THE MOVIE

Crew

Directed by- STEVEN SPIELBERG
Produced by- STEVEN SPIELBERG & KATHLEEN KENNEDY
Written by- MELISSA MATHISON
Director of Photography- ALLEN DAVIAU
Production Designer- JAMES D. BISSELL
Edited by- CAROL LITTLETON
Music by- JOHN WILLIAMS
Production Supervisor- FRANK MARSHALL
Associate Producer- MELISSA MATHISON
Production Manager- WALLACE WORSLEY
First Assistant Director- KATY EMDE
Second Assistant Director- DANIEL ATTIAS
E.T. Created by- CARLO RAMBALDI
Visual Effects Supervisor- DENNIS MUREN
Casting by- MIKE FENTON, JANE FEINBERG, MARCI LIROFF
Set Decorator- JACKIE CARR
2nd Unit Director -GLENN RANDALL
DGA Trainee JOHN FLYNN
Production Coordinator- SUE DWIGGINS
Script Supervisor- ESTHER VIVANTE
Location Services- DICK VANE
Assistant to Mr. Spielberg- JANICE POBER
Assistant to Ms. Kennedy- DENISE DURHAM
Assistant to Mr. Marshall- PATTY RUMPH
Production Associates MICHAEL BURMEISTER, LANCE YOUNG
Production Accountant- BONNE RADFORD
Assistant Accountant- JANE GOE
Cine Guarantors II Representative- PATRICIA ROEDIG
Camera Operators- JOHN FLECKENSTEIN, JOHN CONNOR
First Assistant Cameraman- STEVEN SHAW
Second Assistant Cameraman- RICHARD FEE
Still Photographer- BRUCE McBROOM
Sound Mixer- GENE CANTAMESSA
Boom Man- RAUL BRUCE
Sound Technician- CHARLES PAYNE
Gaffer- JAMES PLANNETTE
Lighting Best Boy- JOSEPH CAPSHAW
Key Grip- GENE KEARNEY
Grip Best Boy- BOB MUNOZ
Dolly Grip- DONALD HARTLEY
Construction Coordinator- ERNEST DEPEW
Set Designer- WILLIAM TEEGARDEN
Production Illustrator- ED VERREAUX
Propmaker Foremen: ERRO HAUTANEN, JACK JENNINGS, JOHN VILLARINO
Labor Foreman- CLARK SHINDEL
Paint Foreman- JAMES MOSS
Greensman- LESLIE BUTCHER
Set Dressing Leadwoman- SANDRA RENFROE
Prop Master- RUSSELL GOBLE
Assistant Propertymen- KEN WALKER, MICHAEL DUNN
Costumer- DEBORAH SCOTT
Assistant Costumer- DANIEL MOORE
Hairstylist- LOLA ëSKIPí McNALLEY
Makeup- ROBERT SIDELL, S.M.A.
Transportation Coordinator- EUGENE SCHWARTZ
Transportation Captain- JOHN FEINBLATT
Location Production Vehicle- PRODUCERS LOCATION VEHICLE
Location Security LOCATION SECURITY SERVICE
Craft Service- RAMON PAHOYO
First Aid- PHYLLIS LEVIN
Teacher- ADRIA LICKLIDER
Unit Publicist- LYLA FOGGIA
Animal Talent- DENNIS GRISCOíS ANIMAL TALENT
Harveyís Owner & Trainer- RICHARD L. CALKINS
Extra Casting- JUDIíS CASTING SERVICE
First Assistant Editor- KATHLEEN KORTH
Second Assistant Editor- BRUCE CANNON
Supervising Sound Editor- CHARLES L. CAMPBELL
Sound Effects Editors: DAVID A PETTIJOHN, LOUIS L. EDEMANN, RICHARD C. FRANKLIN, JR., SAMUEL C. CRUTCHER,
Post Production Dialogue- NORMAN B. SCHWARTZ for lipSSync inc.
ADR Editors- HANK SALERNO, NICHOLAS KORDA
Assistant Sound Editor- CHUCK NEELY
Foley by- JOHN ROESCH, JOAN ROWE
E.T.ís Voice Design- BEN BURTT
Music Editor- KENNETH HALL
Orchestrations- HERBERT W. SPENCER
Re-Recording Mixers- BUZZ KNUDSON, ROBERT GLASS, DON DIGIROLAMO
Negative Cutters- DONAH BASSETT, DENNIS E. BROOKINS
Color Timer- ROBERT RARING
Titles- PACIFIC TITLE & ART STUDIO
E.T. Technical Supervisor- STEVE TOWNSEND
Optical Effects Coordinator- MITCHELL SUSKIN
Additional E.T. Effects- ROBERT SHORT
Special Artistic Consultant- CRAIG REARDON
Communicator Design- HENRY FEINBERG
E.T. Eyes Design- BEVERLY HOFFMAN
Medical Unit Consultants- DAVID CARLBERG, Ph.D., ROBERT W. SCHOLLER
Special Effects Coordinator- DALE MARTIN
Special Effects Assistants- GARY CRAWFORD, ANDREW MILLER, , ROBERT WORTHINGTON
E.T. Movement Coordinator- CAPRICE ROTHE
E.T. Operators- ROBERT AVILA, EUGENE CRUM, FRANK SCHEPLER, BOB TOWNSEND STEVE WILLIS, RICHARD ZARRO, RONALD ZARRO
Special E.T. Movement- PAT BILON TAMARA DE TREAUX, MATTHEW DE MERITT, TINA PALMER, NANCY MacLEAN, PAM YBARRA,
Special Visual Effects Produced at- INDUSTRIAL LIGHT & MAGIC, a division of Lucasfilm Ltd. Marin County, California
Effects Cameraman- MIKE McALISTER
Camera Operators- ROBERT ELSWIT, DON DOW
Camera Assistants- PAT SWEENY, KARL HERRMANN, SELWYN EDDY III, MIKE OWENS
Optical Photography Supervisor- KENNETH F. SMITH
Optical Printer Operator- DAVID BERRY
Optical Line-up- RALPH GORDON
Optical Technicians- DUNCAN MYERS, TIM GEIDEMAN, BOB CHRISOULIS,
Go-Motion TM Figures- TOM ST. AMAND
Model Shop Supervisor- LORNE PETERSON
Chief Model Makers- CHARLIE BAILEY, MIKE FULMER
Model Makers- SCOTT MARSHALL EASE OWYEUNG, MIKE COCHRAIN, SUZANNE PASTOR, MICHAEL STEFFE, JESSIE BOBERG, RANDY OTTENBERG,
Space Ship Design- RALPH McQUARRIE
Matte Painting Supervisor- MICHAEL PANGRAZIO
Matte Painting Artists- CHRIS EVANS, FRANK ORDAZ
Matte Photography- NEIL KREPELA
Matte Photography Assistant- CRAIG BARRON
Effects Editorial Supervisor- CONRAD BUFF
Effects Edito-r HOWARD STEIN
General Manager- ILM TOM SMITH
Production Coordinators- WARREN FRANKLIN, LAURIE VERMONT
Animation Supervisor- SAMUEL COMSTOCK
Animators- PEGGY TONKONOGY, GARRY WALLER, TERRY WINDELL, JACK MONGOVAN
Still Photographer- TERRY CHOSTNER
Still Lab Technicians- ROBERTO McGRATH, KERRY NORDQUIST
Supervising Stage Technician- T. E. MOEHNKE
Stage Technicians- DAVE CHILDERS, HAROLD COLE, DICK DOVA, BOBBY FINLEY III, PATRICK FITZSIMMONS, EDWARD HIRSH, JOHN McCLEOD, THAINE MORRIS, PETER STOLZ,
Production Accountant- LAURA KAYSEN
Equipment Maintenance- WADE CHILDRESS, MICHAEL SMITH
Electronic Systems Design- JERRY JEFFRESS
Model Electronics- GARY LEO, MARTY BRENNEIS
Optical Printer Engineering- GENE WHITEMAN, JOHN ELLIS

20th Anniversary Edition

Executive in Charge of Post Production- MARTIN COHEN
Supervising Sound Editors- CHARLES L. CAMPBELL, RICHARD LEGRAND JR.
Re-Recording Mixers- ANDY KOYAMA, JONATHAN WALES, RICK KLINE, SHAWN MURPHY
Effects Supervisor- BILL GEORGE
Animation Supervisor- COLIN BRADY
Director of Photography- ALLEN DAVIAU
Color Timer- ROBERT RARING
Production- ERICA FRAUMAN, SVEN E.M. FAHLGREN
Post Production Associate- JEFFREY CAVA
Editorial Assistants- PATRICK CRANE, DANA E. GLAUBERMAN, ALEX GARCIA
Sound Editors- NORVAL CRUTCHER III, GARY S. GERLICH
Dialogue/ADR Editor- BOB MCNABB
Sound Assistant- SAMUEL WEBB
ADR Mixer- TROY PORTER
ADR Recordist- LAVERNE DEWBERRY
Foley Artists- JOHN ROESCH, ALYSON MOORE
Foley Mixer- MARY JO LANG
Foley Recordist- CAROLYN TAPP
Music Editor- KEN WANNBERG
Research Consultant- LAURENT BOUZEREAU
Special Visual Effects Produced at: INDUSTRIAL LIGHT & MAGIC, a division of Lucasfilm Ltd. Marin County, California
ILM Visual Effects Producer- SANDRA L. SCOTT
CG Supervisor- PATRICK T. MYERS
Compositing Supervisor- JEFF DORAN
Digital Color Timing Supervisor- KENNETH SMITH
Add'l. VFX Supervision- TIM ALEXANDER
Sequence Producer- JEFF OLSON
Directors of Photography- PATRICK SWEENEY, MARTY ROSENBERG
Animators- RUDI BLOSS, ANDREW DOUCETTE, MIGUEL FUERTES, WAYNE GILBERT, SHAWN KELLY, GREGORY KYLE, KEVIN MARTEL, CHRISTOPHER MINOS, GLEN MCINTOSH, MAGALI RIGAUDIAS, TRISH SCHUTZ-KRAUSE, DAVID SIDLEY, SHARONNE SOLK, JAN VAN BUYTEN, JAMY WHELESS
Development CG Artists- JEROEN LAPRE, RYAN COOK
Computer Graphics Artists- VINCE DE QUATTRO, RYAN GALLOWAY, MICHAEL HALSTED, ANDREW HARDAWAY, CHRISTINA HILLS, SAMSON KAO, RUSSELL KOONCE, JENNIFER McKNEW, PATRICK NEARY, JENNIFER NONA, MARY PAYNE, KIMBERLY ROSS, DAMIAN STEEL, ERIC VOEGELS, ANDY WANG
Lead Digital Compositor- BARBARA BRENNAN
Digital Compositors- JULIE ADRIANSON, AL BAILEY, STELLA BOGH, JAY COOPER, BILL GILMAN, JIM HAGEDORN, SEAN MACKENZIE, GREG MALONEY, TIA MARSHALL, MARCEL MARTINEZ, PATRICK TUBACH
Digital Modeler- STEPHEN APLIN
Lead Viewpaint Artist- JEAN BOLTE
Viewpaint Artist- DEREK GILLINGHAM
Creature Developer- LENNY LEE
Lead Sabre CG Artist- CAITLIN CONTENT
Sabre CG Artists- MARK CASEY, CATHERINE TATE
Rebel Unit Artist- BILLY BROOKS
Digital Matte Artist- RONN BROWN
3D Matchmove Lead- DANI MORROW
3D Matchmovers- JODIE MAIER, DAVID MANOS MORRIS, DAVID WASHBURN, JOHN WHISNANT Lead Digital Paint Artist- MIKE VAN EPS
Digital Paint/Rotoscope Artists- TRANG BACH, JOANNE HAFNER, ELSA RODRIGUEZ , ERIN WEST, DAVID SULLIVAN
Model Makers- MARK BUCK, JON FOREMAN
1st Assistant Camera- RICHARD MCKAY, ROBERT HILL
Stage Technicians- DENNIS BECKER, JOSEPH FULMER, MICHAEL OLAGUE
Greensman- GEOFFREY LAKE
Video Assist- CLARK HIGGINS
VFX Prod. Coordinators- CAMILLE EDEN, LISA TODD
VFX Production Assistants- MEI-MING CASINO, KINGSTON COLE
Visual Effects Editors- DAVID TANAKA, GREG HYMAN
VFX Assistant Editor- LARS JENSVOLD
Scanning Operator- MIKE ELLIS
Negative Lineup- JAMES LIM
Digital Plate Restoration- MARIA GOODALE, MICHELE GRAY, SAM STEWART , ALAN TRAVIS
Technical Support- NATALEE DJOKOVIC, DHYANA BRUMMEL
Visual Effects Coordinator- MARK RUSSELL
Additional Voices- JUNE CHRISTOPHER, ERIN DONOVAN ART KIMBRO, LUISA LESCHIN, JONATHAN NICHOLS, CLAY THOMAS SAVAGE,
Bike Flight Doubles- BENJAMIN DUNN, ERIC STIEF, JOHN DENTONI, III, LUKE BAILEY, RYAN CARNEY,
Negative Cutter- GARY BURRITT
End Titles- PACIFIC TITLE

1. Director Steven Spielberg originally named his E.T. star Puck, after the alien in his Close Encounters of the Third Kind.

2. Harrison Ford filmed a cameo as headmaster at Elliott's school, but the scene was cut before release and, despite rumours to the contrary, has not been restored for the 20th-anniversary re-release.

3. Ford's estranged wife, Melissa Mathison (who was then his girlfriend and who received an Oscar nomination for her E.T. screenplay), also filmed a brief part as the school nurse, but that scene was also cut and not restored.

4· When the film was released on video in the U.S., the cassette was made from green plastic as a measure to confound video pirates.

5· The extra-terrestrial's plant collection includes a triffid (from The Day of the Triffids (1962).

6· ET's communicator actually worked, and was constructed by Henry Feinberg, an expert in science and technology interpretation for the public.

7· Young co-stars Drew Barrymore and Erika Eleniak later posed nude for Playboy Magazine.

8· E.T., released on June 11, 1982, was the all-time box-office champ for eleven years until another Spielberg flick, Jurassic Park, roared onto screens and broke the record. Jurassic's release date: June 11 (1993). E.T. is currently ninth in all-time worldwide box-office earnings, with a little more than $700 million in total ticket sales.

9· Child actors who look like the original stars were hired to shoot new blue-screen footage for the re-release, particularly for the scene at the end in which kids fly their bikes across the sky. The classic version was originally filmed using miniature bikes and puppet versions of the actors.

10· Among the various alternate titles used before the movie became known by its simple two-letter moniker: Growing Up, After School, The Landing, Upon a Star, E.T. and Me, The Extra-Terrestrial and A Boy's Life.

11· The movie premiered at the 1982 Cannes Film Festival, where it received a standing ovation and left many an attendee weepy, according to famed critic Roger Ebert. Spielberg also personally screened the movie for Ronald and Nancy Reagan at the White House in June 1982, the United Nations staff in September of that year and, in December 1982, Queen Elizabeth II.

12· Various incarnations of the movie had floated around in Spielberg's head since 1978, but the specifics of the film we know as E.T. were sparked by a suggestion made to the director by his Close Encounters star François Truffaut, who said he should "make a film about kids, because you are a kid yourself." Later, while experiencing a bout of loneliness on location for Raiders of the Lost Ark, Spielberg began to cook up E.T. "I remember saying to myself, What I really need is a friend I can talk to...somebody who can give me all the answers," Spielberg says. "Then I thought, What if I were 10 years old again...and what if he needed me as much as I needed him? Wouldn't that be a great love story?"

13· Spielberg loved working with Henry Thomas, Drew Barrymore and Robert McNaughton--the three main child actors in E.T.--so much that he credits the experience for his decision to have children of his own (he has seven).

14· M&Ms were scheduled to star as the sweets Elliot uses to lure E.T. to his house, until Mars pulled the treats because execs feared E.T. was so ugly he would frighten children. Hershey's sales of Reese's Pieces immediately rose 65 percent after appearing in the film.

15· For the Halloween scene, in which all the characters are in costumes, Spielberg directed while clad as a woman, complete with a dress and a string of pearls.

16· E.T. was "played" by three models (all designed by Oscar winner Carlo Rambaldi, who had earlier designed an alien for Close Encounters): one that could walk around on its own, one that had electronic moving parts and could be used for close-ups and one that served as an E.T. suit for a small actor.

17· Rambaldi, who also did special effects for Alien, King Kong and Dune, worked from Spielberg's E.T. mock-up, a collage featuring the eyes of Carl Sandburg, the forehead of Ernest Hemingway and the nose of Albert Einstein.

18· Screenwriter Mathison's favourite scene? Ironically, it's the one in which Elliot explains toys, food and cars to E.T.--something Henry Thomas completely improvised.

19· Spielberg had considered more than 300 children for the role of Elliot but hired Thomas on the spot after the young actor, who had starred in just one feature--1981's Raggedy Man--wowed him with an emotional improvised performance of what would happen if the government were trying to take his dog away.

20· The movie, which was nominated for nine Oscars and won four, didn't bring Spielberg the Best Director trophy, though his competition believed it should have. "I thought E.T. was the more exciting, wonderful and innovative piece of film," said Richard Attenborough, who nabbed 1983 Best Director honours for Gandhi.

21· Spielberg's autobiographical touches are sprinkled throughout the movie, including E.T.'s lighted healing finger, which is akin to Spielberg's habit of touching the foreheads--with his index finger--of people he likes, approves of or wants to collaborate with. Other real-life inspirations: Drew Barrymore's Gertie is based on Spielberg sister Sue; Spielberg's parents, like Elliott's, were divorced; and like Elliot, Spielberg frequently employed the "thermometer under the light bulb" technique to stay home from school.

22· The scene in which E.T. recognises Star Wars philosopher Yoda at Halloween was a surprise to George Lucas, who was kept in the dark about the guest appearance until a special screening of the flick was held at Lucas' Industrial Light & Magic. "I remember George was sitting right next to me during the screening, and when Yoda came on, George gave me a little nudge, which I guess was his way of saying that was cool," says Spielberg.