merge_video_1692718880807
Transcript
00:00You
00:30It's been much less difficult than most of the other movies I've tackled because it's
00:39a much smaller more contained story. One reason I wanted to do it because I think my my own
00:45film wife I was ready for a small movie.
00:59We're trying to check the lighting here so if you can go ahead and back up. Okay that
01:02truck is backing up Jim watch your hand watch your back. Okay Laird fine if you can just
01:07back up now please.
01:10We're getting ready to shoot the investigators driving up and the ET creature running away
01:14from them.
01:15Okay good.
01:16To your right.
01:17To your left.
01:18Go to your left.
01:19Straight ahead.
01:20Straight ahead.
01:21Right there.
01:22Yep.
01:23Right there.
01:24Just turn your head to your right.
01:25And back to your left again.
01:26And straight ahead.
01:27Okay.
01:28And everybody in this crew I think has taken a liking to ET and to the story and I think
01:50they've had a lot more patience with me and my demands to use a nicer word for it because
01:56I think they've really believed in the movie and believed in the story.
01:59And cut.
02:00So much of course lines.
02:01Yep.
02:02It looked like a bunch of...
02:03Okay once again.
02:04A few of you guys when you go by the headlight.
02:05Sink the lens with the flashlight.
02:06Like this.
02:07When you come from here.
02:08A few of you guys go around.
02:09Rather than just heading out that way.
02:10Like this.
02:11You go by.
02:12You just sweep.
02:13Sweep like this.
02:14Sweep.
02:15Sweep the light through the lens.
02:16Sweep.
02:17Sweep.
02:18Sweep.
02:19Sweep.
02:20Sweep.
02:21Sweep.
02:22Sweep.
02:23Sweep.
02:24Just sweep.
02:25Sweep the light through the lens.
02:26Like that.
02:27Right.
02:28Make a nice glare.
02:30The nature of the movie is to silhouette all adult faces or show backs of heads over shoulders,
02:35hands, adult hands but never identify adults as personalities.
02:46And cut.
02:47That's a cut.
02:48Peter.
02:49Peter.
02:50Peter dip down.
02:51Your face came right in the jar here.
02:52We've never been held up by a broken cable or an electronic shutdown of any kind, and
03:10as far as E.T. is concerned, he really cost us no additional time.
03:16It worked during the testing period, and it worked during the second and third tests,
03:20and it finally worked every day during the production.
03:22A little brighter.
03:23And down.
03:24Back up.
03:25Good.
03:26Bring your hand down, Caprice.
03:27Brighter.
03:28And down.
03:29Brighter.
03:30And cut.
03:31Good.
03:32You have to keep framing over to the left a little bit.
03:33To what?
03:34Now, go down to the dirt underneath and dig a little bit.
03:35Let me see you dig a little bit.
03:46Basically, I'm doing the picking up things, when he's scratching himself, just keeping
03:50in a little bit of movement going on so that there's... it's animated.
03:56And the reason I was hired for this job is because I have real long, thin fingers, which
04:00is my father's fault.
04:01All right, now, Bob, when you get the 10K there, we're going to tip it down.
04:25This is what I want to see on the opening shot.
04:29We don't have to finish up the ETs perfectly now.
04:31We're not ready to shoot yet.
04:32Looking right at me.
04:33Can you see me, Matthew?
04:34Can you see me?
04:35What color hat do I have on?
04:36Yes.
04:37Okay, thanks.
04:38And stop.
04:39We'll raise this up a little bit so you get some shadow line on this for it, and then
05:04if you want to be past Robert...
05:05I'd like to...
05:06I'd like to be past Robert big and black in the foreground.
05:07And if the fire light can do something to Henry, also from the side.
05:08Okay.
05:09Cheat the fire light this far into the kitchen.
05:10Cheat, cheat.
05:11Cheat, cheat.
05:12Okay.
05:13Hey, what am I asking for anyway?
05:14Papa ooh, maow, maow.
05:15Oh, come on, man.
05:16Look, she's my mother, man.
05:17What am I supposed to do?
05:18Tell her she can't have a request?
05:19Fine with me.
05:20I'm out of crossbows.
05:21Okay, just do one more.
05:22And Tom, one more.
05:23I want a little more overacting on papa ooh, maow, maow.
05:24I want a little more...
05:25I want a little more overacting on papa ooh, maow, maow.
05:26I want a little more overacting on papa ooh, maow, maow.
05:27outgoingness.
05:28Okay?
05:29Mike.
05:30Actually, yeah, Papa ooh, maow, maow.
05:35Papa ooh, maow, maow.
05:40What have you got?
05:46I know it's not for, it's for my friends' mother.
05:48Oh, first class.
05:49Strand, tail, and quad.
05:50Thanks.
05:51Elliot sort of starts off as a bit of a loner and the little, the younger brother.
05:55brother. I mean, we've given him some problems of his father is gone and he
06:00doesn't seem to be able to blend with the crowd very easily.
06:05All right, tease him when you come back, tease him when you come back.
06:10Dexterity, 14.
06:12You better go see what mom wants.
06:14Constitution, 15.
06:16Oh come on man, you can't have a 15 constitution.
06:18Well, his charisma is 12, ha ha ha.
06:23Oh no, don't torture me with his charisma.
06:26Cut, great.
06:28Robert gets blocked.
06:30I can't do it.
06:32Let's hear you do elf talk.
06:34You're a fellow elf.
06:41That's Donald Duck, not an elf.
06:47That's my dog.
06:49He's a normal, everyday kid growing up in arcades, playing asteroids, and he's at that stage where he's just bored with everything around him.
06:58Elliot's not me, but he's the closest thing to my experience in my life growing up in suburbia.
07:06Henry, okay, Henry, first few steps, just slow and easy and tentative.
07:14Then I'll tell you to go a little faster, okay, I'll talk you through it.
07:18Right up to the mark.
07:21Right to there, good.
07:23Just a beat there, listen to the crickets.
07:25Here we are.
07:27Let Alan look.
07:29Listen to the crickets.
07:31Nothing's happening, it's very quiet.
07:33Okay.
07:35Walk back, I'll make a noise to stop you.
07:37I'll make a noise, keep going.
07:43Back up a little bit.
07:46Right back, that's great, Henry, right there, take a look.
07:49Perfect, Henry, yes.
07:51Okay, now we start to move, Henry, and we start to move at the same time, go.
07:55Go ahead, Henry.
07:57Go ahead.
07:59Keep going.
08:01Keep going, Henry.
08:05Keep going.
08:07Keep going.
08:09Right there.
08:11Geez, look at that.
08:13Okay, quiet.
08:29What lens?
08:31High lens.
08:33How do you want to carry him?
08:35High legs.
08:3730, what, 35?
08:3924, so you want to carry him like waist?
08:41I want to carry, actually about full figure almost.
08:43I want to be in a closer perspective.
08:45Okay.
08:47Just come right here with 35.
08:49Harvey?
08:59That's a cut.
09:01Okay, great.
09:03That's great.
09:05Throw the ball back.
09:07All right.
09:09Now, what is this?
09:11I'm not going to put this in my mouth.
09:27Anything for show business, folks.
09:29Oh, what a taste.
09:31Henry, let me show you something.
09:33Rather than walking on the footprints,
09:35come here a second,
09:37would you walk to the side of the footprints?
09:39Rather than walking on them,
09:41would you walk over here,
09:43near the side of the weeds,
09:45looking with your flashlight to the side?
09:47Okay?
09:49I can see the footprints better that way.
09:51He kind of explains it to me, you know.
09:53He won't just say,
09:55okay, stand over there, you know.
09:57Remember your lines or something like that.
09:59There's almost a psychic,
10:01you understand the word psychic?
10:03You know, ESP?
10:05Yeah.
10:07There's almost a psychic attraction.
10:09You're not sleepwalking.
10:11You're not dreaming.
10:13You're really conscious,
10:15but something is making you brave.
10:17Something's making you get closer
10:19and closer to the corn stalk.
10:21Although I would use the flashlight as a weapon,
10:23meaning if you're afraid,
10:25rather than holding the flashlight comfortably down here,
10:27you hold it out like that.
10:29It's kind of like a lance, you know,
10:31a magic user lance,
10:33you know, as you walk through here.
10:35If you suddenly hear a noise,
10:37you know,
10:39you suddenly hear a noise,
10:41you might go,
10:43like that.
10:45And big screaming, keep it going when you hit once.
10:47And action!
10:49Ah! Ah!
10:51Ah! Ah!
10:53Cut.
10:55Good.
10:57That's it. Print it. Great, Henry.
10:59Good on his face.
11:05That's why I've got to show Henry.
11:07It's a great D&D spot.
11:09There's salamanders and centipedes under all these rocks.
11:11Great.
11:13Real pretty.
11:15Geez, this is like being in Japan or something.
11:17Yeah.
11:19Well, I'm going to leave you to turn.
11:21You know, you throw a few more over this way,
11:23that's what makes you see the guy.
11:25You're ready to throw a few more in his direction.
11:27Then you see him.
11:29So if you can handle the bike and the
11:31Reese's Pieces.
11:33Yes, it really would be to hang on to the bicycle.
11:35Larger tosses.
11:37Bigger tosses.
11:39Good. A little faster.
11:43Good.
11:45And cut.
11:47Nice. Say print it.
11:49Nice location.
11:51It feels just like tape.
11:53What they're doing is they've created tape
11:55out of plastic
11:57and a little bit of glue.
12:01Can somebody pin the blanket right here
12:03to the arm very gently right over here?
12:05See that?
12:07It's so captivating, Henry.
12:09For a moment, you ever stop looking at it.
12:11Right in the eyes, and you're always studying it like this.
12:13He's studying you.
12:15Remember, he's looking like this.
12:17He's looking at every part of your face,
12:19because he's never seen a face like his before.
12:21You've never seen a face like his before.
12:23Now, this is an experiment now, Henry.
12:25Now take your finger,
12:27your left hand,
12:29and touch your mouth.
12:31Like that.
12:33Now, Caprice, touch your mouth.
12:35Good.
12:37Now bring your hand down, Caprice.
12:39Now, Henry, you kind of smile there for a second.
12:41That's pretty neat.
12:43I need you to pretend that it's nothing more than an animal.
12:45It's some sort of a deformed cross
12:47between a coyote and a rabbit.
12:49All of a sudden, it's showing great intelligence.
12:51And that cracks you up.
12:53You know, this little cocker spaniel
12:55was touching his head with, you know,
12:57two paws and waving at you.
12:59And it's amazing.
13:01Now, instead, Caprice, you go right back
13:03to touch your mouth.
13:05Henry, you quickly touch your mouth.
13:07Now touch your eye again, Caprice.
13:09Henry, touch your eye quickly.
13:11Now, Caprice, rub your nose.
13:13Now, Henry, you rub your nose.
13:15Now he's got you psyched.
13:17Okay, great.
13:19That's what we're gonna try.
13:21He's got you all psyched out there.
13:23All right, Caprice, that's great.
13:43♪♪
13:53♪♪
14:03♪♪
14:07You gotta take me serious.
14:09It's Halloween, folks.
14:11The costume ball.
14:13Oh, Miranda.
14:15What sweet fingers you have.
14:17Mwah, mwah, mwah, mwah, mwah.
14:19She will be.
14:21Rolling.
14:23Rolling.
14:25Marker.
14:27Okay, Gertie.
14:31Look what I made for you, Elliot.
14:33E.T.
14:35Good.
14:37Great.
14:39One more time.
14:41Cut.
14:43Isn't this fun, Drew?
14:45Making movies, isn't it fun?
14:47Uh-uh.
14:49Is this, like, better than just going to school
14:51and learning how to play volleyball
14:53and tetherball and stuff like that?
14:55Much fun.
14:57Yeah.
14:59Do they pay you for going to school?
15:01Uh-uh.
15:05Your mom is gonna kill me for saying things like that.
15:07Tell me about Steven.
15:09He's a nice director.
15:11That's for sure.
15:13And, um...
15:15He needs a lot of sleep.
15:17That's...
15:19Because he has to work late at night.
15:21What are we doing?
15:23We're dipping apples?
15:25Yes, we're making caramel apples,
15:27and we're going to have you dump your apples.
15:29We're having a contest here.
15:31Is this what you do for school?
15:33I thought these guys were learning about math
15:35when you were.
15:37We just burned our books a few days ago.
15:39I see.
15:41It's not fun with other directors.
15:43It's much more fun with him.
15:45And Steven's much more nicer,
15:47like a million nicer.
15:49He's much more nicer,
15:51and there's a lot of friends in this movie.
15:5540 and 40 is 80,
15:57and 80 and 80 is 1,060.
16:01No, 160.
16:03Oh, yeah.
16:05Unless you're in the government.
16:07Yeah.
16:09And 90 and 90 is 100.
16:13Right.
16:15And that's all.
16:17Uh-huh.
16:19I thought 50 and 50 was 100.
16:2190 and 90 is 100.
16:23Oh.
16:25I didn't know that.
16:27You're just too smart.
16:29Well, Drew, she's imaginative
16:31and stuff like that,
16:33and she introduced E.T. to her mom.
16:35And she goes,
16:37Mom,
16:39he wouldn't move
16:41because they were off the controls.
16:43But he goes,
16:45he's just a little shy now.
16:47He doesn't want to talk to you right now,
16:49but he's just a little shy.
16:51It was kind of weird.
16:53He's really real.
16:55Then why are all those wires?
16:57These aren't wires.
16:59Those are his feet.
17:01Didn't you know that?
17:03Any smoke left, Stephen?
17:05Those are his feet.
17:07Drew, go back to your mark a second, please, honey.
17:09Now, here's what's going to happen here.
17:11Can I explain this to you guys?
17:13There's going to be a three-way screaming match.
17:15On three.
17:17One, two, three.
17:19No, stop it!
17:21No!
17:23Cut.
17:25We'll get some stuff on his face.
17:27Food and watermelons.
17:29Steve?
17:31Can we put some watermelons on his mouth?
17:33We're going to make him the first junk food addict
17:35from Alpha Centauri.
17:39He is afraid.
17:41He is alone.
17:43He is three million light years from home,
17:45and he's fat.
17:47Remember, the whole line is advancing the whole time.
17:49Everybody's getting closer and closer.
17:51What?
17:53Supposed to look stunned?
17:55Like Eric Idle.
17:57Be stunned.
17:59This is a Monty Python joke.
18:03One of the first things I thought of
18:05is that the boy should,
18:07rather than thinking his thoughts,
18:09that the boy should feel his feelings.
18:13Because the first idea I had
18:15was that E.T. got drunk.
18:17We didn't call him E.T. then.
18:19And the boy hiccuped.
18:21That was one of my first thoughts
18:23You're real drunk.
18:25Lean forward.
18:27Put your cheek on his shoulder.
18:31Right.
18:33And then you can look back at him
18:35and give him a dirty look at one point.
18:39What about this?
18:41Oh, that's good.
18:45Let me see how that looks through camera.
18:47Everybody line up.
18:49Remember, real big eyes.
18:51Right, great.
18:53Just like that.
18:55Rolling.
18:57And grab for the frog, kid.
19:11Cut. Great.
19:13Terrific.
19:15This is a print.
19:17Good action in the background.
19:19Grab her with this hand like this.
19:21Watch this.
19:23You pull her back in,
19:25and switch the hands like that.
19:27See how that switches them?
19:29You grab her with your left hand,
19:31and then while you have her here,
19:33with both hands you switch.
19:35Like that.
19:37You're like disco dancing.
19:39Okay.
19:41Switch hands.
19:43And you struggle.
19:45This hand is struggling back here.
19:47For balance.
19:49That's funny, though.
19:51For balance.
19:53You put her into the half Nelson.
19:55Bring her to the half Nelson.
19:57But first,
19:59face her.
20:01But first, look at her,
20:03and realize, get that arm
20:05a little closer.
20:07David, come on in.
20:09David comes looking for the frog.
20:11Okay.
20:13David, don't just lay down for him.
20:15Let him knee you.
20:17Like that. Down, then step up.
20:19And then look her in the eyes,
20:21and you take the hand.
20:23You'll be scared. You'll be terrified.
20:25And you take the hand like that.
20:27Okay.
20:33How is he playing Han Solo?
20:35Harrison Ford.
20:41He's nice to work with.
20:51Really? In what magazine?
20:55Newspaper.
20:57When, you know, like,
20:59they were talking about Raiders.
21:01I didn't recognize him.
21:03I had a big beard and a mustache,
21:05and nobody recognized me.
21:07They cut it off.
21:09Long way to go back.
21:13Wait a minute.
21:17Cut!
21:23Okay, everybody back to your starting places.
21:25Mandarin, you...
21:27You kissed her.
21:29This side.
21:31Your nose wants to be over here.
21:33Not over there.
21:35John Wayne's nose is on that side.
21:37Right?
21:39You ready for more?
21:41All right.
21:43He's cooling off.
21:45Yes, many years ago, billions and billions
21:47of stars in the sky.
21:49And E.T. comes from all of them.
21:51He comes from Betelgeuse and Alpha Centauri
21:53and Mars and Jupiter
21:55and wherever you can imagine him coming from.
21:57He's a small, little creature
21:59in the vast cosmos of space.
22:01What else can I do, guys?
22:07Because it makes me look glamorous.
22:09You know what I mean?
22:11Seriously, I wear sunglasses inside
22:13because I can...
22:15With very, very dark glasses,
22:17I can tell how a set will be lit.
22:19The eye sees much more than film can.
22:21So when you cut down the density
22:23between your eye and what you're looking at
22:25and sunglasses do it for me,
22:27it gives you a more proper representation
22:29of what the film's going to look like
22:31in dailies the next day.
22:33So I don't wear these to be cool or anything.
22:35I just wear these to really just see
22:37how the set looks lit.
22:39Fall forward.
22:41Cut!
22:43Okay.
22:45I shot Steve in this
22:47and...
22:49What is it, though?
22:51Close Encounters doll.
22:53This doll's not supposed to wear any clothes.
22:55It's supposed to be like this.
22:57I said,
22:59well, he might get chilly
23:01sometime.
23:03And he goes,
23:05Close Encounters
23:07guys don't get cold.
23:09I said, oh, really?
23:11And he goes, yes.
23:15And that was over with.
23:19Turn it the other way.
23:21Ah, ooh, ooh, ooh, ooh.
23:23Pull your hand out.
23:25Just a touch.
23:29Okay, here we go.
23:31Let me get over here.
23:33Perfect.
23:35You know what?
23:37We're going to have to move him back after each take.
23:39I just moved the reflector.
23:41Does that put me behind another half day or what?
23:45Now here comes the spider.
23:47And there's the scissors.
23:49Now look down and see the scissors.
23:51Can you please
23:53look up at the TV set again?
23:55Can you please get the scissors?
23:57Eyeballs up at the TV.
23:59Look at the scissors, please.
24:01Drunk. Good.
24:03Good. Drunk.
24:05Video. Not too much of a mouth.
24:07Look around.
24:09Look up higher.
24:11Look way, way up. Way up.
24:13Okay.
24:15Okay, now look down at the remote control.
24:17Look at the remote control.
24:19Good.
24:21Taste it. Mouth open.
24:23Take it out.
24:25Looking at it.
24:27Looking at it.
24:29TV.
24:31And freak out.
24:37Cut. Good.
24:39Oh, boy.
24:41Good.
24:4310-49.
25:03I suddenly think I'm in a William Castle movie
25:05or a John Carpenter film.
25:07Give me your other hand.
25:09There we go.
25:11That's great for the small of your back.
25:13As I was saying.
25:15Henry, what's the scene you're doing today?
25:17Do you know?
25:19Uh, 74, I think.
25:21I'm not sure.
25:23Oh, that's when you're going out for Halloween?
25:25Mm-hmm.
25:35When Henry's already moving,
25:37he's got to go through once with a gun
25:39even while Henry takes off.
25:41Then we'll be insured of a white wall.
25:43One more time, Henry.
25:45We'll get it. It's our fault.
25:47Because I wasn't working from storyboards,
25:49which is the first time I haven't worked
25:51from storyboards in a long time.
25:53I really can't remember a time,
25:55except maybe when I was making little films
25:57in 16mm back in college
25:59where I didn't graph, you know,
26:01draw everything out.
26:03I sketched about 40% of this movie on paper
26:05and then decided that I was being
26:07penciled into a corner.
26:09I was doing that to myself
26:11and thought,
26:13well, just for once I'll take a chance
26:15and I'm going to wing it every day,
26:17make it up as I go along.
26:29No, no.
26:31Yeah, just like that.
26:33We have rain
26:35heavy at times through Wednesday.
26:37Gale force winds.
26:41Real promising.
26:43Well, we either shoot
26:45like Stephen did Jaws
26:47where nothing matches,
26:49but who noticed and who cared?
26:51Or
26:53we go home
26:55and not finish the movie.
26:57Or we sit and wait.
27:05Be safe!
27:19We had an attack.
27:21We thought maybe you might.
27:23Oh, boy. What is it?
27:25It's a cheeseburger.
27:27Oh, a cheeseburger. Great. Thank you.
27:29That's what a good producer is.
27:31A good producer,
27:33yeah, they got to handle the money
27:35and bring you something on budget and schedule
27:37and all that kind of stuff,
27:39and yeah, they got to be strong
27:41and get along with people real well,
27:43but when they bring you cheeseburgers
27:45unexpectedly, that's what rates them
27:47the highest.
27:49It's like a corridor for the guys to walk on
27:51for us to pass.
27:53If we had this on a sawhorse of some sort
27:55and then this one over here,
27:57a little staggered,
27:59it's sort of like a gauntlet of light
28:01and that's what he's going to be following
28:03as he goes through.
28:07It's kind of hard to get in.
28:09It's hard to do it right here.
28:15Oh, this is great.
28:19You got a grout show, you know, when you walk in here.
28:21You got to kind of, you know...
28:23Here we go.
28:29No, don't do that.
28:39How's that?
28:41It's great.
28:43Looks like regular stuff.
28:45Blood pressure's dropping from 100 over 70
28:47to 70 over 50.
28:49ET, and then ET's head turns and he says,
28:51and everything stops.
28:53Okay, Alan, let's do this for after lunch.
28:55The camera will start with a 17
28:57wide this way.
28:59And let me just...
29:01Yeah, it's back in.
29:03I think it'll still look good.
29:05We'll come in here like so.
29:07We'll just drift, holding them the whole time.
29:09And then when we stop here,
29:11we'll just start a slow drop,
29:13a real slow fluid move.
29:15And when he talks, the camera stops.
29:17Not only do they stop, but the camera's movement stops
29:19when he talks.
29:21It'll be real weird.
29:23And then they put the microphone.
29:25That'll be tighter coverage.
29:27Right in between the words.
29:29It's like he needs his...
29:33So the sentences aren't so clean and pure.
29:35Don't do that.
29:37Suck in the words.
29:39Can you pronounce the word breathing in?
29:41Yes.
29:43Try breathing in.
29:49Right, exactly.
29:51Henry can take a break for a few minutes
29:53to go to school, and we'll get the reverse.
29:55But I want to stick with this, get the scene out of the way,
29:57and then go back in this direction again
29:59since the actors are into it already.
30:01Guess what, Katie?
30:03It's a good holiday.
30:05You've got to see the angle on his face.
30:07He's like...
30:09He's like...
30:13It's not...
30:15It's not forced pathetic.
30:17It just sounds like
30:19he has a serious physiological problem here.
30:21And he's slipping quickly.
30:27I had him inhale
30:29because it sounded better.
30:31But medically, you know...
30:33Okay.
30:35Guys, listen, everybody.
30:37It doesn't sound natural yet.
30:39The two things that are important to hear
30:41is your line that he's failing
30:43and your line that he's coming up.
30:45It's important to cut through all this with that.
30:47Melissa? Yes.
30:49E.T. shouldn't speak, shouldn't say Elliot
30:51until after these two lines are out.
30:53I've got to get a reverse on Richard
30:55saying they're separating
30:57means that we're losing E.T.
30:59That'll be three.
31:01If we can get it all tonight, we'll clean up the sequence
31:03except for the inserts of the monitors,
31:05and we can move ahead to Code Blue first thing in the morning.
31:07Okay, fine.
31:09Great, so we do come in from both sides.
31:11And you both have to clear out...
31:13Yeah, Barbara, you need to be more this way.
31:15Yeah, and Barbara, see what we're doing?
31:17We're starting on Elliot,
31:19and he sits up and screams something,
31:21and then we zoom back, and both of you put your heads in.
31:23So let me just try that much
31:25before we bring the camera in.
31:27Okay, is everybody ready now?
31:29And don't smile through your mask.
31:31I don't want to see any mustaches curling up.
31:33No waving at your mom,
31:35no waving at your friends.
31:37Okay, quietly, everyone.
31:39Just pretend that everyone's paying attention.
31:41No, no, I wouldn't play doctor like that.
31:43I just pull people's eyes out.
31:45Open your mouth, open your mouth.
31:49Is that gum in there or deformed teeth?
31:53Gum.
31:55The kids, I think, in many ways
31:57are more spontaneous than adults
31:59because they haven't learned to censor things yet.
32:01They haven't gotten to the age
32:03where they know it's not right to say that
32:05because it's not socially acceptable.
32:07And if I can get that on the first take,
32:09all these happy mistakes,
32:11then it's going to make the film a lot more spontaneous.
32:13You can do what?
32:17You know what that is?
32:19No, it's a word way over my head.
32:23Okay, wait, wait, wait.
32:25This is how we take care of all of our patients
32:27at the future general hospital.
32:29Next case.
32:31So much for that.
32:33Five.
32:35Now you're out.
32:37Now, you see, you can't stop
32:39until you're up against there.
32:41Otherwise, you'll be hanging in a shroud.
32:43Thanks, Henry.
32:45Here we go.
32:47This will be a picture whenever Alan's ready.
32:49We can tie his head down somehow
32:51so when the body, you know,
32:53when they give him the electric shock,
32:55his body jumps,
32:57but his head stays there
32:59and his chin just keeps going up like that.
33:01Something like that.
33:03Yeah.
33:05When he says, everybody clear?
33:07Stand aside.
33:09You'll put it down, and Bob, you do it at random
33:11and they'll pretend they're zapping.
33:13You'll take your zap from the actual bump.
33:15So go ahead, Bob.
33:17Do it, Bob.
33:19Stand aside.
33:21Stand aside.
33:23When we say stand aside, two beats.
33:25Okay, okay, down there.
33:27Every time he says stand aside,
33:29two beats and zap it down there.
33:31So he'll say stand aside more than once.
33:33Okay.
33:35Now I know,
33:37nobody's going to believe me when I say this,
33:39but it's been great.
33:41The kids are great.
33:43I think we've probably
33:45blown less takes on the kids
33:47than we have on me.
33:49The dog, maybe not,
33:51but it's been great.
33:53I'm just trying to keep my head up there with them,
33:55you know?
33:57Look over the top of the head, please, T.
33:59Tell her you love her.
34:01I love you.
34:13Look over at Michael, right over there.
34:15He's over there.
34:17Look back at E.T.
34:27They're going to put the machine on his chest
34:29and they're going to give him a shock
34:31to try to make him come back.
34:33And when they give him the shock,
34:35it's very loud and it makes you jump
34:37and cry even more.
34:39And they're putting it on his chest now
34:41and he presses the button
34:43and it goes pow!
34:45Okay.
34:49Wipe the doll's face, too.
34:57She's so sad.
35:07So what did you think?
35:09Did you just think it was E.T.?
35:11Did you get sad?
35:19We have a graph that John did inserts of yesterday.
35:21It's great.
35:23It shows Elliot and E.T.
35:25When they put it together,
35:27then you start going like this
35:29and then you start going like this.
35:31Take out these two lines.
35:33What?
35:35Take out these two lines.
35:37Yeah, why don't we?
35:39I wish that
35:41he could go back in time
35:43and
35:47he could be with me
35:49in this town.
35:51It'll be fixed.
35:53Yeah.
35:55I wish we could go back in time to yesterday, right?
35:57He could be upstairs.
35:59Okay.
36:01I think it'd be nice if some of this were delivered
36:03when you head up here.
36:05You're almost beyond sadness.
36:07It's almost like you're talking to him
36:09as if you were alive and reminiscing
36:11the good old times, the good old days.
36:13When you speak to him
36:15about, I wish we were upstairs.
36:17Sort of like a faraway sound in your voice.
36:19Kind of like you're remembering with him.
36:21Along with him.
36:23As if he's listening and he's awake
36:25and the way you would say it
36:27if you were in your bedroom
36:29and you didn't want your mom to hear in the other room.
36:31Maybe even in the closet when she was
36:33talking to Gertie through the louvers
36:35and you were having this conversation
36:37in that sort of a whisper so mom doesn't hear.
36:39But in a very familiar kind of way with E.T.
36:41You're like next.
36:43Where do you sit?
36:45Yeah, yeah.
36:47On his hip.
36:49Anyway, he just kept moving.
36:51Now he suddenly turns to you.
36:53His eyes come open.
37:01Do that to E.T.
37:03Give that joyful scream to E.T.
37:05Do the line again, really excited about it.
37:07Are they coming?
37:09Breathing, breathing, breathing.
37:11Is this mean they're coming?
37:13No, work yourself up even more.
37:15Bigger, bigger.
37:17Does this mean they're coming?
37:19Yes!
37:23First you have to stay.
37:25Promise me, stay.
37:27Tell him to stay even louder and firmer.
37:29Stay, stay.
37:31Give him the eyes like stay.
37:33Stay, stay.
37:35Now take your hand away.
37:37Stop for a second.
37:39Looks like he's going to behave and then he says it again.
37:41E.T.
37:43Gag him.
37:45And cut.
37:47Good.
37:49Like that, the whole way like that.
37:51Good, okay.
37:55Say what?
37:59Right, exactly, little Dracula.
38:01Baby Dracula.
38:05And action.
38:07I love you.
38:13I love you.
38:15I love you.
38:17Why don't you come with me?
38:19It's all right.
38:21It's all right.
38:23Cut, good, good.
38:25The fingers should be out.
38:27The minute he touches you,
38:29you feel him touching you,
38:31you have to pull your back, grab onto this right here.
38:33And then to here.
38:35And then when you come out, it's like in the air.
38:37Okay, one more time.
38:39We're going to play this for all it's worth.
38:41No.
38:43Like this.
38:47Don't cover your face.
38:49I want to see it.
38:51Okay, let her take a break.
38:53Background.
38:55It'll be okay.
38:59Would you like the flowers?
39:05That worked nice.
39:07That was great.
39:09Let's do it one more time like that.
39:11That was wonderful.
39:13Would you like a flower?
39:21Now, Katie?
39:23Here's what's happening.
39:25Just before they take off,
39:27I want to see about four, five plain clothes guys
39:29all converging on the van.
39:31Okay, like they're coming because of what?
39:33Around those two cars, right.
39:35They're coming forward toward the van just as it takes off.
39:37We'll have some people running, you know,
39:39continuing carrying stuff down here.
39:41And as the van takes off,
39:43have one guy just stop right here as it takes off
39:45and just do one of these things.
39:47With his mask on, you know.
39:49One person like that
39:51and a few others
39:53who have been carrying those capsules
39:55right down there near the cryogenic tube.
39:57The cryogenic tube, by the way,
39:59should be out of the picture.
40:01Won't we see it inside on the other camera?
40:03Oh yeah, put it in the van.
40:05And cut!
40:07Emergency brake.
40:09Put the brake in.
40:11Step on this.
40:13Step on this all the way.
40:15There you go.
40:17Now, Robert,
40:19don't dress me with this hand.
40:21Keep this hand down.
40:23Casey.
40:25Michael!
40:27Cut, cut, cut.
40:29Your hand.
40:31Go.
40:33Get the bikes.
40:35Like that, real strong.
40:37And loud and easy.
40:39As if they forgot to do it three or four times.
40:41You know what I mean? Just give it back there.
40:43Everything has to be more exaggerated.
40:45Go over the top.
40:47And don't be embarrassed
40:49by going over the top, really.
40:51And action!
40:53Casey.
40:55Michael!
40:57Get the bikes. Meet us at the playground at the top of the hill.
40:59Cut, lovely.
41:01Stand like this with our zoom.
41:03On one camera.
41:05Go ahead and right next to me go wide.
41:07Go long and wide at the same time.
41:09Now I have to go one up.
41:11A little bit like my step ladder.
41:13Just off to the side here, Al.
41:25Cut!
41:27All you guys will stop on one, two, three.
41:29And then I'll give Casey a several cue to come forward.
41:31So,
41:33let's just rehearse it.
41:35When do I come forward? On action.
41:37Everybody comes forward to their first marks on action.
41:39And,
41:41action!
41:45Okay, Tom,
41:47move your mask slowly.
41:49Sean, remove your glasses.
41:53And come forward,
41:55Casey.
41:57We're taking him to see a spaceship.
41:59Can't,
42:01can't he just, just,
42:03just beam up or something?
42:05Can't he just, now think about it a second.
42:07Look for the word.
42:09Beam up.
42:11Real clean, in awe of what's happening.
42:13But, I mean, I wouldn't break it up at all.
42:15I would just make it very, very smooth
42:17and almost in a trance, in a trance-like state.
42:23Can't he just
42:25beam up?
42:29Cut, good.
42:31Very nice, very nice.
42:43This is directly after getting E.T. out of the,
42:45out of that cryogenic van
42:47we shot yesterday.
42:49Very next cut.
42:51When I say action, we'll get the speed.
42:53I want you to yell to Henry,
42:55where are we going?
42:57And Henry's going to scream back,
42:59to the forest!
43:01Keep up, guys.
43:03Okay, Casey again, you're live.
43:05Where are we going?
43:07To the forest!
43:23And cut.
43:27And cut.
43:31And cut.
43:33We made it!
43:37Cut, cut.
43:39Very nice.
43:41One more time.
43:43I lied, ten more times.
43:45Wasn't it a great thing I just got?
43:47The Mercedes thing?
43:49It was a walk, it was all fine.
43:53Yeah.
43:55It's great.
43:59It's got an alarm clock in there.
44:01You know, I saw this real neat,
44:03this real neat watch.
44:05It plays games.
44:07Oh, it's great, it plays Space Invaders.
44:09Yeah.
44:11The best game, the game that I still think is the best game
44:13they've ever made is Asteroids.
44:15Especially Super Asteroids.
44:17Missile Command,
44:19Space Invaders.
44:21You have to go to a pizza hut
44:23or a Westworld and Westwood
44:25and play that.
44:27Defender is the
44:29gear shift and it goes up
44:31and you
44:33smart bombs and then
44:35you can reverse it
44:37and
44:39that's a good game.
44:41I wasn't too good at that game.
44:43I send them back when I can't play them.
44:45We're just going to be
44:47putting our electronic kit onto the heart-like body
44:49for our shot.
44:51I believe it's going to be the ending sequence
44:53when E.T. leaves Elliot.
44:55Okay, let me see the
44:57draw open and the corner smile.
44:59Yeah, open that mouth like he's in one.
45:01Like, wow, he's going, wow, look at that.
45:03Yeah, that's great. Wow, wider.
45:05Wow, that's what we want. That's terrific.
45:07Wow, perfect.
45:09That's the idea because he's looking
45:11at the ship and it's coming down
45:13and it comes down more and more. He's going like this.
45:15He's going...
45:17Okay, I think there's still...
45:21Now, who has the forehead?
45:33And then, after touching the heart,
45:35E.T. is going to
45:37put his hands on your shoulders
45:39and he's going to bring you in
45:41for a hug.
45:43And you'll hug this side of E.T.
45:45You'll hug this side
45:47and you'll just hug for a while.
45:49Just hug him for a while.
45:51And then you'll separate
45:53and E.T. will point right to your forehead,
45:55right between your eyes.
45:57And he says,
45:59right here, he says,
46:01I'll be right here.
46:03And you'll reach out your hand
46:05and you just sort of touch his cheek
46:07and he has a little tear in his eye.
46:09You just pretend there's a tear and he'll wipe the tear away from E.T.'s face.
46:11And we'll play it that way.
46:13Real softly and gently.
46:15No rush.
46:17Okay, so just walk over and think about it for a while.
46:19Just be by yourself for a few minutes.
46:29Go ahead, Henry. Get right in there.
46:31Just like that. Perfect, Henry.
46:33And can you look up?
46:35I want to see your eyes when you're in the embrace.
46:37Go ahead. A real embrace.
46:39Let me see you really hug. That's perfect, Henry.
46:41I love that. With your chin resting on E.T.
46:43And if you want to,
46:45you can look up with your eyes.
46:47Yeah, but you'll be crying
46:49and you can be just looking over at your mom.
46:51See where your mom is over there?
46:53That's the place to look. Not too far there, Henry.
46:55That's perfect. Now where are you looking, Henry?
46:57At the what?
46:59Okay, that's where I want you to see for your mom.
47:01And the spaceship, Henry.
47:03Look right at that door of the spaceship.
47:05That's great for the spaceship, Henry. Perfect.
47:07Very nice.
47:09And whatever you do will be good when you do it,
47:11but just to know that I want a change when that light hits you.
47:13And when the light goes off,
47:15you can slowly open your eyes and his hand comes down.
47:17Okay.
47:19Alright.
47:21I guess this is...
47:23I guess this is goodbye.
47:27I guess this is everything.
47:31Thank you very much for...
47:33Thank you for saving my life.
47:35It's a hard movie to make
47:37for such a small personal intimate movie
47:39that I wanted to make all my life.
47:47Well, this idea, you know...
47:51If I play...
47:53Yeah.
48:05Yeah, yeah.
48:09I like the repeated phrases.
48:11The other thing...
48:23If it would be convenient to go into the call...
48:29Yeah.
48:33I like that.
48:35As a matter of fact, it seems like a very natural transition
48:37into the loneliness
48:39and out of the tenderness.
48:41Let's see if we can do it.
48:43Okay.
48:45The thing is, where do we shift from the call to the theme?
48:47Is it on the smile?
48:49Is it when he touches the face?
48:51That's a good question.
48:53That's a wonderful question.
48:55Your choices are as many frames long as the sequence.
49:05That's certainly the call, isn't it?
49:07Yes, that's the call.
49:09And this is the loneliness.
49:11This is Elliot's love.
49:13This is his heartbreaking...
49:15Does he look up again?
49:17He looks up a second time.
49:19Let's get that.
49:21Absolutely.
49:25I always get that confused.
49:33Sometimes.
49:35Does it ever go up once in the movie yet?
49:37It hasn't gone up yet, has it?
49:39At the end, I'll save it for the last reel.
49:43Up or down?
49:45Down.
49:47Maybe once down.
49:51It could go down once and then go up.
49:59He's got so many options to end it.
50:15This is my favorite part.
50:29I love this moment here.
50:31When he looks down and the warmth begins.
50:35We won't hold it that long.
50:37That theme is in the right place.
50:45I'm going to wait for the smile, though.
50:49To keep this cue all quieter.
50:51It's all very unimportant.
51:11The house should be on the third beat of this bar.
51:13One, two...
51:15Three.
51:17And it is.
51:19Is that right?
51:35This theme is a sweet surprise.
51:37Is anybody going to get it?
51:39About 200 million people.
51:43It's a great theme.
52:03When he takes it off,
52:05even though it's on the screen,
52:07it's one of the silliest attempts I've ever seen.
52:09When it takes off, it just explodes.
52:12It's very exciting. It's a great cue.
52:14For me, I think this is the least similar
52:16to anything I've ever done before.
52:18Certainly much different than
52:20Close Encounters of the Raiders.
52:22I hate to belittle it by saying it's a personal film,
52:24but it is.
52:26It's a quote, personal, unquote movie.
52:42It is.
52:44It is.
52:46It is.
52:48It is.
52:50It is.
52:52It is.
52:54It is.
52:56It is.
52:58It is.
53:00It is.
53:02It is.
53:04It is.
53:06It is.
53:08It is.
53:10It is.
53:12It is.
53:14It is.
53:16It is.
53:18It is.
53:20It is.
53:22It is.
53:24It is.
53:26It is.
53:28It is.
53:30It is.
53:32It is.
53:34It is.
53:36It is.
53:38It is.
53:40It is.
53:42It is.
53:44It is.
53:46It is.
53:48It is.
53:50It is.
53:52It is.
53:54It is.
53:56It is.
53:58It is.
54:00It is.
54:02It is.
54:04It is.