It's an immensely poignant portrait of these four people - Elliot, his older brother Michael (Robert MacNaughton), his kid sister Gertie (Drew Barrymore, iconic), and their newly single mom Mary (Dee Wallace). The relationship between the boy and the alien is ostensibly at its center, but the reason the story so deeply resonant is that ultimately, it's really about Elliott's family. The screenplay, by the late Melissa Mathison, is diamond-like in its perfection: examine it from any angle, and it works. We're drawn in, we're changed, and then we wipe our tears and go back to our families. can be seen as, among other things, a metaphor for our relationship with movies themselves. It may be the single purest distillation of Spielberg's gifts as a filmmaker: the story of young Elliott's friendship with E.T. holds up as one of the all-time great feats of cinematic storytelling. The film screens above the band, and it's still so absorbing that you find yourself almost forgetting you're hearing a live orchestra.ģ4 years after its original release, E.T. this weekend at Orchestra Hall under the baton of Steven Reineke. Now, though, the film has been edited to allow the score to be performed live by orchestras such as the Minnesota Orchestra, which is playing E.T. The orchestra is already there, of course: in the Oscar-winning score by John Williams. the Extra-Terrestrial even more magical? Add an orchestra. How do you make Steven Spielberg's classic film E.T.
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