For anyone aiming to break into the entertainment industry, being the child of a celebrity can be both a blessing and a burden. Destry Allyn Spielberg, the son of Steven Spielberg and actress Kate Capshaw, faced that dual reality. He envisioned a future in directing only after a detour through sports. An equestrian dream turned on its head when a serious accident interrupted his plans for the Olympics. At Sitges, he described that period as a strangely disorienting time. He recalled, I didn’t know what to do. I had an identity crisis. With no school assignments to tackle, he co-wrote a short film with a friend and decided to direct it himself because there was no budget for a separate director. He chose to cast himself in the lead, and stepping into that role helped everything align.
After Rosie came a second short, Let Me Go the Right Way. It may not have drawn a huge audience, but it generated a flood of discussion. The Black List founder, Franklin Leonard, weighed in on social media about the idea that Spielberg’s child had written and acted in the project, using the moment to spark a broader debate on nepotism in Hollywood. Destry admits that, early on, he feared using the Spielberg name. He worried it would define him more than his work. He sought to prove he could stand on his own terms and insisted that their paths diverge; their tastes and styles are markedly different.
Under the influence of Kubrick
At Sitges, the filmmaker presented his first feature in the horror genre, a project included in the Sitges Collection. The story follows a world devastated by a cannibal virus, where a group of young orphans traverses the United States in search of something resembling life. They encounter a psychotic woman who keeps a house shrouded in dark secrets. Destry describes the house as a character in its own right, a presence with a life of its own, reminiscent of the atmosphere in Monster House. He credits Miyazaki, especially Spirited Away, as a significant reference for his sensibilities.
When selecting his debut project, he chose a gritty, unpolished horror story precisely because the genre invites boundless creativity and resists easy fear. Among his influences, Stanley Kubrick looms large. He regards The Shining as a personal favorite, and even notes that Kubrick’s widow, Christiane Kubrick, appears in the acknowledgments of his work.
Horror is often viewed as a genre easier to fund, and this project was no exception, yet the filming schedule remained tight. The movie was completed in eighteen days. Some observers might compare it to his father’s efficiency on Devil on Wheels, a contrast that is sometimes discussed in conversations about pace. Destry spoke candidly about the pressure that accompanies such comparisons, but he also stressed that the core purpose of making a film is to provoke conversation. He took pride in the result and welcomed both praise and criticism, acknowledging that not everyone would share his enthusiasm for the debut.
Shadow of your father
Despite genuine efforts to forge an independent path, there is a persistent shadow of Steven Spielberg in certain choices, particularly in some crane and tracking shots. He says it became clearer only after others pointed out the similarities, yet he also felt that the lineage was a natural part of who he is because he grew up watching his father’s films. It felt authentic to him, not contrived.
Destry also recalls growing up with a home film education, often referred to as the Spielberg Home Film School. His father exposed them to a broad range of cinema, including many black-and-white classics. They weren’t always fond of the older format, yet the experience left a lasting impression. He even shares how his name links back to a classic Western character from the film Destry Rides Again, a touchstone tied to his father’s habit of immersing them in cinema during summer visits to Westerns—their favorite pastime.