“Originally my idea for "E.T." didn’t include an extraterrestrial,” Spielberg notes in the HBO docuseries, "Spielberg." “It was going to be about how a divorce affects childhood and how it really kind of traumatizes children. Elliott is emblematic of those childhood feelings of betrayal, confusion, and loneliness resulting from the devastating split. On a personal note, "E.T." also continues Spielberg’s exploration of being a child of divorce after his own parents separated when he was nineteen. It was co-written by Melissa Mathison who took dictation from the visionary director on set and later became the wife of Harrison Ford. Taking a cue from Sayles’ screenplay, the lightened-up story for "E.T." was composed mostly while Spielberg was filming "Raiders of the Lost Ark" in late 1980 and early 1981. the Cosmic GardenerĬredit: Universal Pictures (Image credit: Universal Pictures) Spielberg often termed ET a loose sequel to his previous alien-themed Close Encounters of the Third Kind his composer responded with a score that could as well be a second, more nakedly romantic movement to his CE3K soundtrack.Gertie (Drew Barrymore) and E.T. It's music that tugs unashamedly at the heartstrings, just as its filmmakers intended, with the closing arc of "Escape/Chase/Saying Goodbye" showcasing Williams' emotional writing at its pinnacle. But comparing the alternately effervescent and introspective adolescent emotions Williams successfully evokes here to the thunder of his Star Wars and Indiana Jones scores is a ludicrous exercise - even if his cues here are rooted in similar 20th century Russian romanticism. But it also seemed to mark the point where the critical backlash against the composer began - hardly surprising, given his world-beating string of contemporary hits in service of Spielberg and George Lucas.
John Williams' music for Steven Spielberg's innocence-drenched 1982 blockbuster (it went unchallenged as all-time box office champ until Titanic) won him his third Best Original Score Oscar.
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