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Close Encounters of the Third Kind in 1. Steven Spielberg wanted to tell a smaller, more personal story for his next film. Entitled Growing Up, the proposed movie was inspired by the divorce of his parents when he was 1. It included the feelings of alienation Spielberg felt being Jewish in an all Gentile neighborhood in Arizona and was told from the perspective of three children. When the project was shelved, Spielberg moved on to another big budget film, 1. Around the same time, Columbia Pictures demanded a sequel to Close Encounters. Spielberg wanted no part of that, though he had a small idea about what would have happened if an alien didnt go back to the mothership at the end of that movie. To ensure they didnt make the sequel without him, he insteadcommissioned writerdirector John Sayles to create a script for a pseudo sequel called Night Skies, about a suburban family terrorized by a group of aliens with one befriending the familys son. The project was too dark in tone for Spielberg, though, and ultimately, he had Columbia just re release Close Encounters in a Special Edition with additional scenes. But he still recognized the potential of a film like Night Skies, so he and screenwriter Melissa Mathison then combined Spielbergs semi autobiographical story with the benevolent alien visiting a boy on earth to create E. T. The idea of the terrorized family was refashioned as another eventual Spielberg production Poltergeist. Mathisons first draft is the shooting script. Most films go through several drafts before a final shooting script is locked into place, but Melissa Mathisons first draft is what Spielberg used during the shoot of the film. Instead of constantly revising individual drafts, Spielberg gave Mathison the general narrative plot for her to round out. She would write for five straight days and then collaborate with him for five successive days of feedback. This process went on for eight weeks, and Spielberg later called the resulting screenplay the best first draft Ive ever read. In order to maintain a spontaneous and streamlined shoot and unlike the fully pre visualized Raiders of the Lost Ark, Spielberg didnt storyboard any of the shots for E. T. and kept the script Mathison had written on 3 x 5 inch notecards in his shirt pocket. This gave him the freedom to revise, improvise, and make things up with the child actors on set. To maintain secrecy while shooting, the production name was listed as the rather mundane A Boys Life. A young Drew Barrymores little white lies made Spielberg cast her as Gertie. Getty Images. Getting the right young actors to play the three main young siblings was a paramount problem for Spielberg. The first kid he cast was Drew Barrymore as Gertie, the youngest of the trio. During her audition, the six year old Barrymore allegedly told Spielberg that she wasnt really an actress at all but rather the drummer of a loud and menacing punk rock band called the Purple People Eaters, who painted their faces with makeup for every show and who had played to an arena packed with thousands of people the night before. Spielberg recognized the value of her vivid imagination and she got the part. Henry Thomas improvised audition won him the part of Elliott. The most difficult role for Spielberg to cast was that of Elliott, the boy who discovers and befriends E. T. Spielbergs friend Jack Fisk Sissy Spaceks husband and the production designer of such films as Badlandsand Eraserhead suggested a young actor by the name of Henry Thomas, whom he directed in his 1. Raggedy Man. Spielberg brought Thomas in for a meeting to audition at Universal Studios, but instead of giving Henry the script to read, the director opted to have the young actor improv a scene with a government agent played by casting director Mike Fenton who is trying to take his alien best friend away from him. Spielbergs only direction to Thomas was to do whatever it takes to stop the government agent from taking the alien away. In the heartbreaking audition seen above, Thomas broke down in tears while pleading with Fenton not to take his friend, prompting Spielberg to conclude the session with OK kid, you got the job. Peter Coyotes bad audition for Raiders of the Lost Ark got him a part in E. T. Actor Peter Coyote, who plays the sympathetic government agent Keys in E. T., auditioned for the role of Indiana Jones during a May 1. Steven Spielberg and George Lucas. Coyote, who was given snippets of the Raiders script along with a character outline of Indy, brought along a dashing fedora to accentuate his audition in hopes of wowing the two Hollywood heavyweights. But when he was told it was his turn to go, he tripped over the wiring of the lights that were set up in the room. His stumbling first impression was the furthest thing from the debonair, tough guy Indy. The part went to Harrison Ford, but Spielberg found something endearing in Coyotes clumsiness, and when it came time to cast Keysan adult with childlike wondermentthe choice was obvious. Sometimes being awkward pays offThe combination of a painting and photos of famous people inspired the look of E. T. Universal Pictures. Spielberg originally had production illustrator Ed Verreauxwith whom he had worked on Raiders of the Lost Arkdraft the initial designs of the titular alien creature. Eventually, he went with a different set of design ideas, created by special effects artist Carlo Rambaldi. Rambaldi had previously designed the mechanical head effects for the xenomorph in Ridley Scotts Alien and the visitors from Spielbergs own Close Encounters of the Third Kind. Compaq Presario Cq60 Recovery Disc Download. For E. T., Spielberg tasked him with coming up with an alien form that audiences could sympathize with. The primary inspiration was one of his own paintings from the Academy of Fine Arts in Bologna, titled Women of Delta. It depicted a shriveled character with stumpy legs, a long neck, an oblong head, and large eyes. To make the alien empathetic, Spielberg had Rambaldi study photos of elderly people who lived during the Great Depression. He also collated the aliens facial design with photos of Albert Einstein, Ernest Hemingway, and Carl Sandburg. Rambaldi completed his design in clay, and an impressed Spielberg quickly gave it the go ahead. Artist Ralph Mc. Quarrie, who was responsible for the famous concept art for George Lucas Star Wars, designed E. T. s spaceship, saying it was meant to resemble a hot air balloon as if it were created by Dr. Seuss. 7.   The E. T. puppet was a conceptual wonder, but made the sets a logistical nightmare. Universal Pictures. For scenes that required the animatronic E. T. puppetlike Elliotts room and the familys living roomSpielberg had the production designers build the sets raised on stilts. The heavy robotic puppet was bolted down, and its wiring was hidden under the floor. The puppeteers were able to observe and manage the puppets performance from a series of TV monitors located in another room. Spielberg wanted those on set to act as if E. T. were a real actor for maximum believability, and asked the special effects designers to test out all puppet movements well before production began to ensure that the illusion wasnt easily broken.