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"E.T."
Commentary by Richard Michaels
TITLES: "E.T. - THE EXTRA-TERRESTIAL"
--------------------------------------------------------------------------------
[The letters are in soft-purple against a black background. Purple is
traditionally the color of that which is sacred.]
EXT: NIGHT SKY: NIGHT
The black screen becomes a night sky. The camera angles lowers to show a
forest against the night sky.
EXT: LANDING SITE: NIGHT
In an opening in the forest stands a spacecraft. The view of the craft is
obscured by tree branches. The atmosphere is misty, with blue lights coming
from the spacecraft.
[The opening scene is misty and diffud. This forces the audience to pay
clo attention to the images on the screen. The characters are not clearly
en. This engages the audience, as they attempt to e what the aliens
really look like.]
One creature walks up the gang blank and into the ship.
INSERT: ALIEN HAND
A strange hand, with two long and slender fingers protruding, move aside a
branch that obstructs the view.
[This concentrates the audience's attention. The creature going into the
ship is being obrved by another creature. Who are they? What's going on?
This is another technique that forces the audience to focus on the action.]
INT: SPACECRAFT'S GREENHOUSE: NIGHT
The inside of the ship appears to be a greenhou. There are sounds of
water dripping. Cone shaped objects (possibly alien plants) sit among earth
plants. Vapors flow up from the plants.
[The images all appear non-threatening. The aliens are inferred to be
ashfordcollecting vegetation, and are thereby inferred to be harmless.]
[Like many of Spielberg's other films, the opening quences contain almost
no dialogue. The story is told without verbal exposition. He forces the
ripaudience to become engaged in the storytelling process by giving them just
中文翻译韩文转换器bits of information that they have to piece together into the story. He
doesn't insult their intelligence.]
EXT: SPACECRAFT: NIGHT
A group of the aliens work in front of the spacecraft. Suddenly, they hear
a dog howl, and they all stop working. Red lights begin to glow in their
chests. It appears as if their hearts have lit up at the sign of danger, as
the red glow eps through their translucent skin. After a moment the red
lights dim and they return to their work.
[This ts up the prop of the red-lights signifying danger. The small
creatures are endearing and non-threatening. They are like children, which
is immediate grounds for audience empathy. The thought that they may be in
danger from wild creatures in the forest, also creates empathy for them.]
EXT: FOREST: NIGHT
A small fern grows on the forest floor. An alien hand, with two fingers
protruding, reaches out for the fern. The alien groans.
A rabbit turns and
listens. The fingers dig up the plant as the rabbit watches. The alien then
carefully uproots the plant. A small wayward alien walks alone among the
gigantic redwood trees. He's dwarfed by the huge trees.
[The awesome towering trees psychologically creates audience empathy for
the creature. The audience identifies with him becau they too feel small
when confronted by the trees.]
EXT: HILLTOP: NIGHT
The creature stands alone on a hilltop as he stares down at the city lights
below. Suddenly he lets out a moan of fright. A truck, with headlights
glaring, pulls up next to him.
[The quiet, peaceful alien is now in jeopardy.]
The creature runs from the lights. Several other trucks with head- lights
glaring drive up. Smoke flows from their exhaust pipes. Men's legs are en
as they walk among the trucks. They step into a mud puddle as E.T. watches
from behind a shrub. A man with keys jangling from his waist walks past a
headlight. He carries a flashlight in his hands.
[Keys have now become a prop which identifies the antagonist of the story:
the faceless government agent. Like the antagonist of many other fantasy
films, his face is not initially revealed in order to hold the audiences
attention.]
The man with keys walks to a truck where he and two other men review a map
that's placed on the hood of the truck. The man with keys holds the
flashlight up and points it at the hood. E.T watches them from the bushes.
[The fact that E.T. is obrving the actions of the men also creates a
psychological bond between the audience and him, since they are also
obrving the characters.]
[While the audience doesn't actually e a map, they presume its existence
given the actions of the characters. This style of story telling engages
the audience, and gets them guessing about the characters' actions. They
then create expectations, which are later often proved to be wrong. This
makes the story both unpredictable and exciting.]
EXT: SPACESHIP: NIGHT
An alien stands in front of a round light and transmits a homing signal,
presumably to call the other aliens back to the ship.
[The characters are all in jeopardy.]
EXT: FOREST: NIGHT
When E.T hears the sound, his red heart lights up. The homing signal
reverberates in his chest.
[This establishes that his heart is ud as a communication device, i.e.,
the aliens communicate with their hearts.]
"Keys" hears this sound and quickly turns around. He points his flashlight
towards the sounds. The other men join him as they walk towards the sound.
E.T. screams and runs away, which is indicated by the shaking bushes. The
men with flashlights cha after him.
[So, like Dorothy in the WIZARD OF OZ, the opening scene has the
protagonist being pursued by an unknown antagonist.]
EXT: SPACECRAFT: NIGHT
The lights dim on the footings of the spacecraft, presumably becau the
spacecraft is preparing to takeoff.
[The protago
nist has the added jeopardy of being abandoned.]
EXT: FOREST: NIGHT
E.T. screams as he races for the spacecraft. The glow from his red-heart
reflects off the bushes as he runs towards the white light of the
spacecraft.
[The audience still hasn't en the face of the protagonist.]
EXT: SPACECRAFT: NIGHT
A lone alien stands before a large round white light, as he signals for the
other aliens to return to the ship.
EXT: FOREST: NIGHT
Men with flashlights run through the forest, as they pursue the red glowing
light racing towards the spacecraft. One of the pursuers is the man wearing
the keys on his waist.
EXT: SPACECRAFT: NIGHT
The grated gangplank lifts up, blocking the entrance to the ship. Behind
the grate stands the alien against the large round white light. The red
light of the aliens heart lights up as he stands behind the barrier.
[This image exhibits an obstacle to E.T. returning to his ship.]
EXT: FOREST: NIGHT
The men reach the edge of the clearing and stop as they watch the
spacecraft lift off.
One red lighted heart races along an old country fence towards the
departing spacecraft. Men with flashlights are still in pursuit. They stop
at a wooden gate as they watch the spacecraft fly away.
E.T., with face obstructed by a branch, and with red-heart aglow, watches
the spacecraft fly away into the night. He utters a sorrowful moan.
[He has been abandoned in a hostile alien world. This situation is
guaranteed to generate audience empathy.]
The men with flashlights pointed up towards the sky watch the space- craft
fly away. They hear E.T.'s groan, and in unison point their flashlights in
his direction.
[Not only is the small childlike creature abandoned, but he is still in
pcb是什么jeopardy of being captured by tho who pursue him.]
[This is the inciting event in E.T.'s story: his spacecraft has derted
him.]what goes around
EXT: HILLTOP: NIGHT
Below lies the city, lit up against the dark night sky. E.T slowly makes
his way down the slope.
Men with flashlights follow. They reach the hilltop, arch the underbrush
for the alien, then start down the slope after him.
[This concludes the prelude to the story. Both the protagonist and
antagonist have been introduced, and audience empathy has been established
for the protagonist. The protagonist's primary objective is to survive and
find a way home, while the antagonist's primary objective is to capture the
alien.]
EXT: SUBURBAN HOUSE: NIGHT
[This is an establishing shot.]
INT: ELLIOTT'S HOUSE: NIGHT
A group of boys are sitting around a table playing a DUNGEONS AND DRAGONS
game. One boy is on the telephone ordering a pizza. They throw wads of
paper at each other as they play.
Elliott, the youngest boy, sits behind the counter. He's parated from the
other boys. After a few moments he yells that he's ready to play the game.
[The character's positions are structured to emphasize Elliott's paration
from the others.
]
One of the boys tells Elliott that he can't join when they are in the
middle of the game.
[Audience empathy is generated for the young child who is being excluded
from the game.]
Elliott walks up to the table and yells at his brother, Mike. Michael says
that Elliott has to ask Steve, who is the Game Master, and who has absolute
power.
[The notion of "absolute power" is t up here, for a "payoff" later when
傲骨贤妻第三季剧情
Elliott us it to keep Michael silent about E.T.]
[Elliott's objective here is to play the game, but also to be accepted by
the group and gain the respect of the older boys.]
Steve tells Elliott that first he has to wait for the pizza, then when he
brings it back he can play. Steve gives him money for the pizza. Elliott
picks up his baball and glove, then leaves the room.
[The ball and glove are props that will be ud in the story.]
[Elliott's sub-objective is to get the pizza. Once this is accomplished,
he'll be able to play the game.]
EXT: ELLIOTT'S HOUSE: NIGHT
It's a rainy, misty night. Elliott, with ball and glove in hand wait at the
bottom of the driveway for the pizza. A car pulls up and parks in the
driveway. Elliott pays the driver, then takes the pizza box from him as the
car pulls out of the driveway.late
Elliott walks up the driveway and into the garage. He hears a noi in the
backyard, then calls out the name "HARVEY," presumably his dogs name.
INT: ELLIOTT'S HOUSE: NIGHT
Elliott's mother wears an orange outfit as she works in the kitchen. She
bends over to put dishes into the dishwasher. When she does this one of the
young boys reaches out to put his finger on her rear. Mike yells for him to
stop. He pulls his finger away.
INT: PATIO: NIGHT
Elliot walks past the ping pong table when he hears more nois in the
backyard. Again he calls out the name "Harvey."
[This generates tension and suspen in the audience.]
With the pizza box in hand, Elliot walks past the patio table and towards
the shed in the backyard. A bright crescent moon hangs in the night sky.
[This adds enchantment to the scene.]
There is a mist in the air, and a bright light shines in the shed. Elliott
places the pizza box on the ground as he approaches the shed. He's still
carrying the baball and glove as he stands in front of the shed's
entrance. He toss the ball into the shed. After a few conds the ball is
tosd back out at him and hits him on the foot.
[This is the payoff to the tup of the baball prop. This event surpris
both Elliott and the audience.]
Elliott becomes frightened, turns and steps on the pizza box as he runs
妇女节 英文towards the hou.
[This is the inciting event in Elliott's story: there is some creature
hiding out in his shed that will change his whole life.]
INT: ELLIOTT'S HOUSE: NIGHT
Elliott's mother is talking to the boys when Elliott runs into the hou
screaming that there's something in the tool shed. He tells them that it
threw a bal
l at him, but they continue to ignore him until he screams
"QUIET!" "Nobody go out there," says Elliott. The boys immediately jump up
from the table. Two boys grab kitchen knives as Michael tells his mother to
stay inside. He and his friends will check it out. She yells at them to put
the knives back as she follows them outside.
EXT: SHED: NIGHT
The light is still on in the shed.
EXT: PATIO: NIGHT
Elliott's mother walks into the yard with a flashlight in her hand. She is
surrounded by the boys as they approach the shed. The mother says that
there's nothing in there as Michael walks through the entrance. Michael
bends down and finds tracks on the dirt floor. "The coyote's come back
again, Ma." he says. His mother becomes frightened and orders them all back
into the hou.
[Jeopardy is introduced into the situation. Even though the audience knows
that it is probably the alien in the shed, the scene increas the
tension.]
On his way back to the hou, Michael es the pizza box. He bends down,
opens the box, then takes out a piece. He's angry at Elliott. Elliott tries
to explain that it was just an accident, but his brother is still angry.
When the mother asks who ordered the pizza, Elliott points to one of Mike's
friends. This makes the friend mad at Elliott. Elliot tries to persuade his
mother that there is a creature in the shed, but she doesn't believe him.
They walk into the hou.
[Empathy is generated for Elliott becau the two boys are unfairly angry英语教育格言
at him and his mother doesn't believe him.]
INT: SHED: NIGHT
The alien's fingers point out into the shed entrance, then wrap around the
side of the door. The sound of his heavy breathing is heard.
[This establishes for the audience that he really is in the shed. They feel
sorry for Elliott becau he was telling the truth and no one believed
him.]
INT: ELLIOTT'S BEDROOM: NIGHT
The clock on the end table indicates 2:00. Next to the clock is a picture
of a dog, presumably Harvey. This same dog lies asleep in the bed. He hears
a noi and picks up his head. He is in the lower half of a bunk bed. On
the top bunk sits Elliott. He is awake as he listens to the noi outside.
[Elliott's objective is to prove there's a creature in the shed.]
EXT: BACKYARD: NIGHT
Elliott opens a gate and walks into the backyard. He carries a flashlight
in his hand and shines it into the cornfield next to his hou. He walks
into the field.
EXT: CORNFIELD: NIGHT
Elliott walks into the cornfield. He whistles, and gets entangled in the
cornstalks as he walks. He es tracks in the dirt with his baball
nearby. He continues to walk through the field.
[The stalks are obstacles that obstruct both his path and his vision. It
also clutters the visuals and forces the audience to pay clor attention.
The suspen increas becau they aren't sure whether he'll meet up with
the alien or the coyote.]
Elliott pushes aside some stalks and shin
es the light into the face of E.T.
Together, in unison, the scream. Elliot drops his light, then continues to
scream as he looks around the field. E.T. cries out and runs away through
the cornfield.
[Their reactions upon eing each other were identical. This is the first
instance of a ries of situations which will "merge" their characters to
such an extent that whatever empathy the audience has for one they will
also have for the other.]
EXT: BACKYARD: NIGHT
Elliott runs into his backyard. His play swings sway back and forth in the
air, as if someone had just bumped into them. Two garbage pails fall over
near an open metal gate at the top of a stone stairway. The garbage rolls
out of the cans and down the stone stairs. A red light by the gate lights
the stone stairway.
[The audience psychologically associates this red light with E.T.'s red
lighted heart, and makes the inference that he had run up the stairca and
out the gate.]
Elliott has an expression of wonderment and gratification on his face as he
looks up the stairca, for he has just established the existence of the
creature in the shed.]
EXT: GARAGE: DAY
Elliott rides down the driveway on his bicycle. He next rides down a dirt
road that overlooks the suburban community.
[Elliott's new objective is to locate the creature.]
EXT: FOREST ROAD: DAY
Elliott holds a bag of candy in one hand as he pours some into the other
hand. He toss candy onto the round as he walks through the woods calling
out for the creature.
In another part of the woods Elliott lays his bike down, then continues to
toss candy and yell out "hello!" He es a man on the road below and
quickly hides behind a tree.
["Keys," the faceless antagonist, is still pursuing the alien.]
Elliott runs back to his bike, then rides down the forest road past a wire
fence. The alien's fingers side down the side to the tree. He was watching
Elliott.
[Elliott is in jeopardy both from the faceless man and the faceless alien.]
INT: ELLIOTT'S HOUSE: DAYannihilate
Elliott's mother sits at the tale with the dog, Harvey, at her side.
Elliott, Michael and Gertie are eating supper.
[This is a home without a father, which creates more empathy for the
protagonist.]
Gertie asks Elliott what he's going as for Halloween. He's depresd, and
replies that he's not going. Mike mocks him by suggesting that he go as a
goblin. Elliott snaps back, telling Mike to shut up. The mother tries to
explain that it's not that they don't believe him, but Elliott cries out
that the creature was real.
[The audience also knows that the creature is real. This generates more
empathy for the protagonist, becau he is mocked and not believed when he
is expressing the truth.]
Mike offers other suggestions: perhaps it was an iguana, a deformed child,
or maybe an Elf or a Leprechaun. Elliott gets angry and shouts "It was
nothing like that, penis breath." Mary, his mother shouts at him to sit
