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Spielberg: The First Ten Years
Explore the beginning of Steven Spielberg’s remarkable career with this definitive retrospective that covers Duel , The Sugarland Express , Jaws , Close Encounters of the Third Kind , 1941 , Raiders of the Lost Ark , and E.T. T he Extra-Terrestrial .
In the first ten years of his career, Steven Spielberg directed some of the most influential and beloved films in cinema history. Movies such as Jaws , Close Encounters of the Third Kind , Raiders of the Lost Ark , and E.T. T he Extra-Terrestrial introduced audiences to the modern blockbuster and cemented Spielberg as a monumental figure in pop culture. Through exclusive imagery and unparalleled insight from Spielberg’s longtime documentarian, Laurent Bouzereau, this deluxe volume explores how a young filmmaker reinvented American cinema within just ten years. Featuring a fresh perspective on films including Duel , The Sugarland Express , Jaws , Close Encounters of the Third Kind , 1941 , Raiders of the Lost Ark , and E.T. T he Extra-Terrestrial , this book is an essential exploration of an iconic filmmaker’s early career.
ALL-NEW Featuring exclusive imagery and unparalleled insight from Spielberg’s longtime documentarian, Laurent Bouzereau.
EXPLORE SPIELBERG’S EARLY Covering the years 1971 to 1982, this deluxe volume explores how a young filmmaker reinvented American cinema within just a decade.
LEARN THE HISTORY OF LANDMARK This book dives deep into groundbreaking Spielberg films including Duel , The Sugarland Express , Jaws , Close Encounters of the Third Kind , 1941 , Raiders of the Lost Ark , and E.T. Th e Extra-Terrestrial .
COMPLETE YOUR This book stands alongside hit titles including Jurassic The Ultimate Visual History and Close Encounters of the Third The Ultimate Visual History .
In the first ten years of his career, Steven Spielberg directed some of the most influential and beloved films in cinema history. Movies such as Jaws , Close Encounters of the Third Kind , Raiders of the Lost Ark , and E.T. T he Extra-Terrestrial introduced audiences to the modern blockbuster and cemented Spielberg as a monumental figure in pop culture. Through exclusive imagery and unparalleled insight from Spielberg’s longtime documentarian, Laurent Bouzereau, this deluxe volume explores how a young filmmaker reinvented American cinema within just ten years. Featuring a fresh perspective on films including Duel , The Sugarland Express , Jaws , Close Encounters of the Third Kind , 1941 , Raiders of the Lost Ark , and E.T. T he Extra-Terrestrial , this book is an essential exploration of an iconic filmmaker’s early career.
ALL-NEW Featuring exclusive imagery and unparalleled insight from Spielberg’s longtime documentarian, Laurent Bouzereau.
EXPLORE SPIELBERG’S EARLY Covering the years 1971 to 1982, this deluxe volume explores how a young filmmaker reinvented American cinema within just a decade.
LEARN THE HISTORY OF LANDMARK This book dives deep into groundbreaking Spielberg films including Duel , The Sugarland Express , Jaws , Close Encounters of the Third Kind , 1941 , Raiders of the Lost Ark , and E.T. Th e Extra-Terrestrial .
COMPLETE YOUR This book stands alongside hit titles including Jurassic The Ultimate Visual History and Close Encounters of the Third The Ultimate Visual History .
- GenresBiographyNonfictionFilm
256 pages, Hardcover
Published October 24, 2023
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Displaying 1 - 13 of 13 reviews
August 5, 2024
The GOAT. Such a wide range of movies in just ten years. Spielberg made his worst movie (1941) and the greatest movie of all time (Jaws) in this span. It was fascinating to see the lessons he took away from both the successes and failures to become the patriarch of Hollywood. It was also fun to have an excuse to revisit each of the movies in the book as I read along.
March 12, 2024
Sometimes, a coffee table book (of which this effort ostensibly is) can be a little disappointing in terms of the amount of information it presents. That is absolutely NOT the case here--as this is as much "early Spielberg bio" as it is "pretty pictures".
Basically, this is a book exactly representing its title. It covers Spielberg's entry into the film industry, as well as his earliest flicks: Duel, The Sugerland Express, Jaws, Close Encounters of the Third Kind, 1941, Raiders of the Lost Ark, & E.T.
Author Laurent Bouzereau has the "in" on Steven Spielberg after creating many behind-the-scenes docs of the famed director's films. As such, he has nearly unprecedented access--and it shows in "First Ten Years" in the best possible ways! Not only can Bouzereau share insider stories of his own, but each chapter ends with a sit-down interview with Steven himself! I honestly cannot think of similar Spielberg biographical material circulating at this time.
But make no mistake--this book is absolutely beautiful and worthy of that vaunted coffee table real estate! It is an oversized tome that features vibrant full-color spreads and numerous images on every page. This was a "library read" for me, but I'd actually recommend purchasing, as it also comes with little "collectibles" (posters, cards, images, etc.) that are pretty cool as keepsakes.
I really hope Bouzereau continues this Spielberg journey, as I'd be extremely interested to continue along Spielberg's filmography with him!
Basically, this is a book exactly representing its title. It covers Spielberg's entry into the film industry, as well as his earliest flicks: Duel, The Sugerland Express, Jaws, Close Encounters of the Third Kind, 1941, Raiders of the Lost Ark, & E.T.
Author Laurent Bouzereau has the "in" on Steven Spielberg after creating many behind-the-scenes docs of the famed director's films. As such, he has nearly unprecedented access--and it shows in "First Ten Years" in the best possible ways! Not only can Bouzereau share insider stories of his own, but each chapter ends with a sit-down interview with Steven himself! I honestly cannot think of similar Spielberg biographical material circulating at this time.
But make no mistake--this book is absolutely beautiful and worthy of that vaunted coffee table real estate! It is an oversized tome that features vibrant full-color spreads and numerous images on every page. This was a "library read" for me, but I'd actually recommend purchasing, as it also comes with little "collectibles" (posters, cards, images, etc.) that are pretty cool as keepsakes.
I really hope Bouzereau continues this Spielberg journey, as I'd be extremely interested to continue along Spielberg's filmography with him!
December 29, 2023
Spielberg: The First Ten Years by Lauren Bouzerau provides an inside view of Steven Spielberg's first decade as a filmmaker, years when he revolutionized the possibilities of commercial cinema. A coffee table size volume, the book is loaded with rare photographs and inserts including marketing material and production notes. Each chapter includes an interview with Spielberg. The author Bouzerau had a long association with Spielberg, the director of many making of documentaries, notably for Jaws, Close Encounters, and 1941.
The portrait of Spielberg at the start of his career is that of a focused and meticulous young man, at ease with working within the studio system when many of his peers were not. His status as a Wunderkind was an image he self-consciously fashioned as a teenager when he made full length amateur films that were covered by the local press. His 1968 short film Amblin earned him a contract with Universal to direct episodic television, which he skillfully used as a training ground to direct features.
Duel was Spielberg's breakthrough, a made for TV film that aired in 1971, based on a Richard Matheson short story about a man being menaced by a truck driver. The highway thriller proved to be the ideal project for Spielberg to show off his skills. Working on a tight schedule that required complicated action sequences, the film in its original form was a 70-minute tour de force of action for the small screen. The book includes a foldout of the detailed story boards Spielberg used as a guide during the shoot. Duel earned high ratings and Spielberg was allowed to shoot extra scenes for a theatrical release in Europe to critical acclaim.
Spielberg's first feature, The Sugarland Express, remains an outlier in his filmography. Loosely based on a true story, the film is set in Texas and follows two fugitives who kidnap a highway patrolman in a quixotic quest to prevent their son from going into foster care. A more complex road movie than Duel and in keeping with the popularity of "lovers on the run" movies of the era, Sugarland allowed Spielberg to further develop his technical skills on a wider canvas, while crafting a kinetic narrative both character and action driven. Some found the tonal shifts disjointed, from the light comedy of the early scenes to the satiric and ultimately tragic climax. A modest success that garnered high praise from influential critics like Pauline Kael, it earned him the right make a pure potboiler - Jaws.
So much has been written about and discussed about Jaws, yet new insights are always being made about it. Spielberg has never written a memoir nor recorded any commentary tracks for his films, so his interviews are the closest insight we get into his creative process. In retrospect, there's simply no film quite like Jaws and I suspect interest in it will never dissipate. Spielberg managed to balance character and spectacle to perfection. All the right elements came together from the casting, the script, and the John Williams score, but Spielberg's determination to see it through and balance all the elements of comedy, horror, suspense, political allegory, and family drama that continues to amaze audiences.
His follow up to Jaws, Close Encounter of the Third Kind may not have aged as well as Jaws with it's late '70s New Age/Post-Watergate vibe that may be lost on younger viewers. The success of Jaws allowed Spielberg to pursue his passion project on UFOs, loosely based on his full length feature he made as a teenager entitled Firelight. Even more so than Jaws, CE3K became the definitive Spielberg experience with its themes of suburban angst, wondrous visions, and enduring sense of hope. Technically, it proved another breakthrough for Spielberg, which in addition to Star Wars released in the same year, changed cinema forever.
Richard Dreyfuss served as Spielberg's avatar in Close Encounters, playing the child-like protagonist Roy Neary, while the rest of the cast perfectly inhabited their roles: Francois Truffaut as the compassionate scientist, Bob Balaban as the translator, Teri Garr in the thankless role of Roy's put upon wife, Melinda Dillon as the prototypical Spielberg mom, and Cary Guffey as the young boy Barry. In its weaving between domestic drama and special effect light show culminating in a meeting of cosmic importance, audiences once again proved receptive.
I found the most interesting chapter to be on Spielberg's first flop 1941. Written by Robert Zemeckis and Bob Gale who would go on to write the Back to the Future movies, 1941 was conceived as an absurdist dark comedy about paranoia on the West Coast following the attack on Pearl Harbor. With a big budget and a large cast, Spielberg admits he let the project go off the rails. Loud and irreverent, it exemplifies the excess of late '70s Hollywood. But it's aged well, with an eclectic cast including John Belushi, Toshiro Mifune, and Christopher Lee, the incredible set pieces are a testament to the analog era of moviemaking.
Raiders of the Lost Ark marked Spielberg's first collaboration with George Lucas. Made as a course correction after his first flop, Spielberg made the film under budget and ahead of schedule. As a period flavored action film with supernatural elements, Raiders became an instant blockbuster, and Spielberg recalls it as one of his favorite experiences as a director.
Bouzerau concludes the book with E.T. The Extraterrestrial, a film which marked a turning point in Spielberg's career, is a culmination of sorts. A more intimate version of Close Encounters, with a visitor from space arriving who heals a broken family. All the Spielberg themes of family struggles, returning home, and coming of age are expressed in the most universal way possible. A life changing experience in terms of his career and personal life.
Spielberg: The First Ten Years adds depth and insight to the early years of Spielberg, an in-depth look at creativity and inventiveness.
The portrait of Spielberg at the start of his career is that of a focused and meticulous young man, at ease with working within the studio system when many of his peers were not. His status as a Wunderkind was an image he self-consciously fashioned as a teenager when he made full length amateur films that were covered by the local press. His 1968 short film Amblin earned him a contract with Universal to direct episodic television, which he skillfully used as a training ground to direct features.
Duel was Spielberg's breakthrough, a made for TV film that aired in 1971, based on a Richard Matheson short story about a man being menaced by a truck driver. The highway thriller proved to be the ideal project for Spielberg to show off his skills. Working on a tight schedule that required complicated action sequences, the film in its original form was a 70-minute tour de force of action for the small screen. The book includes a foldout of the detailed story boards Spielberg used as a guide during the shoot. Duel earned high ratings and Spielberg was allowed to shoot extra scenes for a theatrical release in Europe to critical acclaim.
Spielberg's first feature, The Sugarland Express, remains an outlier in his filmography. Loosely based on a true story, the film is set in Texas and follows two fugitives who kidnap a highway patrolman in a quixotic quest to prevent their son from going into foster care. A more complex road movie than Duel and in keeping with the popularity of "lovers on the run" movies of the era, Sugarland allowed Spielberg to further develop his technical skills on a wider canvas, while crafting a kinetic narrative both character and action driven. Some found the tonal shifts disjointed, from the light comedy of the early scenes to the satiric and ultimately tragic climax. A modest success that garnered high praise from influential critics like Pauline Kael, it earned him the right make a pure potboiler - Jaws.
So much has been written about and discussed about Jaws, yet new insights are always being made about it. Spielberg has never written a memoir nor recorded any commentary tracks for his films, so his interviews are the closest insight we get into his creative process. In retrospect, there's simply no film quite like Jaws and I suspect interest in it will never dissipate. Spielberg managed to balance character and spectacle to perfection. All the right elements came together from the casting, the script, and the John Williams score, but Spielberg's determination to see it through and balance all the elements of comedy, horror, suspense, political allegory, and family drama that continues to amaze audiences.
His follow up to Jaws, Close Encounter of the Third Kind may not have aged as well as Jaws with it's late '70s New Age/Post-Watergate vibe that may be lost on younger viewers. The success of Jaws allowed Spielberg to pursue his passion project on UFOs, loosely based on his full length feature he made as a teenager entitled Firelight. Even more so than Jaws, CE3K became the definitive Spielberg experience with its themes of suburban angst, wondrous visions, and enduring sense of hope. Technically, it proved another breakthrough for Spielberg, which in addition to Star Wars released in the same year, changed cinema forever.
Richard Dreyfuss served as Spielberg's avatar in Close Encounters, playing the child-like protagonist Roy Neary, while the rest of the cast perfectly inhabited their roles: Francois Truffaut as the compassionate scientist, Bob Balaban as the translator, Teri Garr in the thankless role of Roy's put upon wife, Melinda Dillon as the prototypical Spielberg mom, and Cary Guffey as the young boy Barry. In its weaving between domestic drama and special effect light show culminating in a meeting of cosmic importance, audiences once again proved receptive.
I found the most interesting chapter to be on Spielberg's first flop 1941. Written by Robert Zemeckis and Bob Gale who would go on to write the Back to the Future movies, 1941 was conceived as an absurdist dark comedy about paranoia on the West Coast following the attack on Pearl Harbor. With a big budget and a large cast, Spielberg admits he let the project go off the rails. Loud and irreverent, it exemplifies the excess of late '70s Hollywood. But it's aged well, with an eclectic cast including John Belushi, Toshiro Mifune, and Christopher Lee, the incredible set pieces are a testament to the analog era of moviemaking.
Raiders of the Lost Ark marked Spielberg's first collaboration with George Lucas. Made as a course correction after his first flop, Spielberg made the film under budget and ahead of schedule. As a period flavored action film with supernatural elements, Raiders became an instant blockbuster, and Spielberg recalls it as one of his favorite experiences as a director.
Bouzerau concludes the book with E.T. The Extraterrestrial, a film which marked a turning point in Spielberg's career, is a culmination of sorts. A more intimate version of Close Encounters, with a visitor from space arriving who heals a broken family. All the Spielberg themes of family struggles, returning home, and coming of age are expressed in the most universal way possible. A life changing experience in terms of his career and personal life.
Spielberg: The First Ten Years adds depth and insight to the early years of Spielberg, an in-depth look at creativity and inventiveness.
December 9, 2023
There is no shortage of books on Steven Spielberg or the many classics that he has directed since breaking into show business in the early 1970s.
This fact would surprise no one, and yet the latest entry in the catalog of Spielberg texts is one that any fan of the director or his early cinematic triumphs would be remiss to pass up.
Laurent Bouzereau’s decade-long retrospective, Spielberg: The First Ten Years, is a sumptuous coffee table book that contains just as much steak as it does sizzle. With entries starting with his early made-for-TV film Duel, his first theatrical release The Sugarland Express, the original summer blockbuster Jaws, the sci-fi epic Close Encounters of the Third Kind, the forgotten John Belushi comedy 1941, the introduction of Indiana Jones to the world in Raiders of the Lost Ark, and the heart-breaking and life-affirming E.T. The Extra-Terrestrial, The First Ten Years captures an astounding start to Spielberg’s career.
Bouzereau, Spielberg’s documentarian for over three decades who collaborated with Lucasfilm historian J.W. Rinzler on 2008’s The Complete Making of Indiana Jones: The Definitive Story Behind All Four Films and 2021’s West Side Story: The Making of the Steven Spielberg Film, dives into each film as a fan, critic, and archivist. This tri-tiered approach makes his connection to the material match more relatable, and offers a style that appeals to a wider audience, without losing any of the insight that he is known for.
In addition to Bouzereau’s history lessons and analysis, the book offers many interviews with the director himself, and Bouzereau asks all the right questions that allow the filmmaker to fully explain his process and the trials and tribulations from each stop in his early career.
The beautiful photographs enhance, but do not overwhelm the writing, and the book strikes a healthy balance between the written word and the visual exposés. Many other coffee table books skimp on the true story of the film(s), or try to tell the story primarily through photographs and artwork, so it is nice to see both mediums being given equal space in The First Ten Years.
The book is also chock-full of archival reproductions of promotional materials, posters, and even a Jaws envelope. If you’re like me, you will probably leave all of these items in the book, but they are easily detached if you are the type of fan that wants to display them in your home or office.
While some may assume that Jaws gets more page space than 1941, this is not the case here (and having said that, I think all of us are waiting for a Jaws specific book) and Bouzereau goes out of his way to make each film’s entry equally engaging and informative (in fact, many of the entries will probably send you back to your home video collection to rewatch them again).
As an added bonus, the book opens with a foreword by composer John Williams and an introduction by George Lucas,
Spielberg: The First Ten Years is a beautiful retrospective and one that any fan of cinema is sure to appreciate. And if you happen cherish Spielberg the same way that Bouzereau does, you’ll be in for a real treat.
Read more reviews right here: https://conskipper.com/
This fact would surprise no one, and yet the latest entry in the catalog of Spielberg texts is one that any fan of the director or his early cinematic triumphs would be remiss to pass up.
Laurent Bouzereau’s decade-long retrospective, Spielberg: The First Ten Years, is a sumptuous coffee table book that contains just as much steak as it does sizzle. With entries starting with his early made-for-TV film Duel, his first theatrical release The Sugarland Express, the original summer blockbuster Jaws, the sci-fi epic Close Encounters of the Third Kind, the forgotten John Belushi comedy 1941, the introduction of Indiana Jones to the world in Raiders of the Lost Ark, and the heart-breaking and life-affirming E.T. The Extra-Terrestrial, The First Ten Years captures an astounding start to Spielberg’s career.
Bouzereau, Spielberg’s documentarian for over three decades who collaborated with Lucasfilm historian J.W. Rinzler on 2008’s The Complete Making of Indiana Jones: The Definitive Story Behind All Four Films and 2021’s West Side Story: The Making of the Steven Spielberg Film, dives into each film as a fan, critic, and archivist. This tri-tiered approach makes his connection to the material match more relatable, and offers a style that appeals to a wider audience, without losing any of the insight that he is known for.
In addition to Bouzereau’s history lessons and analysis, the book offers many interviews with the director himself, and Bouzereau asks all the right questions that allow the filmmaker to fully explain his process and the trials and tribulations from each stop in his early career.
The beautiful photographs enhance, but do not overwhelm the writing, and the book strikes a healthy balance between the written word and the visual exposés. Many other coffee table books skimp on the true story of the film(s), or try to tell the story primarily through photographs and artwork, so it is nice to see both mediums being given equal space in The First Ten Years.
The book is also chock-full of archival reproductions of promotional materials, posters, and even a Jaws envelope. If you’re like me, you will probably leave all of these items in the book, but they are easily detached if you are the type of fan that wants to display them in your home or office.
While some may assume that Jaws gets more page space than 1941, this is not the case here (and having said that, I think all of us are waiting for a Jaws specific book) and Bouzereau goes out of his way to make each film’s entry equally engaging and informative (in fact, many of the entries will probably send you back to your home video collection to rewatch them again).
As an added bonus, the book opens with a foreword by composer John Williams and an introduction by George Lucas,
Spielberg: The First Ten Years is a beautiful retrospective and one that any fan of cinema is sure to appreciate. And if you happen cherish Spielberg the same way that Bouzereau does, you’ll be in for a real treat.
Read more reviews right here: https://conskipper.com/
July 27, 2025
I have very conflicted feelings about this book. On the one hand, going film by film for each of Spielberg's first ten years is fantastic, and every chapter has an interview with the director talking about each movie. And there are lots of cool behind the scenes photos. All that stuff is great. Five stars.
But the first half of each chapter is devoted to the author's personal recollections, and, no offense to him, but I truly did not care. I didn't care about his personal experiences watching these movies, and I certainly didn't need behind the scenes stories about him making extra features for special edition DVD releases. Stephen Spielberg is the subject here, not Laurent Bouzereau. This extends to many of the images included in the book, which are pulled from the author's own collection. Sometimes they're personalized headshots to the author, which is fine. But I'm sorry, I don't care about French lobby cards. Those are basically poorly blown up film stills, and felt like filler. The book also has some reproduced "artifacts" which are glued onto the book. I found those to be an unnecessary impediment to actually reading the text, and I'm not sure why the publisher bothered including them.
But again, the interviews with Spielberg: very good! It's everything else I could have done without.
But the first half of each chapter is devoted to the author's personal recollections, and, no offense to him, but I truly did not care. I didn't care about his personal experiences watching these movies, and I certainly didn't need behind the scenes stories about him making extra features for special edition DVD releases. Stephen Spielberg is the subject here, not Laurent Bouzereau. This extends to many of the images included in the book, which are pulled from the author's own collection. Sometimes they're personalized headshots to the author, which is fine. But I'm sorry, I don't care about French lobby cards. Those are basically poorly blown up film stills, and felt like filler. The book also has some reproduced "artifacts" which are glued onto the book. I found those to be an unnecessary impediment to actually reading the text, and I'm not sure why the publisher bothered including them.
But again, the interviews with Spielberg: very good! It's everything else I could have done without.
February 10, 2024
I love this period during Spielberg's career. I watch Jaws and Close Encounters every year. I also really like 1941, but I was 8 or 9 years of age when it used to run on cable in the early 1980s and didn't understand it. I just remember liking the goofy humor, especially John Belushi. Now in my middle age, I really appreciate the film. There's a lot great moments in it. I saw Sugarland Express later in my life, and I was blown away how great of film it is. Just amazing. You can totally see how European art house cinema was influencing all those young filmmakers during the early 1960s and 1970s. I overall enjoyed Bouzereau's book and highly recommend it.
September 25, 2025
Started this a while ago and was going to revisit each of Spielberg's movies while going through it, but I ended up just powering through the last few entries this afternoon. Absolutely will never tire of thinking about these films, even when I'm not actively revisiting them, and Spielberg's interviews here may be somewhat repetitive for those who've followed his career, but it's invaluable to have all of his thoughts collected in one space, and the ephemera included throughout - photographs and reproductions of memos and the like - is incredible.
July 26, 2024
The author seems to talk a lot about his personal experiences with Spielberg’s movies and not a whole lot about the man himself or the making of the movies which I found kind of annoying. The interviews absolutely come in clutch, however, and make this a must-read for any filmbro. Perfect coffee table material.
The pull-out posters and memorabilia are pretty neat too, but I was kind of afraid to move them to read the page, as I was afraid they’d fall off.
The pull-out posters and memorabilia are pretty neat too, but I was kind of afraid to move them to read the page, as I was afraid they’d fall off.
January 30, 2025
Might get a little too fawning and the writer inserts himself a bit too much. But it's a great way to revisit some of the most beloved films of all time. The photos and inserts are a lot of fun, and the interviews with Spielberg for each film are wonderful and reveal some great insights and surprises on each film. I wouldn't complain if they wanted to do more books for each decade Spielberg has been working.
July 7, 2024
Each chapter (which is about a movie) comes with an interview of Spielberg about the movie, which all are very interesting, full of trivia and everything. The book is also rich in nice pictures, and has copies of interesting artifacts.
What I retain from this book is that a good movie is the result of good preparation, good judgments, and of course talent. Spielberg has all of these.
What I retain from this book is that a good movie is the result of good preparation, good judgments, and of course talent. Spielberg has all of these.
August 25, 2024
I applaud the formatting of the photos and all of the facsimile inserts.
Yet the highlight is the volume of reflections and b-side materials shared by Spielberg, which clearly came from Bouzereau cultivating a productive vibe in the interviews and editing processes!
Yet the highlight is the volume of reflections and b-side materials shared by Spielberg, which clearly came from Bouzereau cultivating a productive vibe in the interviews and editing processes!
September 23, 2025
The perfect book for this Spielberg fan, film history enthusiast, and movie nerd. The book is filled with great insights, new perspectives, and personal anecdotes. Highly recommend watching each film after each chapter on that film.
November 30, 2023
A treasure trove for Spielberg fans.
Displaying 1 - 13 of 13 reviews