championships with earlier models. >> is the engine still functional? like, if the engine still works i don't care about the shell of the car. >> maybe that's what we're talking about. >> i don't like paying my car payment for a working vehicle. >> so you're not in the market for that. >> yeah, come back to me in 50 years. >> exactly. >> after i won the lottery twice. >> oh my goodness, i don't know that i've ever been in a ferrar to be honest with you. >> i can assure you i have not. on that note, go niners. >> 5: here on >> announcer: it's "the late show with stephen colbert." tonight... that's a dicey meatball! plus, stephen welcomes steven spielberg

and john williams! featuring louis cato and "the late show" band. and now, live on tape from the ed sullivan theater in new york city, it's stephen colbert. [cheers and applause] ♪ ♪ >> stephen: hey! >> audience: [chanting] stephen! stephen! stephen! stephen! stephen! stephen! stephen! stephen! >> stephen: there you go. welcome one and all. in here, out there, all around the world. welcome to "the late show." i'm your host, stephen colbert.

[cheering] listen, i want to say something to everybody at home. if you're standing, you'd better sit down. and if you're sitting down, get on the floor and weep. because there is a massive controversy rocking d.c. this week. the washington post asked a question that generations of historians will debate. "the bidens ordered the same dish at a restaurant. who does that?" i'll tell you who! i'll tell you who! a renegade president who's up to his bib in the biggest national food scandal since nixon said this. >> "i am not a cook." >> stephen: yes, thank you. thank you. that's rare. for a roll-in. which is why tonight, we're calling the bidens' redundant-entree scandal "all the president's menu!" now, admittedly, it's a bit of a slow news day. and i'm not the only one who is so starved for a story that it's making me hangry. the media landscape is bristling with headlines like "biden and

first lady's order sparks strong reactions," "bidens' restaurant order sparks furious debate," and "the bidens went to dinner and ordered the same dish, dividing the internet." yes. this is a far cry from the last president and his first lady. they never got the same dish. he would order a burnt steak with ketchup, and she always had a small side of blood diamonds. but one thing this firestorm proves: after four years of the last guy putting us through a daily ringer and rollercoaster of neofascist grift, we finally get to be outraged about low-stake scandals. so break out... [cheers and applause] so break out... so break out your tan suit, eat your pizza with a fork and knife, and puke on the prime minister of japan, 'cause i think everythng's gonna be okay.

so let me walk you through exactly what went down with the bidens. this is every detail. a few weeks back, joe and jill snuck out for a date to a d.c.-area restaurant. okay, that's right. not only is today's big story about two old people eating, it happened a while ago. and here are every single one of the details. the first couple ordered a chicory salad, grilled bread and butter, and two bowls of rigatoni. how dare they order the same entree! this is america! damn it. the rule is, you and your spouse go in with a plan. you order different entrees, so you can try two things. but then the other person seems to like your thing more than the thing they said that they wanted. so they keep taking bites until you say, "you know what, why don't you just finish it." and then they say, no, no, it's yours. i'll eat my chicken caesar." and you say, "this is the cheesecake factory all over again!" then you forget your leftovers on the table and drive home in silence, the way god intended.

but... but... but i'm sorry. there are rules. there are rules! these days, it isn't all pasta for the prez. yesterday, biden gave a speech to the house democrats, where he touted his administration's reduction of the deficit. just one problem: he was a bit off on the number. >> working with all of you, we cut the deficit by 1.7 billion in two years, the largest deficit reduction in american history. >> trillion. >> trillion. >> stephen: it's pretty rare for hecklers to tell you that you're doing better than you thought. "you suck...sessfully re-booted the economy! booo-tiful job!" [applause] biden also highlighted a huge win from yesterday, when eli lilly announced it would finally lower the cost of insulin.

>> so many people get insulin. guess what, instead of 400 to 500 bucks a month, they're going to pay $35 a month. >> stephen: that's an over 90% discount. [applause] that's like if the dollar tree changed their name to [bleep] it, it's free. of course, biden's chief rival is likely to be the former president. but he's no sure thing. in part because according to insiders, the former president is facing a "soft ban" at fox. [cheers and applause] what? what? what? they're banning the ex-president? that's like discovery channel banning sharks. no one wants to watch "salty water" week. apparently, the former president has fallen out of favor with newscorp chairman and plum you should have eaten five days ago,

rupert murdoch. according to filings in the dominion lawsuit, murdoch has been trying to keep the ex prez off fox for a long time. after january 6, murdoch instructed an aide "to make the former president a nonperson." he wants to make the former president "persona non grata". as opposed to now, when he's "persona au gratin." instead, fox news is trying to promote other candidates, especially florida governor ron desantis, seen here standing >> audience: [booing] >> stephen: seen here standing in the middle of "i'm with stupid" bouevard. you see? it's worth waiting for the joke. it's worth waiting for the joke. all i'm saying is. it's worth it. things are not going according to uncle rupey's plan. earlier this week, fox sent the most information-resistant of the "fox and friends" down to a diner in desantis' home state of

florida in his old congressional district to show just how popular desantis is. >> 2024. who's pumped up for the election? all right, rapid fire. who's your man? who's your woman? >> my man, donald trump. >> who's your man or woman? >> donald trump. >> i would say trump. >> a lot of trump fans. >> stephen: "ha ha. not the answer i was looking for. have you guys not heard there's a soft ban? okay. please, someone say anyone else's name or rupert's gonna take my thumbs." you, sir? anything? then he saw one ray of hope. a woman wearing a desantis t-shirt. >> i see -- i see governor desantis. what about president desantis? >> i like it. >> who's your pick? >> oh, gosh. i don't know. trump or desantis. i'm either/or. >> stephen: either/or!

either/or! you're wearing a ron desantis t-shirt! that's like mr. met saying, "go mets! or yankees. i'm not really into baseball. this is just an unrelated medical condition." it's a weird priority, but all across the country, republicans are laser-focused on one issue: banning drag. the latest hateful dummy to jump on the turdwagon is texas state representative and guy who broke up with his last girlfriend because she didn't like "impractical jokers," nate schatzline. schatzline has authored a bill that would seek to limit drag by designating any establishment as a "sexually oriented business" if it allows "on-premises consumption of alcoholic beverages" and performances by a person wearing any clothing or makeup not stereotypical to their born sex. if serving alcohol and having men in gowns makes you a

sexually oriented business, i've got bad news about church. so... [cheering] not me. that's him saying that. that's not me. i'm not saying that. he is saying that. so, schatzline wants to stop people from publicly wearing anything that doesn't conform to traditional definitions of gender. which is why people had some confusion when this video emerged of him in high school running around. ♪ ♪ >> let's get this party started. sexy lady. >> stephen: okay, that's him in front in the dress, and that's drag, and now he's trying to ban it for everyone else? this is the most hypocritical move since nancy reagan's famous anti-drug campaign. "just say no... because that's my bag of coke. back off, or i'll cut a bitch!" we've got a great show for you tonight. my guests are steven spielberg

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♪ ♪ >> stephen: give it up for the band, everybody. louis cato and "the late show." right there. welcome back. ladies and gentlemen, ladies and gentlemen, last week i had the honor to sit down with a man who's been delighting moviegoers for the last 50 years, steven spielberg. the legendary director, who rarely does television and has never done late night has been responsible for some of our greatest cultural touchstones: "jaws," "close encounters of the third kind," "raiders of the lost ark," "e.t.," "jurassic park," "schindler's list," "saving private ryan," "munich," "lincoln," and last year's "west side story." and his latest, "the fabelmans," is nominated for seven academy awards, including best director and best picture. it is a semiautobiographical telling of steven spielberg's own youth. through sammy fabelman, we learn

about how this iconic director fell in love with making movies, and the secret he kept that led to the shattering of his family. mr. spielberg was kind enough to invite me into his amblin offices for an extensive conversation about his life and his films. jim? steven spielberg, thank you for having us here at amblin and sitting down to talk about the fabelmans and your career. >> steven: welcome.. welcome. >> stetephen: therere is a mytyl ststory that y you actualllly go universal as parart of a touourd just stayeyed. > steven: i i did. >> s stephen: how did youou do that? >> s steven: i hid in ththe babathroom dururing a bathro brbreak. there was a a big bus.. greyline t tours. you got t on a big bus a and thy took y you around d a lot and dd you the e back lot a and the soundstatages from o outside. i kept w wanting too get insnsie soundstageges. they wereren't lettiting us ofoe bus but t they gave e us one bathroroom break a and i stayeyn

the ststall untill i h heard ale doors close and i gave it another 1010 minutes. i was sort of loose on the lot. >> stephen: is it true that you took an empty office and just claimemed it as your own and put your name on the door? >> steteven: yeah. there wawas a camerara store inn ventura a boulevard d and l laul canyon that sold these little title letters, stick on letters. i bought a set of those that i put my n name in thahat little directory that you open upup the little door, the glass door. i put my name on that and the room number. that w was where i hung my hat duriring a summemer. the e second sumummer i had done that. >> stetephen: but t nobody knent you were dodoing this?? >> s steven: yeaeah, there were people who knew i was doing it but no one would get me e kicked me off the lotot. > stephen: : sid shinebeberg the vp of f the studidio was impreressed with h your shot filmlm, amblin. what y year, 1968?8? '68 and hehe offerered you a seven-n-year dirececting contrat anand as part t of that, t the y first t person youou ever direr,

i understatand, who hahad a sagg union cacard was joaoan crarawf. >> steteven: that't's right. >> stephen: you were how old? >> steven: 22.2. >> stephen: how did you as a 22-year-old give notes and direct an icon like j joan crawford?? wherere did you u find, whatat'e yiyiddish wordrd, huevos r ranc? >> steveven: chutzpapah is anotr word. it was more sid's chchutzpah too hihire me in t the first plalac. >> stephenen: what is that f fit moment, yoyou walk on n the setd ththere is johohn crawfordrd? > steven: i i had metet joane atat the housese that she e was renting. sosomewhere inin hollywoodod. shshe wanted t to meet m me. i i went up there w with john,, the e associatee p producer. we werere supposeded to go outuo dinnerer, we walkeked into theht door andnd joan tok k one look t me and s said, "we c can't go to dinner n now. peopople will ththink you'rere y son." that w was the firirst thing s e sasaid to me.. the firsrst words out of jojoan crcrawford's m mouth, "peoeoplel think k you're my y son." >> stephphen: were y you shavin?

>> steven: n no. [l[laughter] but t i was usining clearasisil. >> stetephen: you u directed a h of tv. marcus welelby md, cololombo, the name of t the game. any advicece for t the young g o wawas shootingng these tv v thi? anything y you see in that work and you go, "i wish i could go back and tell him this"? >> steven: i think there's always thingngs. this i is why i dodon't look a a lot of my y movies aftfter i'vee them. i dodon't sit dodown. i am not g gloria swananson on& sunset b boulevard h having screeninings of her r own silent movivies for herselflf. i don't t look backk t that oftt every oncece in a whilile, i'lle a a movie withth my kids.. i want t to accompanany my kidsn ththey see "e.e.t." for t the first t time. i don't wawant t them to seeee t without dadad sitting g there, especicially the scaryry parts t thee beginningng. somemetimes i sesee things t thi hahad intendeded to do ththat it dodo, and somemetimes i sesee ts that w would've bebeen a bettera than whahat i am nowow seeing al

these yearars later. but t for the momost part,t, "e" is a a preretty perfecect movie. >> stetephen: it's pretttty goo. pretty gooood f film. wherere do you f find the cououo cacall "e.t." " pretty gooood. > steven: o one of the e fews i cacan look at t again and d a. there's ononly a h handful of fs i can wawatch more t than once,t a lot. i've m made like 3 34 films. i'i'm not goining to name e whis they are beyeyond "e.t."." therere's about t five or sisixi can n watch agaiain but i d dont ususually do t that. >> stephenen: before " "the fabelmans,s," you've s said "cle encountersrs of the ththird kin" was the momost personanal film u had d made. why? >> steven:n: well, it t was the first t film i'd e ever made a a family breaking g up. i hahad never mamade a picturerf a family c coming intoto -- collidining with theheir valueur with theirir obsessionons. and d so a lot o of the b break,

which i wrwrote the script, so i i think it t was very e eve of my owown life andnd the traua that w we all suffffered. mymy parents a announced t to af us that t they w were separarat. and thenen later thehey would be divorcining. > stephen: : for the charara, for the e kids, certrtainly in "close encounters" it's inexplicable. their father's behavior is madness. is that what it felt like to you at the time? >> steven: when you're young, i was not that young when my parents annouounced. i was 1717. ababout ready y to go off too college. i t think it isis madnessss. i i think whenen you're soso cot it may snonow in the d desert in arizona a and that w wouldn't surprise y you somedayay but t your parenents will never r leave youou. you will l never be u unaccompa. when i sawaw that happeningng, n my sisister saw that alall of a sudden w what we cononsidered te normalal with a momom and dad,de were sududdenly goining to havea mom liviving there a and a f far livingng there.

wewe were goining to separarated divivide up. that h has i informed mamany ofy stories. >> stephen: when we come back, i ask steven spielberg why now is the right time for him to make "the fabelmans." stick around. detect this: living with hiv, i learned that i can stay undetectable with fewer medicines. that's's why i switchched to dovavato. dovato is s a completete hihiv treatmenent for someme a. no other c complee hiv pill useses fewer mededicins to h help keep you undedetectable thanan dovato. detectct this: most h hiv pills contaiain 3 or 4 m medicines. dovatoto is as effffective with j just 2. if you havave hepapatitis b, don'n't stop dovovato wiwithout talklking to y your doctoror. don'n't take dovovato if youe allelergic to itits ingredies or t taking dofefetilide. this canan cause sererious r lifefe-threatening side efeffe. ifif you have e a rash or allllergic reacaction sympt, stop dovatato and gett medical l help rightht awa. serious oror life-threreateng lactic acicid buildupp and liver r problems c can oc. tell y your doctoror if you e kidneyey or liver r probs or if you u are pregnanant, breastfefeeding, or considedering pregngnanc.

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♪ ♪ >> stephen: welcome back, everybody. and now we return to my conversation with steven spieielberg. had you been thinking about

telling the story of the fabelmans for a long time? >> steven: yeah, for y years. yeah. >> s stephen: whwhat kept yoyoum telling g it before e this, or y was thisis the right momoment? >> steven:n: i think i i just -- for onone thing, i i had a lotof papassions andnd things, s stori was tetelling and d things i h n my wish lilist. it wouldn'n't even call itit a bubucket list.t. i realally want toto make this d ofof m movie. i want to g get into ththat gen. i wawant to d do a movie e abou, i want t to do a movieie about . i hahad all thehese other t thi. ii realizezed i kept p putting segmentsts of the fafabelmans' y into all of these other f films. >> stephphen: it's a a daring tg toto looook at your r own life,, i ththink, if you can d do it honestlyly. there are e things you maybe didn't want t to remembeber abot yourur life. is there a any point w where you said, , "this mighght be a misi? >> steveven: yes. i ththought by t telling a story abouout how i didiscovered m mym was s having an n affair of f te

heart wiwith her and m my fathes best f friend and d my father'ss busisiness partntner, it w was sosomething ththat never h had e pupublicly expxpressed. i had a lolot of seconond thougs aboutt that. but to h his credit,t, tony kusr continueued to say, , that is te macguffin n of this m movie. that is ththe c center ring, ththe circus o of your lifife, that is ththe center r ring. thatat's where y you're goininge flflying throuough the a air ona trapezeze and therere's not gogo be a netet. and d i think yoyou can afford h alall your sucuccess to p possiy slipip and fall l to your dedea. don't woworry about t that, bece yoyou've earnened the righght tl the e story. >> stetephen: it's's a b brillit movie.e. i think k it's very beautiful.l. that might be the greatest momentnt in it, ththough, is the momoment of disiscovery. where e sam, withohout words,, e purest fililmic wayay discoverss someththing througugh the lensnf his camera.

[film clicking] do you have a conscious sense that you can see more through the lens than you see in your daily life? >> steven: yes. because i obviously observed my mom's behavior, how she l lit up when she was arounund bernie.. i nevever thought t there wass anythingng untoward d about it.. i wawas n never suspipicious ab. my mom h had a best t friend who happppened to bebe my dad's s bs

partnener. but somehohow when i i put an at raratio aroundnd that and d lood througugh my littltle bolex 8 mimillimeter c camera and d cutg the f film togethther, the fifid me t the truthth, where mymy eys couldn't't perceivee i it. itit was somomething i c couldn. asas a human i interactingng wiy momom and dad d and bernieie, oe campmping trips.s. but sosomehow on t that little teeneny ground g glass screeeene movivie editor, , i sawaw sometg thatat i'd never saw with my own eyes. >> stephphen: what was it like o step on the set for the first day with paul dano and michelle williams as your mom and dad? >> steven: i thought it was going to be just routine. >> stephen: done it a million times. >> steven: yeah, done it a million times.s. i knonow what a f first day o of shshooting iss like. i know w what it't's like to o e cast assemblbled and get t the blococking, the e cast andnd the camemera. and it wasas very roututine.

bubut i had neverer seen themem togegether. i'd ononly seen mimichelle inn r costume e with mark k bridges, o designgned the cosostumes, andnl dano, i sasaw them sepeparate. the fifirst day ofof shooting,gk bridgeges came ovever to me a ad said, , "i've got t paul and michchelle here"e" in t their hair r and makeueup d costumeses. i was talklking to christy.. so i turned around and i turned around, and there was my father and mymy mother. and i i just burstst into o tea. justst like thatat. i didn't e even think k about i. it jusust happeneded. michelle r ran to me,, hugged m. paul c came aroundnd the back k, he's r really tallll, hugugged e around t the s shoulders a and t held me. byby the way, , i h had given tm speeches l long beforere the fit dayy of shootiting. i got all l my tears o out in te scscript withh tonyy kushnerer. whwhen tony anand i c cowrote t, i i got all mymy emotion o out. i'm m a professisional. don't woworry abobout me. you don'n't have to o take caree of me. my j job is to t take care o ofu and guidide you to g giving some

great perfrformances.. and it wasn'n't to be. [laughghter] >> stephen: let's talk about the monkey. how long did your family have the monkey? >> steven: my family didn't have the monkeyey. my mom hadad the mononkey. she e went to o a pet storore. > stephen:: you're paparsing. you'u're s splitting hairs,, stevenen spielbergrg. if therere is a monknkey in thee housuse, the whohole family y he monkeyey. > steven: i i didn't puput tn "the fababelmans" bubut the mony wowould basicacally throw w itss at us ththrough thee mesesh of s cage. thisis was an orneryry little monkeyey. >> s stephen: yoyoung sam, a ani assumeme young steteven spielbls bullieied and feelels alienataty his jewishness. you hahave said itit took yearar you toto embmbrace your r herit. not doining so fullyly until yoe actualally makingg "schinindler's lisist." with t the profitsts of the fif, you createted the shohoah foundatition. i'm curiouous, as somemeone whos

examineded his own j jewishnesse place of jews inin the uniteted ststates and a around thee woroo yoyou find it t surprisingng, te of pubublic anti-s-semitism nony in thehe united ststates but inn authorititarian countntries all aroundnd thehe world nowow? >> steven: i findd it very, very surprising. because anti-semitisism has alws bebeen there.. it's's either bebeen just a aroe corner andnd slightly y out of t but alalways lurkiking. or i it has been mumuch more ov, lilike in germrmany in thehe '3. but not sisince g germany inn te '3'30s have i i witnesseded antiti-semitism m no longer r lg it's but ststanding proroud with hahn hips l like hititler and mussol, kind of dadaring us toto defy i. i'veve never expxperienced t thn my e entire lifefe, especialalln ththis countryry.

> stephen: : it's disturbini. it's h heartbreakiking. do you havave any theoeories aso why it's's raising i its ugly h? >> steven:n: somehow the marginalizing of people that aren't part of some kind of a majojority race e is somethihint has been creepeping up on n us r years and yearsrs and yeaears. and somehow.. 201414, 2015, 202016, hate becae a kikind of memembership toto ab ththat has gototten more members than i e ever thoughght was pose in amemerica. and hatete and anti-i-semitism go hand-inin-hand. you cacan't separarate one frore otheher. > stephen: : as one of the greatest communicators in the world, what gives you hopepe tht

ththe gambit that is divivisives anand hate andnd anger is s the popolitical popolicy, thatat itl not t succeed? what i is the coununtervailingng messagage to that t that you w d want to o say? >> s steven: i j just thihink wt paininting a naiaive portraiaitf myself s sitting herere talkingo you anand to quotete anne frana, i think shshe's right t when she said in momost peoplee there e is good. she sasaw good in n most peoplp. i thinink essentiaially at ouru, there e is goodnesess and theres empathy. >> stephen: when we come back, steven spielberg and i are joined by legendary composer, the great john williams. stick around. yoyou love ricich, delicious s ice cream.m. but t your stomamach doesn''.

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>> stephen: welcome back, everybody. folks, as if it wasn't exciting enough to talk to steven spielberg, we were joined by a very special guest. john williams has been steven spielberg's closest collaborator. they have worked on nearly every project together from 1974's "sugar land express" to "the fabelmans," which marks john williams' 53rd oscar nomination. he has been responsible for some of the most iconic scores in film history.

[light, delicate music] >> stephen: i understand 2022 marked your 50th anniversary of working together. you met in n 1972. ththe first fifilm you didid was "s"sugar landd express" in 1 194 with steven. is it true that you met on basicalllly a firstst date thatt somebodydy else set t up? was it a b blind date?e? > john: somomebody sett up ah meeteting for usus in some f fay restaranant in bevererly hills.. the e head waiteter came andnd d i will briring you to mr.r. spielelberg. i saw ththis teenageger, i thou, you'u've got to forgive m me. steven, , tell the storyry. > steven: i i'm not eveven h. tell t the s story. >> johohn: i thougught maybe t s mrmr. spielbererg's son. whwhere is spielbergrg? i sat t down with h him and w wn a minunute or t two, i realalizt was sosomebody verery, very spel

withth a keen anand bristliningd dazzliling intellelect who remembmbered everyrything i'd'dr writteten. that i i'd alreadydy forgottene. >> steteven: i hadad a huguge cocollection o of s soundtracksd when i heaeard john'ss score,, i said to o myself, ifif i ever ga chancece to directct movies, i t this guy t to score all of them. this wasas back in 1972.2. >> s stephen: i i have a vererye questionon. whwhat's yourr job? i don't t mean that t facetious. whwhat's yourr job? >> johohn: it's a wondederful questionon. itit's very, v very simplele. i i don't knowow if i can n giva simplele answer. i thinkk the f first answewer in give y you is to i inform andd imimprove the e process ofof storytelelling throuough music,, if i c can. describe t the charactcters, describe t the atmososphere, the ambibience of whwhat the sty requirires. and so m my job is t to be a collabororator with h the direcr inin achievingng all t these th. ththe atmosphpherics, emomotionl

content, and so on. >> stephen: steven, you have said "i depend on john more than i depend on anybody to rewrite my movies musically and put them on a a rung highgher than i coud ever r reach." what do o you thinkk it isis abt john thahat allows h him to ununderstand your inintention ad toto amplify t that in a way you can'n't reach yoyourself? >> steteven: j john puts a a lof stock k in the firirst impresssf watchihing thehe story unsnspoo. when h he sees thehe film forr e first t time. he puts a a lot of stotock in t. i thinink there isis some kindn, somemething happppens which h is beyoyond, certaiainly way beyony abability to s sort of dodo an y on thehe genius ofof john willl. i don'n't know howow to do thah. i i just know w something g hap. thee film connnnects. johnnyny has ideasas as he's watchihing the fililm. hehe let the s story unspopoolig roll ovever him, makake him feel somemething, andnd he is s somew able too takake those fefeeling,

those ememotions, anand he's s o fifind the musicical equivalalef emotion, o of energy,, of crcreg a musicacal narrativive, bindidl the e disparate e parts of a a e story y into a verery smoothh nanarrative mumusically anand ht has s a way of d doing this s ue anyoyone i've evever seen peperm his job. >> john:n: we just t agree about aesthetitic choices.s. matterss of taste.e. we've never had an a argument. >> stephen: really? >> steven: no. we never have. 29 films we've done together. >> stephenen: that is really surprising. is it becacause you boboth acacknowledge e each o other's , you arare a masterer speakingg to a a m master? >> steveven: i don't't think its that a as much as s we are inn e sameme lane withthout playiyingr cacars. we jusust have a way. i i have neverer not likeded sog ththat john hahas written n forf my movovies. i've neverer said "oh,h, i don't

feel t that's righght for my m " oror "i don't t think we e shoue that p piece of mumusic at this point."" evererything johohnny has wrwrin has fit t like a glolove. so there's's never beeeen bumums ababout my disisagreeing with somemething thatat he e has com. ever. >> stephen: when we return, i ask steven spielberg about ufos. stick around. when you s smell the a amazig scscent of gaiain flings.... timeme stops. ♪♪♪ your heaeart races.. ♪♪♪ your eyeyes close. ♪♪♪ and you rerealize yoyou're in lolove... steveve? ...w.with a launundry deterg. gagain flings.s.

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>> stephen: welcome back, everybody. and now the thrilling conclusion of my conversation with the man i now feel comfortable calling "mr. spielberg." let's talk about ufos for a minute. what do you make of what's going on right now? >> steven: oh, it's exciting. [laughs] there isis somethingng out ther. >> stephenen: so you're a bebeliever? > steven: i i don't knonow ia believever in the e sense thatam kindnd of the peperson that t wd think, i i've got toto see someg like that t to believeve it. i can mamake up stuff andnd make movies a about thingngs that i'e never seseen or expeperienced bn terms s of r really belilieving somethining, i thinknk i wououle to havave my own c close encoun. i've n never seen n a u ufo. i wish i d did. >> stephenen: nothing g that's ununexplainablble? > steven: i i've neverr seenn anytything that t i couldn'n't explain.n. but t i believe e certain pepeoo

have seen n things thahat they t exexplain, thahat's unexplplain. i think whwhat has beeeen cominp rececently is f fascinatingng, t absolutelyly fascinatiting. i ththink the sesecrecy thatat s shroudining all of t these sighs and thee lack of transpsparency until frfreedom of i informatiot compels cecertain mateterials te releasased publiclcly, i think t there e is somethihing going o t simpmply needs e extraordinanare diligence.e. i would lilike to hear more a about it. i don't knknow what ththey are. my i imaginationon and my l love for -- i d don't belieieve we ae alone in t the universrse. i think it's mamathematicalally imimpossible t that we arere thy intelligigent specieies in t the cosmos.. i thinink that's t totally impopossible. at the s same time,e, it almostt seems impopossible thahat anyboy woululd visit usus from 4000 m n light-yearars from herere, excen the movivies, unlessss it t figs

out t some way of sosort of basisically jumpmping the shark, soso to speak,k, and g getting e througugh wormholes. i'm not an astrophysicist. i really can't speak the language of the people that do it so well at jpl. but i just know as a person that makes movies and uses his imagination and also as a person that's insatiably curious about ufos, or uaps, there is something going on that we are really not -- that is not being didisclosed toto us. >> stephenen: senatorsrs whoho e been bririefed on ththis, and nt justst these latatest b balloon incidentnts, senatorors who have beenen briefed o on this havaved there are e things thehe americn peopople deserveve to know o one quote i lolove is "andnd they're ready y to learnrn." thatat says to m me there isis somethining sort off paradigmm shatteriring a about this s newt wewe are not b being told.d. >> steteven: the most optimistic

thing i feel about these things that we're seeing in the skies, the armymy and navyy and air f e are recordrding on theheir gun cameraras, is that what if theye not from an advanced civilization 300 million light-years from here? what if it's us 500,000 years into the future that is coming back to document the second half of the 20th century and into the 21st century, because they are anthropologists and they know something that we don't quite know yet that has occurred. and they are trying to track the last 100 years of our history. >> stephen: the hopeful part of that to me is that we survive. >> steven: yes, ththat we survr. oror a certainin percentagage os survivive that allllows thesee r generarations to f flourish. >> stephenen: okay, ifif therere aliens, isis your bet t on e.t. oror war of ththe worlds?? >> steven: e.t.

wawar of the w worlds was a a reflectionon of 9/11.. itit was my waway of makining ay abouout the impapact that 9/11 d on all o of us. i believe e that if any extraterrerestrial civivilizatin has joururneyed all l the way h, it's becauause o of curiositityd science,e, and it's s not aboutt aggresession. >> stetephen: becacause if thehn get herere, they donon't need or reresources. they musust have enonormous resourceces already.y. >> steteven: yeah, exactctly. the fafact that ththey have bebn ththis patientnt with us a and t turnrned the eararth into aa burned-outut cinder i is exextraordinarary. if there i is anythingng happen. yoyou have to o applaud ththem r their patitience. >> stephphen: you a are stevenn spielblberg. obviously y people pititch you e ideas s all the time. and i hahave a greatat idea. use it.. don't ususe it. but i just want t you to hear me out.. "et t 2: it's time."" >> s steven: is s that the t ti?

"e.t. 2:2: it's timeme." >> stetephen: it d doesn't matar what the t title is. it doesn't't matter what thehe title is.s. "e"e.t 2: elecectric boooogaloo" it doeoesn't matteter. we make it. what's it about? it's abobout a b billion-dollar opening weweekend, steteve. you'll a admit that.t. it would b be the highest grossg opening weekend of all time. "e.t. 2." >> steven: or nobody will show up becausese they loveve "e.t. " too m much. >> stephen: you're crazy. i've got some titles. "e.t. again". 2 extra 2 terrestrial. look who is et-ingg now. e.t.v. predator.r. woululd you want t to see thehe prededator fight e e.t.? >> steven:n: it is s like yoda n the lastst "star warars" movie e he foughtt so wondnderfully. >> stephphen: yes, exactctly. we got a a cgi e.t.t., gigive him a lightsaber, crossover. >> steveven: i don't't know. >> stephen: think about it. >> steven: the weaponinizing of "e.t.,.," i don't t think thatah a good d idea.

>> stetephen: realally? it's a dififferent wororld. 1982, obviviously e.t.t. isn't g to havee a lightsasaber. >> steven:n: he doesn'n't have y armor.r. >> s stephen: hehe can deflelect ththings with h his mind.. >> s steven: he e has no clclot. if it wawasn't for gerertie and elliotot, he wouldldn't have any clclothes. he w wouldn't have thatat robe. peopople reportt s seeing thee s being ababducted by extrtraterrestririals, why thehe not wearing clclothes? why are e they all n naked? >> stephphen: maybebe it's a vey tight skin s suit. maybe it's's a catsuitit. >> s steven: mayaybe it's a whoe thermomostatic sysystem. >> stephphen: maybe e they are t eveven gray.y. maybee it zips u up. all righght. onone more timime on the " "e.t" ththis time wewe do it rigight. forgetet reese's pieieces. the m&m pepeople are g going toe crawlingng to you. >> s steven: youou k know somet, theyey had theirir shot. i'm stickiking with rereese's. >> stetephen: wow.. loloyalty. you likeke to work w with the se pepeople overr andnd over agaia. > steven:n: i am veryry loyao peopople that arare loyal toto .

rereese's wass loyalal. > stephen: : it is not t a ho is whahat i'm heararing, that te thought t about it.. >> s steven: i h have thoughghtt it, anan endless s supply of r s piececes. >> stephenen: did you u ever thk abouout a sequel to "e.t.t."? > stven: no,o, never. >> stephen: so i'm just going to leave this with you. >> steveven: i can't't believe m lookining at that t right nowow. >> stephphen: i wantnt you, just w whatever. likeke, look thrhrough it. dodon't look t through it.t. don't lolook at it n now. >> steven:n: it says " "e.t. et tu,u, brute." >> stetephen: i gogot one sentne for you. ththat is " "e.t. makake bank." ththat's my chrisistmas card.d. >> s steven: i am going g to opn this w when i'm inin the officid i wiwill write y you a letetter about it.. oh, mymy god, there e is actualy a script here. >> stephphen: what a are you thinkingng? do you thihink i'm notot gogoing to pitch steven spielbe? no, i am giving it to j.j. abrams. thanks again to steven

spielberg. john williams. and everyone at amblin. you can watch "the fabelmans" in theaters and at home now. we'll be right back.

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