Steven Allan Spielberg is an American filmmaker. He is considered one of the founding pioneers of the New Hollywood era and one of the most popular directors and producers in film history. Spielberg started in Hollywood directing television and several minor theatrical releases, he became a household name as the director of Jaws, critically and commercially successful and is considered the first summer blockbuster. His subsequent releases focused on science fiction and adventure films, Close Encounters of the Third Kind, the Indiana Jones series, E. T. the Extra-Terrestrial, Jurassic Park are seen as archetypes of modern Hollywood escapist filmmaking. Spielberg transitioned into addressing serious issues in his work with The Color Purple, Empire of the Sun, Schindler's List and Saving Private Ryan, he has adhered to this practice during the 21st century, with Munich, Bridge of Spies, The Post. He co-founded Amblin Entertainment and DreamWorks Studios, where he has served as a producer for several successful films, including the Gremlins, Back to the Future, Men in Black, the Transformers series.
He transitioned into producing several games within the video-game industry. Spielberg is one of the American film industry's most critically successful filmmakers, with praise for his directing talent and versatility, he has won the Academy Award for Best Director twice; some of his movies are among the highest-grossing movies of all-time, while his total work makes him the highest-grossing film director in history. His net worth is estimated to be more than $3 billion. Spielberg was born on December 1946 in Cincinnati, Ohio, his mother, was a restaurateur and concert pianist, his father, Arnold Spielberg, was an electrical engineer involved in the development of computers. His family was Orthodox Jewish. Spielberg's paternal grandparents were Jewish Ukrainian immigrants who settled in Cincinnati in the 1900s. In 1950, his family moved to Haddon Township, New Jersey, when his father took a job with RCA. Three years the family moved to Phoenix, Arizona. Spielberg attended Hebrew school from 1953 in classes taught by Rabbi Albert L. Lewis.
As a child, Spielberg faced difficulty reconciling being an Orthodox Jew with the perception of him by other children he played with. "It isn't something I enjoy admitting," he once said, "but when I was seven, nine years old, God forgive me, I was embarrassed because we were Orthodox Jews. I was embarrassed by the outward perception of my parents' Jewish practices. I was never ashamed to be Jewish, but I was uneasy at times." Spielberg said he suffered from acts of anti-Semitic prejudice and bullying: "In high school, I got smacked and kicked around. Two bloody noses, it was horrible." At age 12, he made his first home movie: a train wreck involving his toy Lionel trains. Throughout his early teens, after entering high school, Spielberg continued to make amateur 8 mm "adventure" films. In 1958, he became a Boy Scout and fulfilled a requirement for the photography merit badge by making a nine-minute 8 mm film entitled The Last Gunfight. Years Spielberg recalled to a magazine interviewer, "My dad's still-camera was broken, so I asked the scoutmaster if I could tell a story with my father's movie camera.
He said yes, I got an idea to do a Western. I got my merit badge; that was how it all started." At age 13, while living in Phoenix, Spielberg won a prize for a 40-minute war film he titled Escape to Nowhere... using a cast composed of other high school friends. That motivated him to make 15 more amateur 8 mm films; some of the films he cited as early influences that he grew up watching include the Godzilla kaiju film King of the Monsters, which he called "the most masterful of all the dinosaur movies because it made you believe it was happening", as well as titles such as Captains Courageous and Lawrence of Arabia. In 1963, at age 16, Spielberg wrote and directed his first independent film, a 140-minute science fiction adventure called Firelight, which would inspire Close Encounters; the film was made for $500, most of which came from his father, was shown in a local cinema for one evening, which earned back its cost. After attending Arcadia High School in Phoenix for three years, his family next moved to Saratoga, where he graduated from Saratoga High School in 1965.
He attained the rank of Eagle Scout. His parents divorced while he was still in school, soon after he graduated Spielberg moved to Los Angeles, staying with his father, his long-term goal was to become a film director. His three sisters and mother remained in Saratoga. In Los Angeles, he applied to the University of Southern California's film school, but was turned down because of his "C" grade average, he applied and was admitted to California State University, Long Beach, where he became a brother of Theta Chi Fraternity. While still a student, he was offered a small unpaid intern job at Universal Studios with the editing department, he was given the opportunity to make a short film for theatrical release, the 26-minute, 35 mm, Amblin', which he wrote and directed. Studio vice president Sidney Sheinberg was impressed by the film, which had won a number of awards, offered Spielberg a seven-year directing contract, it made him the youngest director to be signed for a long-term deal with a major Hollywood studio.
He subsequently dropped out of college to begin pro
Yol is a 1982 Turkish film directed by Şerif Gören. The screenplay was written by Yılmaz Güney, it was directed by his assistant Şerif Gören, as Güney was in prison at the time; when Güney escaped from prison, he took the negatives of the film to Switzerland and edited it in Paris. The film is a portrait of Turkey in the aftermath of the 1980 Turkish coup d'état: its people and its authorities are shown via the stories of five prisoners given a week's home leave; the film has caused much controversy in Turkey, was banned until 1999. However, it won numerous honours, including the Palme d'Or at the 1982 Cannes Film Festival. In Turkey, several prisoners are granted furlough. One, Seyit Ali, travels to his house and finds that his wife has betrayed him and turned to prostitution, she was caught by her family and held captive for eight months in order for Seyit Ali to end her life in an honour killing. Though determined at first, he changes his mind when his wife starts to freeze while travelling in the snow.
Despite his efforts to keep her alive, he fails. His wife's death relieves Seyit Ali from family pressure. Another prisoner, Mehmet Salih has been arrested for his role in a heist with his brother-in-law, whom he abandoned as he was being shot by police, his in-laws have disowned him, he is forced to tell his wife Emine the truth. Emine and Mehmet Salih decide to run away on a train. On the train, they are caught in the washroom about to have sex, they are held in a cabin. A young boy from Emine's family who has boarded the train shoots both Emine. Ömer returns to his village sitting near the border between Turkey and Syria, arranges to cross the border to escape prison. Ömer finds his village in a battle between Turkish soldiers. Though Ömer is determined, he gives up after his brother, who took part in the battle, is shot dead. Through his brother's death, Ömer has inherited the responsibilities of his brother's wife and children as dictated by tradition. Güney wrote the screenplay, which contained elaborate detail, but could not direct as he was in prison.
Güney recruited Erden Kiral as his surrogate director but, displeased with Kiral's work, had it destroyed and fired him. This became the basis of Kiral's film, Yolda. Güney subsequently hired Serif Gören. There were rumours that several prisoners, including Güney, watched much of Gören's footage on a wall at the prison. Güney broke out of prison to edit Yol in Switzerland. Zulfu Livaneli made the musics of the movie, but due to political atmosphere in Turkey, he used a nickname Sebastian Argol in order to avoid from possible sanctions from Turkish courts which were operating under 1980 Turkish coup d'état; the film was banned in Turkey because of its negative portrayal of Turkey at the time, under the control of a military dictatorship. More controversial was the limited use of the Kurdish language and culture, forbidden at the time, as well as the portrayal of the hardships Kurds live through in Turkey. One scene in the movie calls the location of Ömer's village "Kürdistan". A new version of Yol was released in 2017, called Yol: The Full Version in which many of these controversial parts and scenes have been taken out, to make the film suitable for release in Turkey.
In order to be shown at the Turkish stand at Cannes 2017 the Kürdistan insert was removed. In what critics say goes against the director Yılmaz Güney's wishes and call "censorship", the frame showing "Kürdistan" as well as a political scene where Ömer speaks about difficulties of being Kurdish were removed. Another new version exists for the international market with all the politically controversial scenes included; the rights to Yol were disputed for a long time. During Yilmaz Güney's lifetime, there were major conflicts about the ownership of the film between Güney and Donat Keusch, the head of a Swiss-based service company called Cactus Film AG, who claimed to own the entire rights of the film. After Güney's death, the dispute escalated between Güney's widow; when Keusch filed for bankruptcy with his Cactus Film AG in 1999, the situation became more complicated and resulted in numerous lawsuits in both Switzerland and France. There still are numerous sellers in the market claiming to be the sole owner of the world rights to Yol, the film is offered in different versions through different distribution channels.
According to the bankruptcy office Zurich Aussersihl Keusch received the rights which still remained in Cactus Film on March 4, 2010. This happened without a cash reward so to speak for free. Keusch sent this contract to the RCA-directory of the French CNC trying to use it as a proof that he has rights; however it is questionable if and what rights Cactus Films still had at this point. In any case Keusch could only get from the bankruptcy office rights that cactus film had since no bankruptcy office can create non existing rights. Vincent Canby, writing for The New York Times, wrote that while the film addressed significant issues, this did not make it great art. Canby described it as "a large, ponderous panorama". Time critic Richard Corliss declared Güney "a world-class moviemaker". In his 2015 Movie Guide, Leonard Maltin gave it three stars, describing it as "Incisive". In 2016, The Hollywood Reporter ranked it the 65th best film to win the Palme d'Or, saying the production was a better story than that on screen.
The film won three honours at the 1982 Cannes Film Festival, tying for the top prize, the Palme d'Or, with Miss
Yılmaz Güney was a Zaza-Kurdish film director, scenarist and actor, who produced movies in Turkish. He rose to prominence in the Turkish film industry. Many of his works were devoted to the plight of working class people in Turkey. Güney won the Palme d'Or with the film Yol he co-produced with Şerif Gören at Cannes Film Festival in 1982, he was at constant odds with the Turkish government because of his portrayals of Kurdish culture and language in his movies. After being accused of killing a judge, something Yılmaz claimed to be innocent of, being convicted in a controversial trial in 1974, he fled the country and lost his citizenship. Yılmaz Güney was born in 1937 in the Yenice county of Adana, his father was a Zaza from Siverek in Şanlıurfa Province and his mother was a Kurd from Varto in Muş Province. His parents migrated to Adana to work as cotton field laborers; as a result of his family background, young Yılmaz grew among the working class. This was a strong background for his future works which focused on a realistic portrayal of downtrodden and marginalized strata of the population in the country.
Güney studied law and economics at the universities of Ankara and Istanbul, but by the age of 21 he found himself involved in film-making. As Yeşilçam, the Turkish studio system, a handful of directors, including Atıf Yılmaz, began to use cinema as a means of addressing the problems of the people. State-sanctioned melodramas, war films, play adaptations had previously been played in Turkish theaters; these new filmmakers began to screen more realistic pictures of Turkish/Kurdish life. Yılmaz Güney was one of the most popular names to emerge from this trend, a gruff-looking young actor who earned the moniker Çirkin Kral or "paşay naşirîn" in Kurdish. After working as an apprentice screenwriter for and assistant to Atıf Yılmaz, Güney soon began appearing in as many as 20 films a year and became Turkey's one of the most popular actors; the early 1960s brought restricted freedom to Turkey, Güney was imprisoned from 1960 to 1962. In prison he wrote what some labeled a "communist" novel, They Died with Their Heads Bowed.
The country's political situation and Güney's relationship with the authorities became more tense in the ensuing years. Not content with his star status atop the Turkish film industry, Güney began directing his own pictures in 1965. By 1968 he had formed Güney Filmcilik. Over the next few years, the titles of his films mirrored the feelings of the people of Turkey: Umut. Umut is considered to be the first realistic film of Turkish Cinema, the American director Elia Kazan was among the first to praise the film. After 1972, however, Güney would spend most of his life in prison. Arrested for harboring anarchist students, Güney was jailed during preproduction of Zavallılar, before completing Endişe, finished in 1974 by Güney's assistant, Şerif Gören; this was a role that Gören would repeat over the next dozen years, directing several scripts that Güney wrote in prison. Released from prison in 1974 as part of a general amnesty, Güney was re-arrested that same year for shooting Sefa Mutlu, the public prosecutor of Yumurtalık district in Adana Province, to death in a night club as a result of a drunken row and given a prison sentence of 19 years.
During this stretch of incarceration, his most successful screenplays were Sürü and Düşman, both directed by Zeki Ökten. Düşman won an Honourable Mention at the 30th Berlin International Film Festival in 1980. Güney's first marriage was with fellow Turkish actress, Nebahat Çehre, who co-starred alongside Güney in several films, their relationship began in 1964 and they married in 1967. Prior to his marriage, Güney fathered a daughter, Elif Güney Pütün, from his relationship with Birsen Can Ünal. Despite Güney and Nebahat Çehre's divorce in 1968, many of those closest to Güney have always regarded Çehre to have been the love of his life. Güney married Jale Fatma Süleymangil, more known as Fatoş Güney, in 1970. Together, they had Remzi Yılmaz Pütün. In September 1980, Güney's works were banned by the new military junta. Güney declared, “There are only two possibilities: to fight or to give up, I chose to fight”. After escaping from prison in 1981 and fleeing to France, Güney won the Palme d'Or at the 1982 Cannes Film Festival for his film Yol, whose director in the field was once again Şerif Gören.
It was not until 1983 that Güney resumed directing, telling a brutal tale of imprisoned children in his final film, made in France with the cooperation of the French government. Meanwhile, Turkey's government revoked his citizenship and a court sentenced him to twenty-two extra years in jail. Yılmaz Güney died of gastric cancer in Paris, France, he is buried at the Père Lachaise Cemetery in Paris. A biography of Güney, Halkın Sanatçısı, Halkın Savaşçısı: Yılmaz Güney, was published by Dönüşüm Publishing in 1992, reprinted in 2000, its publisher was fined in 2001 because of some of the book's content, although this was overturned in 2003 when the relevant law was repealed. Category:Kurdish film directors List of Turkish film directors Yilmaz Güney on IMDb Interviews and information Great Directors profile of Yılmaz Güney, Senses of Cinema Picture gallery on saradistribution
Passion (1982 film)
Passion is a 1982 film by Jean-Luc Godard, the second full-length film made during his return to mainstream filmmaking in the 1980s. Set in winter in Switzerland, it is about the making of an ambitious art film that uses re-creations of classical European paintings as tableaux vivants, set to classical European music. Only incomplete scenes of the film within the film are shown, because it has no settled plot and never gets finished. While making it, the crew become involved in various ways with the locals, some of whom are recruited as extras. Jerzy is a Polish director, making a film at a studio in Switzerland which contains a series of tableaux vivants, his producer László is impatient because there is no apparent story to the film and Jerzy keeps delaying and cancelling shoots citing difficulties with the lighting. During the filming, Jerzy gets involved with two local women: Isabelle, an earnest young factory worker with a stutter, Hanna, the worldly German owner of the motel where the crew are staying.
Hanna is married to Michel, a difficult man with a chronic cough who owns the factory where Isabelle works. Isabelle is fired from her job and attempts to organize her fellow workers to strike – not for her sake, but for their own; the film crew is meanwhile recruiting factory workers as extras for the tableaux that Jerzy is shooting. Jerzy continues to search for the right lighting in the studio and to try to manage an unruly group of extras. At the same time he is trying to continue his relationship with Hanna, with whom he has shot some test footage that the two review together while discussing the intersection of love and work. Jerzy is taken with Isabelle, who wants to merge love and work, she tries to get Jerzy involved with her cause and to make meaningful connections with the film crew, asking them why films never show people working. Isabelle and Jerzy have an intimate encounter and Isabelle gives up her virginity, she accepts a payoff from Michel, her fellow workers having abandoned their half-hearted attempt at a strike.
László secures more money for the film but Jerzy feels the tug of the dramatic events of the Solidarity movement in Poland and of his family back there. Feeling unable to complete the project, he leaves for Poland without either Isabelle or Hanna but instead with a waitress from the motel. Isabelle and Hanna connect up with each other and decide to go to Poland. Jerzy Radziwilowicz - Jerzy Isabelle Huppert - Isabelle Hanna Schygulla - Hanna Michel Piccoli - Michel László Szabó – László Myriem Roussel – One of the nude models Sophie Loucachevsky - Sophie Though the original paintings which the tableaux vivants portray are frozen in space and time and can be studied at leisure in two dimensions, in silence, the film makes them three-dimensional; the camera moves around the actors, who move in and out of position, the lighting varies and recorded classical music plays. However, viewers are given no chance to appreciate any of the tableaux in any depth because only partial views are shown for brief moments.
The Night Watch is intercut with views of Isabelle working in the factory. There is discussion over what story the painting is telling, or whether it has no story at all, over its intricate construction, over the source and intensity of its lighting; these three themes echo throughout Passion, which has continuing arguments over the significance of plot, the relationships between characters, the inadequacies of artificial light. Accompanied by the Introitus of Mozart's Requiem, elements of four Goya paintings are shown. At first only the woman from the innocent pastoral scene of The Parasol can be seen, who walks towards the firing squad in Third of May 1808 and is enmeshed in the horrors of war. In the background can be glimpsed La Maja Desnuda, exuding sexual allure, while actors are getting ready for Charles IV of Spain and His Family. Inserted are shots of Isabelle asleep in her apartment. Paintings of nude women in Turkish baths, such as The Valpinçon Bather and The Turkish Bath, are only recreated in fragments, interrupted by episodes in the motel and in the factory.
The naked actresses in the studio continue the theme of desire, typified by the Naked Maja, while the outside scenes reprise the world of work. When Jerzy is not content with the lighting, as usual, the producer asks him what is «the right light», he responds by plunging the studio into darkness, to show that it is a place where lighting can never match reality, draws a comparison between Hanna, a woman open to the light, Isabelle, opaque. However, Jerzy does persuade Isabelle to be one of the naked models. In these tableaux, which recreate the Entry of the Crusaders in Constantinople and Jacob wrestling with the Angel, there is a high degree of movement. Knights on horseback circle restlesly around the set of the Greek city, while Jerzy himself becomes part of the scene when he begins a wrestling match with the actor playing the Angel. Set to Fauré’s Requiem, the tableau of the Assumption of the Virgin has parallel scenes in the motel involving Jerzy and Isabelle, who admits she is still a virgin.
The Embarkation for Cythera is only shown in disjointed fragments, after it becomes evident that the film is never going to be completed, the camera stays far away, giving a dispassionate documentary air to the empty ship and isolated couples. It is the only tableau in the open air exploiting natural light. In several ways, the film looks back to Godard's 1963 film Contempt, about the tensions among a multinational team on location making a film that will never be completed; that film had Michel Piccoli as one of the male leads and was shot by Raoul Coutard. It too oscillated between the demands of art, in th
Day of the Idiots
Day of the Idiots is a 1981 West German psychological fantasy film drama directed and written by Werner Schroeter. It stars Carole Bouquet as a disturbed mental patient with an inclination to remove her clothes and Ingrid Caven as Dr. Laura and Christine Kaufmann as Ruth; the film was nominated for a Golden Palm Award at the 1982 Cannes Film Festival and won best film at the 1982 German Film Awards going to director Werner Schroeter. Carole Bouquet as Carole Ingrid Caven as Dr. Laura Christine Kaufmann as Ruth Ida Di Benedetto as Elisabet Carola Regnier as Ninon Mostefa Djadjam as Alexander Hermann Killmeyer as Markus Marie-Luise Marjan as Schwester Marjan Magdalena Montezuma as Zigeunerin George Stamkoski as himself Tamara Kafka Dana Medřická Fritz Schediwy Jana Plichtová Day of the Idiots on IMDb
Moonlighting is a 1982 British drama film written and directed by Jerzy Skolimowski. It is set in the early 1980s at the time of the Solidarity protests in Poland, it stars Jeremy Irons as a Polish builder leading a team working illegally in London. Arriving in London from Warsaw in December 1981 are master electrician Nowak, who understands the language but not the inhabitants, with three workmen who know no English, their task is to gut and renovate a house, for which they have brought what tools they can carry, while Nowak has cash to buy materials. Since the whole operation is illegal, Nowak keeps them working indoors while he goes out to get food and supplies; as his money runs out, he takes to stealing. In the meantime, Poland is undergoing the traumas of demonstrations and strikes followed by the declaration of martial law, banning of Solidarity and mass arrests. All this Nowak conceals from the men. With no money left, they have a six-hour walk to the airport and a flight home to an uncertain future.
Jeremy Irons as Nowak Eugene Lipinski as Banaszak Jirí Stanislav as Wolski Eugeniusz Haczkiewicz as Kudaj Edward Arthur as Immigration Officer Denis Holmes as Neighbor Renu Setna as Junk Shop Owner David Calder as Supermarket Manager Judy Gridley as Supermarket Supervisor Claire Toeman as Supermarket Cashier Catherine Harding as Lady Shoplifter Jill Johnson as Haughty Supermarket Customer David Squire as Supermarket Assistant Michael Sarne as Builders' Merchant Jenny Seagrove as Anna Lucy Hornak as Wrangler Shop Assistant It was entered into the 1982 Cannes Film Festival, where it won the award for Best Screenplay. Roger Ebert gave it four stars out of four and included it in his list of Best Movies of 1982. Gene Siskel called it his favorite movie of 1982. Allmovie gave Moonlighting four out of five stars; the New York Times called Moonlighting "immensely rewarding" and one "of the best films made about exile". Moonlighting on IMDb Moonlighting at AllMovie Moonlighting at Rotten Tomatoes Moonlighting at Box Office Mojo
E.T. the Extra-Terrestrial
E. T. the Extra-Terrestrial is a 1982 American science fiction film produced and directed by Steven Spielberg, written by Melissa Mathison. It features special effects by Carlo Rambaldi and Dennis Muren, stars Henry Thomas, Dee Wallace, Peter Coyote, Robert MacNaughton, Drew Barrymore, Pat Welsh, it tells the story of Elliott, a boy who befriends an extraterrestrial, dubbed "E. T.", stranded on Earth. Elliott and his siblings help E. T. return to his home planet. The concept was based on an imaginary friend Spielberg created after his parents' divorce in 1960. In 1980, Spielberg met Mathison and developed a new story from the stalled sci-fi horror film project Night Skies, it was filmed from September to December 1981 in California on a budget of $10.5 million USD. Unlike most films, it was shot in rough chronological order, to facilitate convincing emotional performances from the young cast. Released on June 12, 1982, by Universal Pictures, E. T. was an immediate blockbuster, surpassing Star Wars to become the highest-grossing film of all time—a record it held for eleven years until Jurassic Park, another Spielberg-directed film, surpassed it in 1993.
Considered one of the greatest films made, it was acclaimed by critics as a timeless story of friendship, it ranks as the greatest science fiction film made in a Rotten Tomatoes survey. In 1994, it was selected for preservation in the United States National Film Registry as being "culturally or aesthetically significant", it was re-released in 1985, again in 2002, to celebrate its 20th anniversary, with altered shots and additional scenes. A group of alien botanists secretly visit Earth under cover of night to gather plant specimens in a California forest; when government agents appear on the scene, the aliens flee in their spaceship, but in their haste, one of them is left behind. In a suburban neighborhood in the San Fernando Valley, a ten-year-old boy named Elliott is spending time with his brother and his friends; as he returns from picking up a pizza, he discovers. The alien promptly flees upon being discovered. Despite his family's disbelief, Elliott leaves Reese's Pieces candy to lure the alien to his house.
Before going to sleep, Elliott realizes. He feigns illness the next morning to play with it; that day and their five-year-old sister, meet it. They decide to keep it hidden from Mary; when they ask it about its origin, it levitates several balls to represent its planetary system and demonstrates its powers by reviving dead chrysanthemums. At school the next day, Elliott begins to experience a psychic connection with the alien, including exhibiting signs of intoxication, he begins freeing all the frogs in his biology class; as the alien watches John Wayne kiss Maureen O'Hara in The Quiet Man on television, Elliott kisses a girl he likes in the same manner and he is sent to the principal's office. The alien learns to speak English by repeating what Gertie says as she watches Sesame Street and, at Elliott's urging, dubs itself "E. T." E. T. reads a comic strip where Buck Rogers, calls for help by building a makeshift communication device and is inspired to try it himself. E. T. receives Elliott's help in building a device to "phone home" by using a Spell toy.
Michael notices that E. T.'s health is declining and that Elliott is referring to himself as "we". On Halloween and Elliott dress E. T. as a ghost so they can sneak him out of the house. That night, Elliott and E. T. head through the forest. The next day, Elliott wakes up in the field, only to find E. T. gone. Elliott returns home to his distressed family. Michael searches for and finds E. T. dying next to a culvert. Michael takes E. T. home to Elliott, dying. Mary becomes frightened when she discovers her son's illness and the dying alien, just as government agents invade the house. Scientists set up a hospital at the house, questioning Michael and Gertie while treating Elliott and E. T, their connection disappears and E. T. appears to die while Elliott recovers. A grief-stricken Elliott is left alone with the motionless E. T. when he notices a dead chrysanthemum, the plant E. T. had revived, coming back to life. E. T. reveals that his people are returning. Elliott and Michael steal a van that E. T. had been loaded into and a chase ensues, with Michael's friends joining them as they attempt to evade the authorities by bicycles.
Facing a police roadblock, they escape as E. T. uses telekinesis to lift them into the air and toward the forest, like he had done for Elliott before. Standing near the spaceship, E. T.'s heart glows. Mary, "Keys", a friendly government agent, show up. E. T. says goodbye to Michael and Gertie, as she presents him with the chrysanthemum that he had revived. Before boarding the spaceship, he embraces Elliott and tells him "I'll be right here", pointing his glowing finger to Elliott's forehead, he picks up the chrysanthemum, boards the spaceship, it takes off, leaving a rainbow in the sky as everyone watches it leave. Dee Wallace as Mary Henry Thomas as Elliott Peter Coyote as "Keys" Robert MacNaughton as Michael Drew Barrymore as Gertie Pat Welsh as the voice of E. T. K. C. Martel as Greg Sean Frye as Steve C. Thomas Howell as Tyler Erika Eleniak as the girl Elliott kisses 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 never h