Movie |
Prosecution | Hopeful
After a gentle alien becomes stranded on Earth, the being is discovered and befriended by a young boy named Elliott. Bringing the extraterrestrial into his suburban California house, Elliott introduces E.T., as the alien is dubbed, to his brother and his little sister, Gertie, and the children decide to keep its existence a secret. Soon, however, E.T. falls ill, resulting in government intervention and a dire situation for both Elliott and the alien.
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After a gentle alien becomes stranded on Earth, the being is discovered and befriended by a young boy named Elliott. Bringing the extraterrestrial into his suburban California house, Elliott introduces E.T., as the alien is dubbed, to his brother and his little sister, Gertie, and the children decide to keep its existence a secret. Soon, however, E.T. falls ill, resulting in government intervention and a dire situation for both Elliott and the alien.
Best Effects Sound Effects Editing | 1983 | Charles L. Campbell
Best Music Original Score | 1983 | John Williams
Best Effects Visual Effects | 1983 | Carlo Rambaldi
Best Sound | 1983 | Robert Glass
Best Original Score Motion Picture | 1983 | John Williams
Best Score | 1983 | John Williams
Best Foreign Director Migliore Regista Straniero | 1983 | Steven Spielberg
Mejor Pelcula Infantil | 1983 | Steven Spielberg
Best Director | 1982 | Steven Spielberg
Best Foreign Language Film | 1983 | Steven Spielberg
Best International Film | 1982 | Steven Spielberg
Best Foreign Film Mejor Pelcula Extranjera | 1983 | Steven Spielberg
Best Director | 1982 | Steven Spielberg
Best Director | 1983 | Steven Spielberg
2000 | Kathleen Kennedy
Best Foreign Language Film | 1983 | Steven Spielberg
Best Young Supporting Actress in a Motion Picture | 1983 | Drew Barrymore
Best Young Motion Picture Actor | 1983 | Henry Thomas
Best Young Supporting Actor in a Motion Picture | 1983 | Robert MacNaughton
Best Recording for Children | 1984 | Quincy Jones
Best Instrumental Composition | 1983 | John Williams
Best Instrumental Arrangement Accompanying Vocals | 1983 | John Williams
Best Music | 1983 | John Williams
Best Writing | 1983 | Melissa Mathison
Best Special Effects | 1983 | Carlo Rambaldi
Best Edition of an Existing Score | 2017 | John Williams
Score | 2021 | John Williams
Best Drama Written Directly for the Screen | 1983 | Melissa Mathison
1982 | Melissa Mathison
Most Oscars won for visual effects | 1994 | Dennis Muren
Most Oscars won for visual effects For and | 1994 | Dennis Muren
Best Picture | 1983 | Kathleen Kennedy
Best Director | 1983 | Steven Spielberg
Best Writing Screenplay Written Directly for the Screen | 1983 | Melissa Mathison
Best Film Editing | 1983 | Carol Littleton
Best Cinematography | 1983 | Allen Daviau
Best Director Motion Picture | 1983 | Steven Spielberg
New Star of the Year in a Motion Picture Male | 1983 | Henry Thomas
Best Screenplay Motion Picture | 1983 | Melissa Mathison
Best Direction | 1983 | Steven Spielberg
Best Film | 1983 | Kathleen Kennedy
Most Outstanding Newcomer to Leading Film Roles | 1983 | Henry Thomas
Best Screenplay | 1983 | Melissa Mathison
Best Special Visual Effects | 1983 | Carlo Rambaldi
Best Sound | 1983 | Robert Glass
Best Production DesignArt Direction | 1983 | James D. Bissell
Best Film Editing | 1983 | Carol Littleton
Best Cinematography | 1983 | Allen Daviau
Best Director | 1982 | Steven Spielberg
Outstanding Directorial Achievement in Motion Pictures | 1983 | Steven Spielberg
Best Dramatic Presentation | 1983 | Melissa Mathison
Best Foreign Producer Migliore Produttore Straniero | 1983 | Kathleen Kennedy
Best Director | 1983 | Steven Spielberg
Best Actor | 1983 | Henry Thomas
Best Supporting Actress | 1983 | Dee Wallace
Best Foreign Film Meilleur film tranger | 1983 | Steven Spielberg
Best New Release ReRelease or ReRecording of an Existing Score | 2018 | Michael Matessino
Best Edition of a Classic Soundtrack | 2002 | John Williams
Best Music | 1982 | John Williams
Best Edited Feature Film | 1983 | Carol Littleton
Budget 10,500,000 USD
Box Office Collection 797,307,407 USD
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Most of the full-body puppetry was performed by a 2'10" tall stuntman, but the scenes in the kitchen were done using a 12-year-old boy who was born without legs but was an expert on walking on his hands.
Steven Spielberg shot most of the film from the eye-level of a child to further connect with Elliott and E.T.
At one point, Gertie looks down at E.T. and says, "I don't like his feet." This was ad-libbed by Drew Barrymore and was actually her referring to the grouping of wires coming out of the E.T. puppet. She also ad-libbed the line, "Give me a break!" after Elliott tells her only little kids can see E.T.
The end of the film was one of the most significant musical experiences for composer John Williams. After several attempts were made to match the score to the film, Steven Spielberg took the film off the screen and encouraged Williams to conduct the orchestra the way he would at a concert. He did, and Spielberg slightly re-edited the film to match the music, which is unusual since normally the music would be edited to match the film. The result was Williams winning the 1982 Academy Award for Best Original Score.He recreated this at his last appearance with the LA Philharmonic at the Hollywood Bowl in 2013 conducting the orchestra live while the last reel was shown on the jumbotrons.
In the Halloween scene, where E.T. sees a child in a Yoda costume and seems to recognize him, This is an inside joke by Steven Spielberg on his good friend, Star Wars creator George Lucas. In Star Wars: Episode I - The Phantom Menace (1999), Lucas returns the joke in a scene that takes place in the galactic senate. In the shot of the various senators calling out, you can see E.T.'s species among the senate pods in the lower right corner.
"[last lines] E.T.: Come... Elliot: [solemnly] Stay... E.T.: [puts his finger to his glowing heart] Ouch. Elliot: [mimics the same action, tearfully] Ouch. E.T.: [E.T. and Elliot embrace each other, then E.T. puts his glowing finger to Elliot's forehead] I'll... be... right... here. Elliot: [tearfully] ... bye."
"Elliott: He's a man from outer space and we're taking him to his spaceship. Greg: Well, can't he just beam up? Elliott: This is *reality*, Greg."
