Steven Spielberg
More than any of the Steven Spielberg's other films, E.T.: The Extra-Terrestrial depends on a childlike sense of wonder. The first of the director's works to predominantly feature a child in a major role, E.T.could be seen as a prequel to Close Encounters of the Third Kind, albeit in a far-out sense. In essence, the film is Close Encounters as told from the perspective of a child, and E.T. may be the only companion piece to present itself as a quasi-prequel by way of the infancy of the camera itself.
Spielberg uses scores of low-angle shots to capture the mise-en-scène, imbuing the early scenes, of the massive mother ship and a group of agents (always framed in such a way to mask their faces), with the heightened of the unknown, the unfathomable. Both the child protagonist and the highly evolved alien are small, and though only one comes from another planet, Earth holds crushing mysteries and exaggerated evils that neither can fully comprehend. I can think of no other Spielberg movie that makes such extraordinary use of light, light that constantly seeps into rooms, light that makes interiors seem stifling and cramped, dreaded light that threatens to expose the benign alien to the forces that which to torture and experiment upon him.
But this perspective also captures the flip-side of the unknown and incomprehensible, that of eye-popping wonder. The stranded alien has just the right amount of intelligence (or, more importantly, the ability to express that intelligence), neither a simpering idiot nor so advanced that you sit there waiting for him to telepathically crush his tormentors into flesh cubes. E.T. has telepathic powers and can learn language rapidly, but he's also been dumped in unfamiliar territory, and the customs and trinkets of this world delight and scare him as they do a child. With only a human kid to guide him, E.T. never travels to the world's monuments, never mulls over the Grand Canyon or the Parthenon or considers the creative glory Renaissance or the wanton waste of the Crusades. He doesn't need to; beer, TV and Reese's Pieces contain enough mystery.
Spielberg uses scores of low-angle shots to capture the mise-en-scène, imbuing the early scenes, of the massive mother ship and a group of agents (always framed in such a way to mask their faces), with the heightened of the unknown, the unfathomable. Both the child protagonist and the highly evolved alien are small, and though only one comes from another planet, Earth holds crushing mysteries and exaggerated evils that neither can fully comprehend. I can think of no other Spielberg movie that makes such extraordinary use of light, light that constantly seeps into rooms, light that makes interiors seem stifling and cramped, dreaded light that threatens to expose the benign alien to the forces that which to torture and experiment upon him.
But this perspective also captures the flip-side of the unknown and incomprehensible, that of eye-popping wonder. The stranded alien has just the right amount of intelligence (or, more importantly, the ability to express that intelligence), neither a simpering idiot nor so advanced that you sit there waiting for him to telepathically crush his tormentors into flesh cubes. E.T. has telepathic powers and can learn language rapidly, but he's also been dumped in unfamiliar territory, and the customs and trinkets of this world delight and scare him as they do a child. With only a human kid to guide him, E.T. never travels to the world's monuments, never mulls over the Grand Canyon or the Parthenon or considers the creative glory Renaissance or the wanton waste of the Crusades. He doesn't need to; beer, TV and Reese's Pieces contain enough mystery.
http://armchairc.blogspot.com/2010/05/steven-spielberg-et-extra-terrestrial.html
Steven Spielberg is probably the most famous movie director in Hollywood. He is known for starting his movies with action sequences. This was groundbreaking for movies because before Spielberg most movies started with a slow build to a single climax. Because of Spielberg it is common for modern movies to include several exciting action sequences before reaching the end of the movie.
Chances are you've probably seen at least one of his movies without even knowing it. See if you recognize any of these titles:
Theatrical releases
Year | Film | Director | Producer | Writer | Other | Notes |
---|---|---|---|---|---|---|
1968 | Amblin' | Yes | Yes | |||
1971 | Duel | Yes | ||||
1972 | Something Evil | Yes | ||||
1974 | The Sugarland Express | Yes | Yes | |||
1975 | Jaws | Yes | ||||
1977 | Close Encounters of the Third Kind | Yes | Yes | |||
1978 | I Wanna Hold Your Hand | Yes | executive producer | |||
1979 | 1941 | Yes | ||||
1980 | The Blues Brothers | Yes | Cook County Assessor's Office Clerk | |||
Used Cars | Yes | executive producer | ||||
1981 | Continental Divide | Yes | executive producer | |||
Raiders of the Lost Ark | Yes | |||||
1982 | E.T. the Extra-Terrestrial | Yes | Yes | |||
Poltergeist | Yes | Yes | ||||
1983 | Twilight Zone: The Movie | Yes | Yes | segment "Kick the Can" | ||
1984 | Gremlins | Yes | Man in Electric Wheelchair, also executive producer | |||
Indiana Jones and the Temple of Doom | Yes | |||||
Room 666 | Yes | Himself | ||||
1985 | Fandango | Yes | executive producer | |||
Back to the Future | Yes | executive producer | ||||
The Color Purple | Yes | Yes | ||||
The Goonies | Yes | Yes | also executive producer | |||
Young Sherlock Holmes | Yes | executive producer | ||||
1986 | An American Tail | Yes | executive producer | |||
The Money Pit | Yes | executive producer | ||||
1987 | *batteries not included | Yes | executive producer | |||
Empire of the Sun | Yes | Yes | ||||
Harry and the Hendersons | Yes | executive producer, uncredited | ||||
Innerspace | Yes | executive producer | ||||
Three O'Clock High | Yes | executive producer | ||||
1988 | The Land Before Time | Yes | executive producer | |||
Who Framed Roger Rabbit | Yes | executive producer | ||||
1989 | Always | Yes | Yes | |||
Back to the Future Part II | Yes | executive producer | ||||
Dad | Yes | executive producer | ||||
Indiana Jones and the Last Crusade | Yes | |||||
1990 | Arachnophobia | Yes | executive producer | |||
Dreams | Yes | executive producer | ||||
Back to the Future Part III | Yes | executive producer | ||||
Gremlins 2: The New Batch | Yes | executive producer | ||||
Joe Versus the Volcano | Yes | executive producer | ||||
Roller Coaster Rabbit | Yes | executive producer | ||||
1991 | A Wish for Wings That Work | Yes | executive producer | |||
An American Tail: Fievel Goes West | Yes | |||||
Cape Fear | Yes | executive producer | ||||
Hook | Yes | |||||
Tiny Toon Adventures: How I Spent My Vacation | Yes | executive producer | ||||
A Brief History of Time | Yes | executive producer | ||||
1993 | Jurassic Park | Yes | Yes | |||
We're Back! A Dinosaur's Story | Yes | executive producer | ||||
Schindler's List | Yes | Yes | ||||
1994 | The Flintstones | Yes | executive producer | |||
1995 | Casper | Yes | executive producer | |||
Balto | Yes | executive producer | ||||
1996 | Twister | Yes | executive producer | |||
1997 | The Lost World: Jurassic Park | Yes | Yes | Brief cameo in television reflection at the end of the film | ||
Men in Black | Yes | executive producer | ||||
Amistad | Yes | Yes | ||||
1998 | Saving Private Ryan | Yes | Yes | |||
The Last Days | Yes | executive producer | ||||
The Mask of Zorro | Yes | executive producer | ||||
Deep Impact | Yes | executive producer | ||||
1999 | Wakko's Wish | Yes | executive producer | |||
Medal of Honor | Yes | Video game, original concept | ||||
2000 | Shooting War | Yes | executive producer | |||
2001 | A.I. Artificial Intelligence | Yes | Yes | Yes | ||
Jurassic Park III | Yes | executive producer | ||||
Stanley Kubrick: A Life in Pictures | Yes | Himself | ||||
Vanilla Sky | Yes | Guest at David Aames' Party | ||||
2002 | Minority Report | Yes | ||||
Men in Black II | Yes | executive producer | ||||
Austin Powers in Goldmember | Yes | Himself | ||||
Catch Me If You Can | Yes | Yes | ||||
2003 | Double Dare | Yes | Himself | |||
2004 | The Cutting Edge: The Magic of Movie Editing | Yes | Himself | |||
The Terminal | Yes | Yes | ||||
2005 | Directed by John Ford | Yes | Himself | |||
War of the Worlds | Yes | |||||
The Legend of Zorro | Yes | executive producer | ||||
Memoirs of a Geisha | Yes | |||||
Munich | Yes | Yes | ||||
2006 | Flags of Our Fathers | Yes | ||||
Letters from Iwo Jima | Yes | |||||
Monster House | Yes | executive producer | ||||
The Shark Is Still Working | Yes | Himself | ||||
2007 | Transformers | Yes | executive producer | |||
2008 | Indiana Jones and the Kingdom of the Crystal Skull | Yes | ||||
Eagle Eye | Yes | executive producer | ||||
2009 | Transformers: Revenge of the Fallen | Yes | executive producer | |||
The Lovely Bones | Yes | executive producer | ||||
2010 | Hollywood Don't Surf! | Yes | Himself | |||
Hereafter | Yes | executive producer | ||||
True Grit | Yes | executive producer | ||||
2011 | Paul | Yes | Himself | |||
Super 8 | Yes | |||||
Transformers: Dark of the Moon | Yes | executive producer | ||||
Cowboys & Aliens | Yes | executive producer | ||||
Real Steel | Yes | executive producer | ||||
The Adventures of Tintin | Yes | Yes | ||||
War Horse | Yes | Yes | ||||
2012 | Men in Black 3 | Yes | executive producer | |||
Lincoln | Yes | Yes | ||||
2013 | The Delivery Man | Yes | ||||
2014 | Jurassic Park IV | Yes | executive producer | |||
Transformers 4 | Yes | executive producer | ||||
2015 | The Adventures of Tintin sequel | Yes |
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