He is an American film director, producer and screenwriter.
Steven Spielberg Biography
Of the generation of directors that emerged throughout the 1970s, he is the clearest example of the harmonic conjunction between talent and commercial vision.
In a short period of time he went from being one of many television directors to a top director, responsible for some of the greatest successes in the history of cinema.
Unlike his generation peers, he did not finish college; his cinephilia, however, was no less passionate and deep than theirs and he also contributed his immense narrative talent and his no less immense nose to anticipate and inaugurate the paths that the new trends of the genres had to follow in the new Hollywood.
After starting a philology degree at California State University, he dropped out of school when he was hired by the television division of the Universal production company; This happened, according to legend, after being surprised one night while he was prowling around the studio sets.
Steven Spielberg Career
Shortly after, he began directing episodes of series such as Marcus Welby and Colombo , but the unexpected success of the film version of his telefilm El diablo sobre Ruedas (1972) opened the doors of the big screen for him.
Devil on Wheels is a brilliant exercise in abstract suspense, indebted to some of Hitchcock ‘s most prominent obsessions , in which a motorist finds himself tenaciously besieged on a desert highway by a huge trailer with murderous intent.
The expertise shown in this feature debut allowed him to continue, and after the poor result of Loca evasión (1974), a road movie already made expressly for the big screen, he laid the first stone of his multimillion-dollar career with Jaws (1975), an adaptation of a best seller by Peter Benchley in which he once again demonstrated his mastery of suspense and his ability to play with the emotions of the viewer, especially on the basis of the terrifying.
What differentiates Jaws from other films in his genre, however, is its careful classical atmosphere, the evocation of the classic adventure genre, the aftertaste of “group” films made by the classic Howard Hawks .
The action takes place in Amity, a small town on the East Coast of the United States that lives essentially from tourism.
Although there have been clear signs that a shark is stalking the coast, the interests of the merchants and hoteliers force the mayor not to accept the recommendation of the police chief to temporarily close the beaches.
The disaster is not long in coming, and one day, in front of the eyes of all the bathers, a child is devoured by a shark. The police chief closes off the beach and asks an oceanographer for help, who confirms, after an autopsy, that it may be a large white shark.
The two men will go on a shark hunt together with a sullen and seasoned fisherman, Sam Quint, who will soon evoke in the viewer Captain Ahab, obsessed with killing Moby Dick in the immortal novel byHerman Melville .
With Jaws , he began a reign of blockbusters and defined a new approach to spectacle cinema that married entertainment with quality.
The film, with a big budget and extremely eventful shooting, became one of the highest-grossing titles in history and established the modern blockbuster model, with high marketing costs and special effects.
But the film not only relied on this asset. Scenes like the opening one, in which a bather swims in the sea at night until she is attacked, and which is accompanied by memorable music by John Williams, or the drunkenness of the three protagonists in the cabin while waiting to meet the monster, certify the immense quality of Jaws , a modern and overwhelming classic that, of course, would spawn numerous sequels of limited interest.
After Jaws , Spielberg entered the constellation of myths by making Encounters of the Third Kind (1977), a revision of the science-fiction genre after Star Wars that shows the path that a good part of the production will follow when replacing the terrifying tone due to a surrendered fascination with the ability of cinema to amaze and arouse the emotions of the audience.
The way in which the enormous mother ship of the aliens is presented in the last section of the film (impressive display of special effects) says a lot about a director always obsessed with recovering for the cinemathe virgin emotion of a child absorbed by the grandeur and magic of what is shown on the screen (a theme that will recur in his later work in titles such as Hook or Jurassic Park ).
After the commercial failure of the ambitious wartime farce 1941 (1979), his talent joined with that of fellow dreamer George Lucas to build one of the most successful projects in contemporary entertainment cinema: Raiders of the Lost Ark (1981 ). 
The attempt to recover the atmosphere and the emotion of the old adventure films (here breathes, in part, the spirit of Star Wars) finds in the magnificent character of Indiana Jones, the archaeologist with great facility for getting into innumerable dangers, a prop to return to the screens the improbable and prodigious mood of the serials of the 30s.
He built a fascinating roller coaster in which the viewer follows, with emotion, all the dangers that lie in wait for Indy Jones, from a tribe of indigenous Peruvians to a group of fearsome snakes.
To play the protagonist, him and Lucas had thought of the television Tom Selleck, but his contract with the Magnum series prevented him from accepting a role that he would end up falling, as a divine gift, to Harrison Ford .
His great ability to mimic the special vibration of classic cinema (the suspense, the speed, the limpidity of the staging) makes him one of the most skilful creators of his time; the successive episodes of the series, Indiana Jones and the Doomed Temple (1984) and Indiana Jones and the Last Crusade (1989) delve even deeper into the sense of understanding cinema as a great toy for a child-adult who discovers at every moment that everything is possible within one screen.
Collect the Indiana Jones father figure (formidable Sean Connery) in search of the Holy Grail in the third chapter of the trilogy represents, in addition to a new parallel with Lucas’s galactic saga, the ideal end of the journey for a filmmaker clearly determined to find the grail of emotions lost in the dream of the childhood.
No less relevant was ET, the extraterrestrial(1982), a science fiction religious fable that would become the highest-grossing film to date. The story begins with the arrival on Earth of a peaceful mission of alien botanists, who have come to collect plant samples.
But they are discovered and, in the hasty flight, one of the members of the expedition stays on the ground. Alone, lost and scared, the alien takes refuge in a barn, where he is discovered by Elliot, a ten-year-old boy, who decides to hide him in his house and baptizes him as ET The alien begins his learning about life on Earth, but he misses his planet and wants to return. 
Elliot’s gang of friends, who are in on the secret, decide to help him get back to “his house” from him. The army discovers the secret and captures ET for his study.
A superb and intelligent spectacle that reaches directly to the viewer’s heart, the film immediately transcended the purely cinematographic sphere to become a social phenomenon.
However, the Hollywood Academy continued without surrendering at the feet of the new “King Midas” of cinema and awarded him four Oscars of the so-called minors: visual effects directed by Dennis Muren, sound, sound effects and music.
He, who also produced the film, wanted above all to entertain and move, although without giving up making an anti-racist plea in favor of tolerance and solidarity between different beings.
Part of the success is due to the design of the little alien (the work of the Italian Carlo Rambaldi, who had already worked on Alien), who manages to exude tenderness and sympathy, as well as having great expressive capacity.
After ET, the extraterrestrial , he alternated his role as producer with that of director, with greater success in the former ( Poltergeist , 1982; Gremlins , 1984; or the three installments of Back to the Future , directed by Robert Zemeckis ) than in the latter second ( The Purple Color , 1985; The Empire of the Sun , 1987), films in which he tried to address dramatic issues such as racism or the initiatory path of childhood and that were not to the liking of critics or the public.
A year later he would join forces with two other prominent figures in the entertainment industry (producer Jeffrey Katzenberg and record mogul David Geffen) to found the Dreamworks film studios.
Also in the 1990s, he sparked a worldwide explosion of “dinomania” with Jurassic Park (1993) and The Lost World (1997), based on the novels by Michael Crichton , and starred Tom Hanks in the lead role of Saving Private Ryan (1997) . ), a war film of extreme realism that was another success at the box office and at the Oscar ceremony, from which it took five statuettes.
At the turn of the century he returned to futuristic fantasy cinema with AI Artificial Intelligence(2001), a film that had been screened by Stanley Kubrick , and Minority Report (2002), with Tom Cruise in the leading role.
In 2004 she shot the romantic comedy The Terminal , with Tom Hanks and Catherine Zeta-Jones , and in 2005 an umpteenth version of the HG Wells novel The War of the Worlds .
Steven Spielberg Net Worth
He has a net worth of USD $3.6 billion.
His house, which is a mansion in California, is worth more than $20 million dollars. It has a swimming pool, Jacuzzi, sauna, slot machine, home theater, game room, sports room, museum and a giant library.
Steven Spielberg Private Life
He is married his first wife, Amy Irving, an actress, in 1985. They both had a son, before the couple divorced in 1989.
He met his second and current wife, actress Kate Capshaw, in 1984 during the making of Indiana Jones and the Temple of Doom , in which he also starred.
He married his second and current wife, Kate Capshaw, in 1991, and has had three children with him.
Along with two stepsons from his previous marriage and an adopted daughter, Spielberg has seven children in all.
