice, it seems others were aware of how perfect he would be. Unfortunately, life isn’t always fair.Spielberg envisioned it as an animated film, presumably thinking that the fantastical world of Hogwarts was too awe-inspiring to realize in live-action, and he also intended to adapt multiple books rather than focusing only onSorcerer’s Stone. That last point would have proven highly divisive with fans, and would have handicapped the franchise’s potential right out of the starting gate. Additionally, he wanted to castHaley Joel Osmentas the titular wizard, going against the wishes ofJ. K. Rowlingfor an all-British and Irish cast. Spielberg later contested that he dropped out simply because there was “no challenge," and Rowling has vehemently denied the rumors that she vetoed his hiring. It’s a true shame, because if they had been able to work something out, they could have made something truly (no pun intended) magical.
Big Fish (2003)
An adaptation ofDaniel Wallace’s titular novel was in development before it even hit shelves, and producerBruce Cohenwasted no time courting Spielberg for the top job once he had a completed script in his hands. The two had already enjoyeda healthy relationship in the past(Cohen having served as the first assistant director onHook, among other collaborations), and given the recurring themes of childhood and the importance of parental figures in Spielberg’s work, it made perfect sense to get him involved. He envisionedJack Nicholsonas Edward Bloom Sr., and ordered extensive rewrites to flesh out his screen time. Even though he had to step aside because of conflicts withCatch Me If You Can, many of these additions remained in the final film. By the timeTim Burtoncame on board,Big Fishhad never looked better.
The Curious Case of Benjamin Button (2008)
When looking through the films ofDavid Fincher,The Curious Case of Benjamin Buttonis the clear outlier. Gone is the neo-noir style that forms the backdrop of a clinical examination into the most depraved corners of the human mind, replaced by a more uplifting and easy-going experience that feels like his attempt at a modern-day fairy tale. In many ways, it feels like Fincher’s version of a Spielberg film, so it probably shouldn’t surprise thatSpielberg was attached years earlier. After the original choiceFrank Ozpassed on the project, Spielberg was the next in line to adaptF. Scott Fitzgerald’s classic short story. He worked on it for a year, hoping to cast Tom Cruise in the lead role, but the dreaded scheduling conflicts emerged. This was 1991, and pre-production on bothJurassic ParkandSchindler’s Listwas fast approaching, and juggling two major films was proving hard enough without adding a third to the equation. After he dropped out the film languished in development hell until it was revived by Fincher in 2004, giving it the lease on life it so rightfully deserved.
Oldboy (2013)
A remake of the acclaimed Korean filmOldboyhad been discussed from the moment the original hit theaters, and whileSpike Leewould eventually take charge of a critically mangled (albeit heavily re-edited) version in 2013, Spielberg had been developing a separate version years earlier. Rather than being a straightforward remake, the film was intended to be an adaptation of the original — and considerably different —Old Boymanga, but this change proved more trouble than it was worth.A lawsuitbetween its publisher and the film’s producers stalled production, and shortly after Spielberg and intended starWill Smithwalked away. The 2013 film stuck much closer to the Korean film as a result, Lee presumably not wanting to reanimate all that hassle.
Interstellar (2014)
The journey ofInterstellarfrom script to space was a long one. Conceived by producerLynda Obstand physicistKip Thorneafter they collaborated onContact, the project quickly attracted the interest of Spielberg. He hiredJonathan Nolanto pen the screenplay, transforming Obst’s and Thorne’s eight-page treatment into an epic worthy of the man who madeE.T.andClose Encounters of the Third Kind. This was not going to be a simple blockbuster, but rather a realistic depiction of space travel that would explore theoretical concepts in an accessible way, ensuring its appeal would extend beyond those with a PhD. Things stalled in 2009 when Spielberg moved his production company from Paramount to Disney, leavingInterstellarwithout a director.Nolan recommended his brother,Christopher Nolan, and soon after this career-defining rocket was blasting off into the stars.
American Sniper (2014)
American Sniperis one of the more polarizing entries inClint Eastwood’sfilmography — after all, anything that deals with American nationalism in the context of such a controversial war is bound to provoke hot debate. But his restrained direction andBradley Cooper’s solid performance makes it a more nuanced film than it otherwise could have been. Before Eastwood entered the picture,Spielberg was attached to direct, but it quickly became clear that his vision was not compatible with what the studio wanted. Warner Bros. had allocated $60 million to the project — a healthy number for a biopic, but not even close to realizing what Spielberg had in mind (the script totaled a whopping 160 pagesby the time he was done with it). It didn’t take long before he dropped out. One week later, Eastwood — one of the few auteurs who understands the importance of making a film on schedule and on budget — was hired, no doubt to the relief of all the studio heads involved.
The Trial of the Chicago 7 (2020)
Even though it took until 2020 to reach cinemas,The Trial of the Chicago 7began development way back in 2006 afterAaron Sorkinwas invited to Spielberg’s house to discuss the idea. He confessed to knowing nothing about the riots at the 1968 Democratic Convention, but agreed to serve as writer anyway. Soon after things were in full swing,but the 2007 Writers Guide strike brought things to a premature end. After it was delayed indefinitely, the film passed between a few hands until it was resurrected in 2018 after Spielberg watched Sorkin’s directorial debut,Molly’s Game.Impressed by what he saw, Spielberg offered him the reins on his own script. Inspired by the current political climate, Sorkin said yes.
While he wasn’t involved with the final product, Spielberg’s influence is all over the final film. The presence ofSacha Baron Cohenis one giveaway (Spielberg had met with him years earlier about a role, albeit for a different one than what Sorkin gave him), but even outside that the whole film has a touch of Spielbergian magic to it. A plot about the little people triumphing against all odds — backed by an energetic screenplay and a soundtrack you may’t help being enraptured by — would feel right at home in his filmography, and you’re left wondering how much of Spielberg’s shadow impacted Sorkin’s approach to the material. It can’t be easy taking over from Hollywood’s most famous director, but Sorkin did a commendable job given the weight of expectations. No doubt Spielberg would have been proud.
