{"id":4887,"date":"2022-09-09T19:01:24","date_gmt":"2022-09-09T19:01:24","guid":{"rendered":"https:\/\/brooksvision.com\/staging\/?p=4887"},"modified":"2022-09-09T19:15:29","modified_gmt":"2022-09-09T19:15:29","slug":"steven-spielberg-movies-filmmaking-style-techniques","status":"publish","type":"post","link":"https:\/\/brooksvision.com\/staging\/blog\/steven-spielberg-movies-filmmaking-style-techniques\/","title":{"rendered":"Steven Spielberg Movies \u2014 Filmmaking Style &#038; Techniques"},"content":{"rendered":"<p>You\u2019ve seen many Steven Spielberg movies in your time. Despite his popularity, it can be difficult to pinpoint what defines Steven Spielberg directing style. Perhaps his control of the medium is so natural and intuitive, his trademarks and cinematography techniques go unnoticed in a good way. We get lost in a Spielberg movie in a way that\u2019s like no other filmmaker, which might just make him the greatest of all time. In this article, you\u2019ll learn how a young Steven Spielberg climbed his way up from his first feature, <em>Duel<\/em>, up to his current work. Along the way, we\u2019ll analyze Spielberg\u2019s cinematic DNA to see if we can discover what makes his films so beloved.<\/p>\n<div class=\"thrv_wrapper thrv-page-section sb-width1000 sb-margin100 sb-style\">\n<div class=\"tve-page-section-in tve_empty_dropzone\">\n<div class=\"tve_wp_shortcode thrv_wrapper tve_draggable par-first\">\n<div class=\"tve_shortcode_rendered\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"thrv_wrapper thrv-page-section sb-sv sb-max-width\" data-css=\"tve-u-16d2d0d2933\">\n<div class=\"tve-page-section-out with-bg-image\" data-css=\"tve-u-16d2d0d2932\">\n<h2 class=\"\"><span style=\"color: #ff9900;\">STEVEN SPIELBERG BIOGRAPHY<\/span><\/h2>\n<h3 class=\"\">Who is Steven Spielberg?<\/h3>\n<p>Let\u2019s briefly touch on Steven Spielberg the person.<\/p>\n<p><a href=\"https:\/\/www.studiobinder.com\/tag\/steven-spielberg\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">Steven Spielberg<\/a>\u00a0was born in Cincinnati, Ohio. His mother owned restaurants and played concert piano while his father worked as an electrical engineer in the early years of computers.<\/p>\n<h5 class=\"\">Young Steven Spielberg<\/h5>\n<p>Spielberg grew up in Phoenix, Arizona. He was a Boy Scout and earned his photography merit badge by making a short film. The family later moved to Saratoga, California where Spielberg graduated high school.<\/p>\n<h5 class=\"\">Steven Spielberg College &amp; Education<\/h5>\n<p>He moved to L.A. with his father and applied to USC film school. He was rejected \u201cdue to his poor grades.\u201d He was accepted to Cal State Long Beach and then earned an unpaid internship at Universal Studios in the editing department. He then made a 34-minute short film,\u00a0<em>Amblin\u2019<\/em>.<\/p>\n<p>The film was good enough to earn him a seven-year directing contract from Universal vice president, Sidney Sheinberg. This inspired Spielberg to drop out of college \u2014 though he would return and graduate in 2002.<\/p>\n<p><iframe loading=\"lazy\" title=\"SPIELBERG Official Trailer (HD) HBO Original Documentary\" width=\"1060\" height=\"596\" src=\"https:\/\/www.youtube.com\/embed\/ex4xn2WqpAI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<h5 class=\"\">Steven Spielberg Facts<\/h5>\n<p>Collectively, his films have grossed more than any other director in history, and his net worth is $3.7 billion. His production company, Amblin Partners, oversees productions through shingles including DreamWorks Pictures, Participant Media and Amblin Entertainment.<\/p>\n<p>So, let\u2019s jump into his filmmaking style and cinematography techniques.<\/p>\n<h2 class=\"\"><span style=\"color: #ff9900;\"><strong>STEVEN SPIELBERG PRODUCTION DESIGN<\/strong><\/span><\/h2>\n<h3 class=\"\"><strong>Set the scene with production design<\/strong><\/h3>\n<p>One thing I\u2019ve noticed about many scenes in the\u00a0<a class=\"tve-froala\" href=\"https:\/\/www.studiobinder.com\/blog\/best-steven-spielberg-movies-ranked\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">best Steven Spielberg films<\/a>\u00a0is that they very often begin with\u00a0<a class=\"tve-froala\" href=\"https:\/\/www.studiobinder.com\/filmmaking-techniques-production-design-tips\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">production design<\/a>\u00a0elements. In other words, the scene will start with a particular prop or piece of set dressing that helps contextualize the scene immediately.<\/p>\n<p>It\u2019s also a nice visual reset for the viewer, so that way we all know we\u2019re beginning a new scene. Sometimes this opening shot can add context to the overall story, especially when combined with the previous scene.<\/p>\n<p>For example, in this scene from\u00a0<em>Jurassic Park<\/em>, the film transitions to a completely different\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/what-is-the-setting-of-a-story\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">setting<\/a>\u00a0but helps us focus on the essence of the scene first. This tells us very quickly where we are, who we\u2019re about to meet, and what this scene is ultimately about.<\/p>\n<p>That way, the audience is bombarded with new setting, new characters, and dialogue that might confuse or disorient them.<\/p>\n<p><iframe loading=\"lazy\" title=\"Jurassic Park Dig Site\" width=\"1060\" height=\"596\" src=\"https:\/\/www.youtube.com\/embed\/yVCkuJFnA4k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<div class=\"thrv_wrapper thrv_text_element tve-froala fr-box fr-basic\">\n<p>It\u2019s nice to see little details as well, and it shows an appreciation for the work and for science in general. We get an establishing shot that shows us very little of the surrounding area, but we understand the purpose.<\/p>\n<h2 class=\"\"><span style=\"color: #ff9900;\"><strong>STEVEN SPIELBERG PERFORMANCE BLOCKING<\/strong><\/span><\/h2>\n<h3 class=\"\"><strong>Build kinetic and subtextual blocking\u00a0<\/strong><\/h3>\n<p>Steven Spielberg movies use performance\u00a0<a class=\"tve-froala\" href=\"https:\/\/www.studiobinder.com\/blog\/blocking-and-staging-scenes\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">blocking<\/a>\u00a0that moves the actors through the scene. Spielberg mainly does this for two reasons:<\/p>\n<ul class=\"\">\n<li>Provide kinetic energy<\/li>\n<li>Inform on a subtextual level<\/li>\n<\/ul>\n<p>As the mood and stakes of a scene change, so will the positioning of the actors. Visual choices are the lifeblood of a film director, and while sound and music can signal emotional information, the best visual tool is an actor\u2019s physical movement and location relative to the camera.<\/p>\n<p>This scene from\u00a0<em>Lincoln\u00a0<\/em>begins on the letter (which supports the previous example) but watch the blocking in the scene. Stephens (Jack Earle Haley) begins with his back turned to Grant, a sign of disrespect. When he turns, Grant (Jared Harris) is towering over him, and right in his face, but still polite.<\/p>\n<p>There are more men on the Union side compared to the confederate side, which suggests that the war is not going well for the South. Grant walks away after relaying the \u2018disappointing\u2019 news to Stephens. Grant takes his tea and discusses peace. Then he explains how there is just one country \u2014 not two.<\/p>\n<\/div>\n<div class=\"thrv_responsive_video thrv_wrapper sb-marginbottom15 sb-margintop80\" data-type=\"youtube\" data-rel=\"0\" data-url=\"https:\/\/www.youtube.com\/watch?v=ZSS5SscrLoU\">\n<div class=\"tve_responsive_video_container\">\n<div class=\"video_overlay\">\n<p>Spielberg then breaks the\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/what-is-the-180-degree-rule-film\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">180 degree rule<\/a>\u00a0just as Grant finishes his point and gives Stephens a conciliatory pat on the shoulder.<\/p>\n<p>Then Grant crosses the room to sit down and drink his tea. He has made his point and is both confident and relaxed enough to sit down. Most would think that sitting down is a sign of weakness, but Spielberg knows that, in this case, it\u2019s a sign of stability. It\u2019s a sign of calm resolve.<\/p>\n<h2 class=\"\"><span style=\"color: #ff9900;\">STEVEN SPIELBERG SHOT COMPOSITION<\/span><\/h2>\n<h3 class=\"\">Create shots with many compositions<\/h3>\n<p>Great directors don\u2019t simply build a single shot. They build many shots within a single shot, alternating between\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/what-is-composition-in-art-definition\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">compositions<\/a>. This really is one of the best Steven Spielberg trademarks because the change in\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/types-of-camera-shots-sizes-in-film\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">shot size<\/a>:<\/p>\n<ul class=\"\">\n<li>Evokes emotion<\/li>\n<li>Directs attention<\/li>\n<li>Keeps things interesting<\/li>\n<\/ul>\n<p>Often, the goal is to create a willing suspension of disbelief in the viewer, especially with the kind of movies directed by Steven Spielberg. He can\u2019t risk pulling the viewer out of important moments with a jarring cut.<\/p>\n<p>This fluid cinematography technique isn\u2019t easy to achieve, and requires a lot of practice, rehearsals, and a talented\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/film-crew-positions\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">film crew<\/a>. That doesn\u2019t mean it\u2019s impossible, but you should plan composition shifts in a shot list.<\/p>\n<p>Check out the storyboard below made using\u00a0<a href=\"https:\/\/www.studiobinder.com\/storyboard-creator\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">StudioBinder&#8217;s storyboard software<\/a>, where we split a single shot into the various compositions.\u00a0This scene is from\u00a0<a class=\"tve-froala\" href=\"https:\/\/www.studiobinder.com\/tag\/munich\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\"><em>Munich<\/em><\/a>, and this specific portion is the run up to the first assassination in the movie.<\/p>\n<p>Avner and his team follow this member of Black September before dispatching of him in an elevator lobby.<\/p>\n<p><iframe loading=\"lazy\" title=\"Munich - Rome Assassination (1080p HD)\" width=\"1060\" height=\"596\" src=\"https:\/\/www.youtube.com\/embed\/DIN-_5mFgto?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<div class=\"thrv_wrapper thrv_text_element tve-froala fr-box fr-basic\">\n<p>Spielberg uses\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/what-is-a-zoom-shot-definition\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">zoom shots<\/a>\u00a0and fluid\u00a0<a class=\"tve-froala\" href=\"https:\/\/www.studiobinder.com\/blog\/different-types-of-camera-movements-in-film\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">camera movement<\/a>\u00a0to shift shot composition throughout a single camera setup. It switches from a\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/what-is-a-full-shot-in-film-definition\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">full shot<\/a>, to a\u00a0<a class=\"tve-froala\" href=\"https:\/\/www.studiobinder.com\/blog\/medium-shot-examples\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">medium shot<\/a>, to a\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/medium-close-up-shot\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">medium close<\/a>, to a\u00a0<a class=\"tve-froala\" href=\"https:\/\/www.studiobinder.com\/blog\/wide-shot-camera-angles-movements-examples\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">long shot<\/a>, and back to medium close \u2014 all without cutting.<\/p>\n<p>This camera work is distinct to a style used in many 1970s espionage films and it transports the viewer. Spielberg&#8217;s movies are truly amazing.<\/p>\n<p>In this video, we look at how Spielberg shoots &#8216;oners&#8217; in\u00a0<em>Jurassic Park<\/em>. Again, they&#8217;re not just long takes for their own sake. They help give the visuals energy while luring the audience into the scene.<\/p>\n<\/div>\n<div class=\"thrv_responsive_video thrv_wrapper sb-marginbottom15 sb-margintop80\" data-type=\"youtube\" data-rel=\"0\" data-url=\"https:\/\/youtu.be\/xeKIsQV8x40\" data-aspect-ratio=\"16:9\" data-aspect-ratio-default=\"0\" data-float-visibility=\"mobile\" data-float-position=\"top-left\" data-float-width-d=\"300px\" data-float-padding1-d=\"25px\" data-float-padding2-d=\"25px\">\n<div class=\"tve_responsive_video_container\">\n<div class=\"tcb-video-float-container\">\n<div class=\"rll-youtube-player\" data-src=\"https:\/\/www.youtube.com\/embed\/xeKIsQV8x40\" data-id=\"xeKIsQV8x40\" data-query=\"rel=0&amp;modestbranding=0&amp;controls=1&amp;showinfo=1&amp;fs=1&amp;wmode=transparent\">\n<h2 class=\"\"><span style=\"color: #ff9900;\">STEVEN SPIELBERG FILMMAKING STYLE<\/span><\/h2>\n<h3 class=\"\">Move the camera in XYZ Space<\/h3>\n<p>One of the most important cinematography techniques used in Steven Spielberg movies is also one of the least discussed. Spielberg and his team find a way to move the camera in every direction.<\/p>\n<p>They don\u2019t track laterally, or\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/dolly-shot-camera-movements\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">dolly in<\/a>, or\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/crane-shot-definition\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">crane up and down<\/a>\u00a0\u2014 they do all of these in a single shot. The movement is complemented by the performance blocking, production design, and background elements.<\/p>\n<p><iframe loading=\"lazy\" title=\"Saving Private Ryan: Final Battle Sequence (Movie Clip)\" width=\"1060\" height=\"596\" src=\"https:\/\/www.youtube.com\/embed\/1BCbd7EFczg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<div class=\"thrv_wrapper thrv_text_element\">\n<p>This filmmaking style supports the sort of cinematic adventure film Spielberg makes, but also the mature and dramatic films as well.<\/p>\n<p>The change in speed is a defining factor, as well as the equipment used to achieve the camera movement. He also builds a static lens plot, explained in the video below:<\/p><\/div>\n<div class=\"thrv_responsive_video thrv_wrapper sb-marginbottom15 sb-margintop80\" data-type=\"youtube\" data-rel=\"0\" data-url=\"https:\/\/www.youtube.com\/watch?v=KdWdlM9x9l4\">\n<div class=\"tve_responsive_video_container\">\n<div class=\"video_overlay\"><\/div>\n<div class=\"df-video-container\">\n<div class=\"df-video-container\">\n<div class=\"df-video-container\">\n<div class=\"df-video-container\">\n<div class=\"df-video-container\">\n<div class=\"rll-youtube-player\" data-src=\"https:\/\/www.youtube.com\/embed\/KdWdlM9x9l4\" data-id=\"KdWdlM9x9l4\" data-query=\"rel=0&amp;modestbranding=0&amp;controls=1&amp;showinfo=1&amp;fs=1&amp;wmode=transparent&amp;start=undefined&amp;enablejsapi=1&amp;origin=https:%2F%2Fwww.studiobinder.com\">\n<p>Steven Spielberg built a static lens plot in\u00a0<em>Schindler\u2019s List<\/em>, and completely avoided using a techno-crane on the film because he wanted to ground the viewer inside the tragic events of the Holocaust.<\/p>\n<p>To use fast and opulent camera sweeps across the ghettos and concentration camps would have been completely tone-deaf, and inadvertently glorified their use. Be thoughtful with your camera.<\/p>\n<h2 class=\"\"><span style=\"color: #ff9900;\">STEVEN SPIELBERG CAMERA MOVEMENT<\/span><\/h2>\n<h3 class=\"\">Perfect motivated camera movement<\/h3>\n<p>To continue on the topic of camera movement, Spielberg is the king of motivated camera movement. The operative word here is\u00a0motivated.<\/p>\n<p>If a character reaches down to grab something\u2026Spielberg may\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/tilt-shot-in-film\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">tilt<\/a>\u00a0down to show us the action.<\/p>\n<p>If a side character calls out to the main character&#8230;Spielberg may\u00a0<a class=\"tve-froala\" href=\"https:\/\/www.studiobinder.com\/blog\/what-is-a-camera-pan-definition\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">pan<\/a>\u00a0over to show who called out.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"df-video-container\">\n<div class=\"df-video-container\">\n<div class=\"df-video-container\">\n<div class=\"df-video-container\">\n<div class=\"df-video-container\">\n<div class=\"rll-youtube-player\" data-src=\"https:\/\/www.youtube.com\/embed\/ZSS5SscrLoU\" data-id=\"ZSS5SscrLoU\" data-query=\"rel=0&amp;modestbranding=0&amp;controls=1&amp;showinfo=1&amp;fs=1&amp;wmode=transparent&amp;start=undefined&amp;enablejsapi=1&amp;origin=https:%2F%2Fwww.studiobinder.com\">\n<div class=\"thrv_wrapper thrv_text_element\">\n<p>The reason I say \u2018may\u2019 is because some moments won\u2019t need this particular cinematography technique, but it\u2019s a trademark of Steven Spielberg filmmaking that helps to define his special style.<\/p>\n<p>If you want to incorporate the style used by Steven Spielberg movies, this is one trademark you can use in your next project. Consider finding moments in your script that call for motivated camera movement.<\/p>\n<h2 class=\"\"><span style=\"color: #ff9900;\"><strong>STEVEN SPIELBERG MOVIES<\/strong><\/span><\/h2>\n<h3 class=\"\"><strong>Use eye trace to direct the viewer<\/strong><\/h3>\n<p><a href=\"https:\/\/www.studiobinder.com\/blog\/walter-murch-rule-of-six\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">Eye trace<\/a>\u00a0is the term for directing the viewer\u2019s eyes through movement, light, color, and any other method that isn\u2019t an actual\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/what-is-a-film-cut-definition\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">cut<\/a>. You can use eye trace to carry directing through a cut, but this is different than physically cutting to say, an\u00a0<a href=\"https:\/\/www.studiobinder.com\/blog\/insert-shot-film-example\/\" target=\"_blank\" rel=\"noopener\" data-wpel-link=\"internal\">insert shot<\/a>\u00a0of a scene element.<\/p>\n<p>Really pay attention as you take a look at this scene:<\/p>\n<p><iframe loading=\"lazy\" title=\"Schindler&#039;s List || Oskar Schindler Intro\" width=\"1060\" height=\"596\" src=\"https:\/\/www.youtube.com\/embed\/itOBJdtBoKM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<div class=\"thrv_responsive_video thrv_wrapper sb-marginbottom15 sb-margintop80\" data-type=\"youtube\" data-rel=\"0\" data-url=\"https:\/\/www.youtube.com\/watch?v=itOBJdtBoKM\">\n<div class=\"tve_responsive_video_container\">\n<div class=\"video_overlay\"><\/div>\n<div class=\"df-video-container\">\n<div class=\"df-video-container\">\n<div class=\"df-video-container\">\n<div class=\"df-video-container\">\n<div class=\"df-video-container\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"tve-page-section-in tve_empty_dropzone sb-width1000\" data-css=\"tve-u-18257f08d45\">\n<div class=\"thrv_wrapper tve_image_caption\" data-css=\"tve-u-16d2d0d2935\">\n<div class=\"thrv_wrapper thrv_text_element\">\n<p>Go back and really watch how every decision \u2014 the money, the blocking, the waiter moving through the room is strategically built to move our eyes (and the eyes of the characters) toward Oskar Schindler.<\/p>\n<p>This is a classic Steven Spielberg trademark \u2014 directing your eyes.<\/p>\n<h2 class=\"\"><span style=\"color: #ff9900;\">STEVEN SPIELBERG TRADEMARKS<\/span><\/h2>\n<h3 class=\"\">Have characters enter and exit frame<\/h3>\n<p>One of the main things I notice about Steven Spielberg movies is how he constantly has actors entering and exiting the frame. He does this with important characters \u2014 not simply background actors.<\/p>\n<p>This cinematography technique does a few things. It gives the scene visual variety, suggests a world outside the frame, and allows us to focus on fewer characters.<\/p>\n<p>A big part of this isn\u2019t just beginning or ending scenes with characters entering and exiting the frame. But also doing it in the middle of the scenes. Filmmakers are often so fixated (as they should be) on the imagery that will be on screen that they almost psychologically block out the idea that the space around the characters even exists.<\/p>\n<p>If you want to emulate the Steven Spielberg directing style, make sure to have characters enter and exit the frame to intro scenes, to punctuate scenes, but also everywhere in between.<\/p>\n<\/div>\n<div class=\"thrv_wrapper thrv_symbol thrive-shortcode thrv_symbol_65903\" data-shortcode=\"thrive_symbol\" data-id=\"65903\">\n<div class=\"thrive-shortcode-html thrive-symbol-shortcode \" data-symbol-id=\"65903\">\n<div class=\"thrv_wrapper thrv_contentbox_shortcode thrv-content-box\">\n<div class=\"tve-content-box-background\"><\/div>\n<div class=\"tve-cb\">\n<div class=\"thrv_wrapper thrv-divider\" data-style=\"tve_sep-1\" data-thickness=\"1\" data-color=\"rgb(220, 227, 235)\" data-css=\"tve-u-16b34016f91\">\n<hr class=\"tve_sep tve_sep-1\" \/>\n<\/div>\n<div class=\"thrv_wrapper thrv_text_element\" data-css=\"tve-u-16b34016f92\" data-tag=\"h2\"><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>You\u2019ve seen many Steven Spielberg movies in your time. Despite his popularity, it can be difficult to pinpoint what defines Steven Spielberg directing style. Perhaps his control of the medium is so natural and intuitive, his trademarks and cinematography techniques go unnoticed in a good&#8230;<\/p>\n","protected":false},"author":1,"featured_media":4888,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":[],"categories":[316],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.12 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Steven Spielberg Movies \u2014 Filmmaking Style &amp; Techniques - BrooksVision Inc.<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/brooksvision.com\/staging\/blog\/steven-spielberg-movies-filmmaking-style-techniques\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Steven Spielberg Movies \u2014 Filmmaking Style &amp; Techniques - BrooksVision Inc.\" \/>\n<meta property=\"og:description\" content=\"You\u2019ve seen many Steven Spielberg movies in your time. Despite his popularity, it can be difficult to pinpoint what defines Steven Spielberg directing style. 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