The question is, where has he gone? These words don't come easy, but Martin Scorsese, at this current juncture in cinematic history, has disappeared. Once a maestro film-maker who advocated anarchy of the soul - see De Niro's Johnny Boy in Mean Streets or Joe Pesci in GoodFellas - Scorsese delighted in holding up a mirror to America's underbelly, and he did so with that most subversive of narrative tools: humour.
With the internet threatening to alter the fundamental act of distribution that has laid dormant since the advent of home video, it requires a glance all the way back to the late 1960s to find a time when Hollywood's tried and tested means of dominating the film business was so similarly threatened.
After some notable successes in the 1990s ... studios seemed to lose their nerve when it came to delivering big budget bonanzas. Subsequently, fans have been fed a constant regurgitation of films from those glory days, in the form of prequels, sequels, remakes and reboots. If none of those words mean anything to you, then you evidently haven't been going to the cinema for the last 10-years.
As for Spielberg's intentions to once again adapt a lost Kubrick masterpiece, the uninitiated may smirk, but there is still no questioning his skill as a director. In fact, while Spielberg could have benefited from his colleague's artistic prudence, his powers as a producer and his ability to get projects made are second to none.
A six-year-old boy on his first visit to the Lincoln Memorial in Washington, DC, could not muster the courage to look at the face of the giant-sized statue of the man who abolished slavery in America. Steven Spielberg's gaze stopped at the hands of Abraham Lincoln. He was quite shaken by the experience.