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5 Hollywood myths that society continues to believe in

Hollywood has always surrounded a lot of myths - both quite plausible, and quite crazy. From the motley mass of circumstantial rumors we chose five especially hardy pobasenok and try once and for all to dot the "i". So…

Steven Spielberg 2 year old pretended to be a Universal studio worker

Among fans Steven Spielberg the biography of the director, a story about how he penetrated the film business, is very popular. In 1969, The Hollywood Reporter asked how the young and early nugget began to work in films, and Stephen explained that in order to become "his" at the "dream factory", he had to resort to the trick - namely, to pretend to be one of the employees studio Universal. "For three months in a row I went through the studio gate every day, dressed in a decent black suit with a tie, holding a briefcase in my hand," Spielberg said. "I visited all the film sets I could, studied the technique and absorbed the atmosphere." A couple of years later, the story acquired additional details: "I found an empty office and built an office there. And then I went to the control room, introduced myself and asked to inform about the calls to my name - so I also had a phone. To calculate that they had a spy, Universal took about two years ". In another interview of that time, Spielberg says: "To skip past the guard on the gate time after time, I was forced to lie a lot." The very first visit, he said, took place in the summer of 1964, when, during a tour of the studio, Stephen jumped off the tourist tram and went to stare at the pavilions where he "ran into librarian Chuck Silvers and the premium spoke to him for an hour."

The truth in all these stories is not enough. The first person Stephen met at the studio was really Silvers (editor of Universal TV, who was engaged in the reorganization of the studio film archive), but otherwise his story is similar to thousands of other kinobiographies. In Phoenix, Arizona, 16-year-old Steven took off a couple of shorts and was eager to show them to someone in Hollywood. Through familiar relatives Spielberg organized a meeting with Silvers, and he arranged for the little fellow a tour of the studio. A year later, at 1965, Spielbergs moved from Arizona to California, and Stephen, again contacting Silvers, spent his summer vacation to work as a free assistant in his assembly department. Silvers notes that he was able to designate a newcomer a pass to the studio only once; to make a permanent, he simply did not have the power. "But Stephen somehow twisted himself," recalls Silvers. "He managed to come to the studio every damn time he wanted to." Naturally, yesterday's schoolboy used every opportunity to penetrate the pavilions and make acquaintances, but as a man with a patron, he could not be afraid that he would be thrown out of the gate for this: if someone was wondering what this guy is doing here, the intern is simply sent him to Silvers. Thus, the only difficulty for Spielberg was the skipping past the guards in the mornings, and everything else decided the connections ... and, of course, his talent.

Coming to practice, Spielberg hoped that the studio would immediately order him a full-length remake of his short film "Heavenly Lights", but this did not happen (at least because 17-year-old Stephen looked almost a child). A year later he returned again - with the same result. Spielberg had to combine several years of college studies with episodic "bring-bring" to Universal (hence the stories of "two years secretly held at the studio"). There was always enough work, so the bright youngster was periodically charged with sorting papers and delivering them to different departments - something he never mentioned again, preferring to romanticize the story of his success. Calls he took in the office of Silvers, because his own office he never had. "In any case, I have not seen anything like it," says Silvers. "Steven liked to tell me that he'd arranged an office for himself, even with a nameplate on the door, but all these stories are dog shit." Only in 1968, having learned how to work with the 16-millimeter camera and bringing to the studio a new short meter called "Emblin"Stephen (not without the intercession of Silvers) was finally able to get the director's work on the TV series for Universal TV. And it seems that the first interview of the young director given to him in the same year was the most accurate in reflecting the real state of affairs: "I used someone else's patronage to get a pass to the studio and study film production," Stephen said at the time. But about that interview today, few people remember - because before the first work of Spielberg in this movie there were still 6 years ...

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