E.T

scene 1

costume

in this scene everyone is in Halloween costumes, even E.T this is comical as everyone is dressed in supernatural costumes but there is actually an alien there creating a sense of mystery. The audience know an alien there but the characters and citizens are unaware. Michael is dressed up in a soldier with a sward through his head, Eliot is dressed up the hunch back of Notre dame and lastly E.T is dressed up as a ghost, this allows him to not be seen as act as if he is the youngest sibling, Gertie. this allows them to sneak E.T to the wood without anyone knowing. All of the citizens are dress in Halloween costumes, this allows people to see how popular Halloween is in America. seeing his England and other countries started to recognise this as a holiday, showing how much influence film and E.T had on people. At one point we zoom in on the costume of yoda, this is a promotion Steven used to promote the film star wars, which he produces. as well as this Yoda is used for comedic purpose, when E.T see him he thinks he is an actual alien to and repeats "home" showing the innocence of E.T .




props


One of the main props used in this scene is the bike, this bike is used through-out and symbolises freedom and escaping the adult control, such as when E.T and Elliot fly on the bike. A bike is a child's toy keeping that innocence of the children even though they are dealing with serious and grown up problems which forces them to be adults in the way they thing, the bike reminds us they are children keeping there youth. As well of this most of the children have trick or treat bags, showing the innocence of the children but also keeping the idea that it is Halloween.




location


This scene is set in an stereotypical American suburb, all of the houses in this scene look the same, sandy tone, no colour and are a considerable size, the contrast between the same houses and life compared to the customised variation of Halloween costumes show how children have not been changed by adult life and society's rules. As well as this when we are on the streets everything seems normal whereas when we see the houses from birds eye view the houses look tiny showing there everyday problems are small compared to how Elliot and his siblings are going through. this location takes place during a sunset, a sunset is just before the darkness showing that things are brewing creating anticipation.




Lighting:


The lighting source in E.T is from natural light of the sunset which shows the child theme of how they go out in the day light and there isn't much to fear or mystery. This contradicts the fact of E.T being seen as scary but him being hidden which is hiding the fear. By not having a dramatic change of lighting it shows the realism of a normal Halloween night to others but not to E.T though it's showing him the everyday feel. A sunset is just before going dark into night which also suggest the night is going to turn darker and have more mystery but this is scene's light is foreshadowing the darkness that's about to happen contrasting this scene. The tone of lighting is warm feel so it shows they are in a warm area (America) and the light heartedness of the scene as it has a sense of humour.

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LF

camera angles and movement


  Camera angle and movement within the scene are on a child perspectives angle which shows that the scene is viewed through E.T and what he sees as the camera angle goes through his eyes when camera tracking as the other characters walk past. The movement of his eyes through the camera shows that the fascination of this other world to him. The camera is focused especially on Yoda; as he walks past it shows the contrast between the two different but alike characters from two major blockbusters. This is Steven Spielberg promoting Star Wars.  It then zooms out to show a wide angle and long shot of the scene instead of just from E.T sight which conveys the importance of Halloween in America. As well as, by the child perspective it engages the child audience as being apart of the scene. This also implies how E.T is naivety to the world like a child would be. The camera movement when E.T, Elliot and Michael are walking is in a slow pace which represents the unease and nerves from bringing E.T out on a busy time. However, when the angle is view his eyes its at a faster pace this implies how overwhelming and fixed E.T is on what he's seeing in a place he's not use to.

Diegetic Sound:

 The first diegetic sound to be heard is the sound of people in the neighbourhood taking part in the Halloween activities, the sound is just general, muffled and mix conversations in mainly a higher pitch as the vast majority of the crowds are children. You can clearly see all the people on screen, therefore making the sound diegetic. Other diegetic sounds include the occasional yaps and barks of Elliot’s dog, Harvey. ET’s sounds are also quite prominent, from ET’s speech, yelps, screams and the footsteps sounds as well. The footstep sound effect was apparently sourced using Foley Sound and then added in afterwards in post, perfectly in time with the steps taking place.

The last of the diegetic sound that is heard is when the camera switches perspective to that of ET and a person in a zombie costume walks past, the sound being that of the person in costume making a stereotypical zombie sound. The other final sound is when ET sees a character dressed as Yoda from Star Wars and begins chanting “home, home, home!” while walking towards the person in costume.

Non-diegetic Sound:

There is very little non-diegetic sound in this scene, with only two major examples. One of which is the birds chirping when Gertie is waiting up on the hill, the birds are not visible on screen however you can hear them.
The second major example is the music in the background of the scene, it begins playing once the main characters are amidst the others in costume. The music is generally quite cheerful but also retains a theme of curiosity. This makes sense as the emotions that ET seems to be having are along those lines, not in bad health but very confused and curious of his surroundings. A point to make about the music is when ET notices the Yoda costume, the music slightly changes and features a musical cameo from Star Wars, in particular, the ‘Yoda Theme’ from The Empire Strikes Back.

scene 2

- Goodbye scene

 

mise-en-scene

-costume

E.T is not wearing any clothes where as Elliot is wearing a bright red iconic hoody. The boldness of Elliot's red hoodie stands out clearly in this scene, especially in the contrast with the setting in this scene. E.Ts red heart matches Elliot's red jumper which connects these characters even more.

-make up and props/symbolism

There is no clear make up in this scene, however E.Ts costume

was created by Carlo Rambaldi, who designed the aliens and was hired to design the animatronics of E.T. Rambaldi's own painting Women of Delta led him to give the creature a unique, extendable neck. Its face was inspired by those of Carl Sandburg, Albert Einstein and Ernest Hemingway.Producer Kathleen Kennedy visited the Jules Stein Eye Institute to study real and glass eyes. She hired Institute staffers to create E.T.'s eyes, which she felt were particularly important in engaging the audience.Four heads were created for filming, one as the main animatronic and the others for facial expressions, as well as a costume.The puppet was created in three months at the cost of $1.5 million. Mars, Incorporated refused to allow M&M's to be used in the film, believing E.T. would frighten children. After Mars said "No", The Hershey Company was asked if Reese's Pieces could be used, and it agreed; this product placement resulted in a large increase in Reese's Pieces sales. Science and technology educator Henry Feinberg created E.T.'s communicator device. The major voice work of E.T. for the film was performed by Pat Welsh. She smoked two packs of cigarettes a day, which gave her voice a quality that sound effects creator Ben Burtt liked. She spent nine-and-a-half hours recording her part, and was paid $380 by Burtt for her services.

 

A key prop in this scene and one of the only props is the flowers, because they represent life. When Gertie first gives E.T. the flowers, they're wilted and basically dead. When E.T.'s alone with the geraniums not long afterward, he looks at them, hums, and they bloom back into life. So the geraniums are also a symbol of resurrection, or rising from the dead.Later, as E.T.'s health begins to fail, the geraniums show up again. They wilt rapidly before Elliots eyes, and he screams "No!" just before the scene cuts to E.T. crashing and dying. The geraniums make another appearance, this time in the makeshift hospital after E.T. has been pronounced dead. Elliott says what he thinks is his final goodbye to E.T., only to spot the revitalized geraniums on a nearby counter as he exits. He knows a resurrected pot of geraniums means a resurrected E.T. The flowers symbolizing life and resurrection, they're a pivotal little plant. In this scene E.T after saying goodbye to Elliot takes the flowers into his space ship. There is a short clip of E.T picking up the flowers then carrying them with this hands in the air.

 

After his parents' divorce in 1960, Spielberg filled the void with an imaginary alien companion. He said that the imaginary alien was "a friend who could be the brother [he] never had and a father that [he] didn't feel [he] had anymore", This again can be linked to Elliots character with an absent father. When Elliot says goodbye to E.T it could also symbolise the letting go of hurt about his father and becoming at peace with what has happened. this also shows how Elliots character has grown throughout the film.When E.T goes to leave, he tells Gertie to "Be good," which is one of the first things that she taught him to say.  To Michael, E.T. says "Thank you." Michael says, "You're welcome." And then with Elliott. E.T. asks Elliott to come with him. When Elliott says that he has to stay on Earth, E.T. touches his own heart and says, "Ouch."  Elliott tearfully does the same, and then hugs E.T. while his family (and Keys) looks on. After they hug, E.T. holds his healing, glowing finger up to Elliott's forehead and says, "I'll be right here."  Then E.T. takes his pot of geraniums and leaves, presumably forever. Elliott's refusal of E.T.'s offer to come with him is important, too, for the simple fact that it suggests that Elliott is growing up. One of the major themes of the film is youth. E.T represents all of the best parts of being a kid, like discovery, wonder, and amazement. When E.T. leaves and Elliott stays, it suggests that Elliott's ready to take the confidence and wisdom that E.T. imparted and start becoming a young man.

 

 

 

-location

 

 

This final scene ends how the first scene started with the space ship landing in the forest, however this time E.T gets on not off this time. All sorts of significant things happen between the trees, especially for E.T. It's his arrival and departure point. It provides cover when E.T. needs to hide from Keys. It's where E.T. and Elliott set up the communicator. Also when we think of E.T., we think "nature." Trees and rivers. When we think of man, on the other hand, we think of the city and all its steep driveways, surveillance vans, and seemingly endless supply of flashlights. In other words, E.T.'s right at home in the forest, and mankind is alienated from it.

The forest is a big, moss-covered symbol of the divide between youth and adulthood that's central to the whole movie. It's a place for adventure and exploration—values the film celebrates and associates with youth. The forest represents the best parts of being a kid: discovery, openness, enchantment, and awe.

Camera Angles, Editing, and Lighting in the Goodbye Scene

The angling of the camera within this scene changes in the different sectors. The first shot is 20 seconds long, much longer than the other shots used in the rest of the film, and shows Elliot walking up to E.T., with Michael taking Gerdie away in the background. Elliot moves slowly up through the shot, and E.T. waits patiently, looking out to him. The stillness of the shot, and how slow the characters are moving implies that they all knew that this was going to happen at one point, but never really wanted it to. Elliot moving up to be in the foreground with E.T. is showing that Elliot is having to come to terms with his friend leaving. After this there is a series of over-the-shoulder-shots, but from a slightly lower angle, rather than at their eye level. The rest of the film is generally at a child's height, but this scene is different - it's like the audience is separating themselves from the scene, rather than including themselves in the story, allowing Elliot and E.T. to be alone when saying goodbye.

The scene is emotional, as the two characters have made a bond, but know that E.T. has to leave for his home. The close-up shots show their faces in detail, their eyes conveying many emotions. It also makes the background people and the setting less noticeable, so not to distract you of what's actually happening. Another emotive part of this scene is E.T. touching his heart, then going to his lips to say "ouch" and point towards Elliot. This is done with a tracking shot, showing the system of the heart in detail, and following his slow movements to understand his message. It then cuts to an over-the-shoulder shot, where you see E.T.'s hand go down, and Elliot watching it as he is processing what he means, and how he is feeling.

The camera is then further out, showing the two hugging, they're to the side of the frame at first, showing the rule of thirds, which exposes some of the spaceship and some blurry people in te background. This is followed by another tracking shot, but this time of Elliot's mother, who goes to sit on the floor. This shows her emotional understanding of their parting even though she never really got to know E.T. There is also a close-up of her face, showing the tears in her eyes in between similar shots of Elliot during the hug. The final shot of this embrace is centred, the lights of the spaceship behind them, creating lens flares and flushing out some other details that aren't needed in the scene. The lighting creates a lot of blues within the scene, and the warm colours of E.T.'s skin and Elliot's red jumper stands out, potentially implying the warmth of their relationship.

Towards the end of the scene the shots start to be further away from the characters, showing E.T. walking up the ramp, already far away from Elliot, and everyone watching him leave, showing their sadness and happiness, everything is bittersweet. The only other shots that aren't wide shots, are the slow zoom in on E.T.'s face as he tells Elliot that he'll "be right here." Then he turns away to the spaceship, after picking up the flowers, which have sentimental value to the both of them. The wide shots used for the rest of the scene could imply contemplation and reflection, taking a step back to watch him go. The positioning of the ramp makes a barrier between Elliot and E.T. too, showing that they have to go their separate ways and accept they're from different worlds.

The lighting throughout the scene is from the spaceship, giving an artificial glow to some shots, and creating lens flares in some. The lighting starts off with red and blue reflecting off E.T., which emphasises that he is from another world and that his passage home is here. The rest of the lighting is strong as it is from the harsh, white lights of the spaceship. This sometimes silhouettes the characters, but other times it highlights them. This is the lighting that can create the lens flares too, lens flares are often used in science fiction films to emphasise the futuristic elements - and this is the only time that these are used in the film, showing the presence of aliens.

The significant lighting in the scene is the light from E.T.'s finger, as it lights up Elliot's face. As it does this as he's saying goodbye and his finger normally lights up when he's healing someone, implying that he's trying to heal Elliot, and that he wont be hurt too much by their parting

Non-Diegetic:

In this scene, there is very little talking as all of the characters are emotional about e.t's departure. Because of this, there is a strong need for music to fill in the silence. At the start of the scene the music is very quiet as E.T asks Eliot to go with him, as the scene goes on, the music gets progressively louder. This could portray how their emotions are building up inside them about how they are never going to see each other again. As E.T starts walking up into the space ship, the music changes to a much more majestic tune which shows the audience how E.T and his family are very advanced since they have their own space ship.

Diegetic:

There is very little diegetic sound in this scene as the majority of it is accompanied by music. One of the few sounds that we hear is the rustling of leaves as everyone that was chasing after them stops to hide in the grass. This shows how even though they originally wanted to catch them, they all allowed Eliot to say his goodbyes to E.T, so that the government people are not all bad.

 frogs scene:

Mise en scene                

Costume:

The Costumes in this scene, links back to the 1950's era where women wore long skirts. what the girl wears is similar to what ET sees on tv. This suggests whatever ET sees and feel,s it reacts on Elliot. However Elliot wears what any school boy would wear, this does not link to what the man wears on the tv. This demonstrates how Elliot is different and unique, due to him being the one who found ET. towards the end of the scene you see a shot of the girls shoes slowly move, which suggests her reaction.

props:

There are a few props in this scene, for example the frogs and the jars. The fogs in this scene symbolise ET and the jars represent Et being trapped and not being able to go home. This is a strong symbolism, as it shows Elliot's thoughts and feeling towards ET. Elliot also uses the boy as the step, to recreate the act on tv with the man being taller, This shows how since the 1950's a lot has changed .

lighting:

In this scene the lighting is natural as its set in the day time. There is a lot of under lighting at the start from the window to the left of the characters. It's neither low key or high key lighting, as it contains a lot of shadows and direct light too. This could symbolise the difference between the characters knowing about ET and the characters who don't have a clue he exists. 

location:

This film was filmed in California however, this scene was filmed in Los Angeles. The Culver City High School, Elenda Street at Franklin Avenue. This setting suggests another side of Elliot's life, which is not the main focus in this film. This also demonstrates that his school life is a minor part of his life, especially when ET arrives. The frogs scene is set in a classroom, in the middle of a science class, in the daytime. When Elliot arrives at home, his life changes to see an alien in the house. Night time symbolises the other side of Elliot's life as suddenly he has to hide away the fact that aliens exist

Frog scene- Camera angles and shots

 

E.T. is a story about the friendship between Elliott and E.T., neither of them are tall. It's fitting, therefore, that the film frequently uses low camera angles that present the action from E.T.'s and Elliott's points of view. This vantage point is then a car pull up, and peer through the brush at the suburbs below, all from E.T.'s perspective. Moments later, when Keys chases E.T., that's shown from E.T.'s viewpoint, too, with lots of quick cuts to Keys', well, keys dangling and jangling from his belt.

 

The scene in the classroom with the frogs, Spielburg has stayed true to this as elliot goes around the room saving the frogs, the camera also pans from above to take a view of the entire room so that the audience can see the full chaotic situation. The camera also uses angles from the floor to show the vast amount of frogs and scared children. 

 

 

Also another point to be recognised is that the camera never shows the teacher in the entire scene, this is because the teacher is not relevant in the situation and can not add to the narrative, you only see the teacher as the scene comes to a close when elliot is taken to the principles office (shown below).

SOUND


Both types of sound are used effectively in this scene. The non-diegetic sound is used to represent the moods of the events occurring. As turning points of the scene occur, the music speeds up to keep up with the pace of the drama. However, at the same time the diegetic sound is loud enough to compete with the non-diegetic sound; Elliot yells in this scene to not only show his passion for the frogs he is saving but to be loud enough to intrude over the non-diegetic sound. The sounds of the lids of the jars opening are also very loud representing that the frogs have escaped and that they are now free. The sounds of the frogs are also made to be loud, maybe used as in a cry for joy now that Elliot has freed them. The way Elliot projects his voice in this scene, especially against the resilient boy who attempts to challenge him, shows his passion for the act he is doing, as well as showing his determination. This may be because the scene may act as a huge metaphor to demonstrate how E.T must be freed, and because Elliot can't achieve this, in the meantime he wants to save the frogs instead.

EDITING

The pace of editing dictates the mood in each separate location as the shots alternate between Elliot at school and ET at home. The shots at school are very short and represent a frantic atmosphere, whereas at home the shots are elongated to represent a calm, relaxed atmosphere. As well as this, the TV show that ET is watching mirrors an event which happens at school between Elliot and a girl; these shots cut from each other regularly. These cuts show how connected Elliot and ET are as they are both observing this type of connection between two people. The shots at school manage to cover all angles; wide shots enable the viewer to see the whole classroom and how out of control everyone is. Saying this, the teacher is not included in these perspectives - the only part of the teacher we see is the hands. This shows that the adult has no relevant contribution to the storyline, just like in other TV programmes such as Tom and Jerry and Charlie Brown.