The 150 Greatest Science Fiction Movies of All Time
The 150 Greatest Science Fiction Movies of All Time · 'The Martian' (2013) · 'Everything Everywhere All at Once' (2022) · 'The Road Warrior' ( ...
Rolling Stone
Spielberg told <anchor>Rolling Stone</anchor> in 1978 that he originally wanted to end the movie with Jiminy Cricket singing “When You Wish Upon a Star,” but later thought better of it. “I made this movie because of the Disney song,” he said. “That came first, that and the idea of a UFO movie.” After he came to his senses, the film became 1977’s second highest grossing sci-fi movie (after Star Wars) and it garnered eight Oscar noms, including one for Williams’ score; it won one for cinematography. All Spielberg needed was D–E–C–C’–G. —KG
Steven Spielberg: 'Close Encounters of the Third Kind' Director on Science Fiction in Suburbia
Steven Spielberg: 'Close Encounters of the Third Kind' Director on Science Fiction in Suburbia

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### [Science Fiction in Steven Spielberg’s Suburbia](https://www.rollingstone.com/tv-movies/tv-movie-features/science-fiction-in-steven-spielbergs-suburbia-44190/)

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TV & Movies


# Science Fiction in Steven Spielberg’s Suburbia

The director of 'Close Encounters of the Third Kind' talks moviemaking, UFOs and the night sky

By
[Chris Hodenfield](https://www.rollingstone.com/author/chris-hodenfield/)

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January 26, 1978

![Steven Spielberg, Close Encounters of the Third Kind](https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif)

Steven Spielberg working with a movie camera on the set of his film, 'Close Encounters of the Third Kind' in 1977.Columbia Pictures/Getty

The India sequence, with 2000 extras emoting heavily, presented some different problems. “It’s hard to describe, because I had hardly been through anything like that before. That kind of poverty, that kind of hunger. The 2000 extras were all lined up in phalanxes, waiting to perform, shake their hands and chant and wave. All of a sudden a jack rabbit ran through the ranks and, to a man, 2000 Indians took off after the jack rabbit on a cross-country chase. We didn’t get them back for forty-five minutes. It’s on film; the cameras were rolling. We were speculating on whether it was sport or hunger.”

Marshaling the crowds proved to be fun next to the task of directing another director, Francois Truffaut, who plays the part of Lacombe, a French scientist and UFO expert. It took four full weeks for Spielberg to understand that not only was Truffaut _Truffaut_, but also a performer, and they could talk, shoot the breeze and act like folks. Dreyfuss claimed he never got past the ga-ga stage with Truffaut. You’d think, because Truffaut has acted in two of his own movies, that he likes to act.

“He does,” Spielberg said slowly. “He likes to be himself. He doesn’t like to act… I don’t think he ever played a character in any of his films, but he’s a good enthusiast of his own personality. Which is all I wanted. I cast him because of his interviews, and how I saw him in _Day for Night_, and how I saw him in _Wild Child_.

Just imagine: another director standing around noticing Truffaut Scenes on your movie set.

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“There were several things where he made suggestions that I used. Little touches here and there. Truffautesque touches. Truffaut asked me to show him off-camera how I wanted him to behave on. I stood in front of the camera and Truffaut watched me, and as I acted out his part, he imitated my every facial move. When I saw the dailies next day, I realized what a bad actor I was. I just wouldn’t do that anymore.”

Was he experimenting with you?

“I think he was, but he told me that he does that occasionally to some of his actors when he makes his movies. If he can’t explain the emotion in so many words, he plays it out and the people can see what he’s thinking.”

A feisty little cocker spaniel named Elmer skittered around the corner and lunged at Spielberg. Denied by his master, he gnawed on the visitor’s ankle. “Did you know there was a song in _Close Encounters_?” Spielberg asked, giving Elmer a swack. “You want to hear how the song works? You’re one of the only people who’ve heard this.”

Stepping quickly, he disappeared upstairs to where his work desk was spread out like Mission Control. It’s hardly a desk, not with its built-in video unit, paper shredder and bottling plant. He dropped the needle on John Williams’ soaring, ethereal soundtrack. It filled the room. The movie’s original finale was to feature Cliff Edwards, as Jiminy Cricket in Walt Disney’s _Pinocchio_, singing “When You Wish upon a Star.”

Two versions of the movie were previewed in Dallas, with and without the song. The Texas score cards put the kibosh on the song. Spielberg cocked his head and framed his hands. “This is how it used to be. This is just leading up to the walk….”

We sat there dumbstruck as Cliff Edwards’ high graceful voice replaced the Williams score. It bathed us in memories. When it was over I didn’t know whether to sniffle or change religions.

“That’s what the Dallas audience told me they didn’t want to hear! But the whole movie began with that song. I made this movie because of the Disney song. That came first, that and the idea of a UFO movie.”

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Was it an image left over from _Pinocchio_?

“No. Just the song, the lyrics and the feeling the song gave me when I was a kid listening to it. The song meant stars, magic.”

All the sound in this movie sets a new standard. There were nerve-jarring tones during the UFO flyovers, surely intended to squeeze the viewer’s stomach. He paused, like a magician not sure whether he should reveal a trick. “There were voices when the messengers came by,” he said finally. “Twenty women. A cappella.”

Were they saying anything?

“No. Just voices. I could’ve put anything in there. But I didn’t want jet sounds. I wanted something that could be interpreted as silence. The sound of silence. Because so many who report a close encounter with a UFO don’t report any sounds at all. And if the UFO was on top of them or over their car, they would report sounds akin to a swarm of bees. Or a telephone transformer overloaded. We spent weeks experimenting with sound at Todd-A-O. Sat around for days, coming up with new sounds. Had a great time. Didn’t get much work done, but had a great time.”

The extraterrestrial visitors, designed and built by Carlo Rambaldi, were another kind of problem. “They were always the same, based on reports, on third-kind eyewitness encounters over the years. I mean, Aborigines who’ve had third kind encounters described the same features as Betty and Barney Hill from New Hampshire, and people in France. Russians. All describe the same: the spindly arms, the four-foot stature, the waiflike eyes. In third kind encounters, it’s all the same. That’s one of the things that perplexed me.

“An English lady came up to me at a press conference and she wanted to know more. What do they eat? How do they function? Where do they come from? Where is man going, what’s going to happen? She wanted to know everything the sequel would tell her. I just told her, ‘Jesus, use your imagination.'”

I walked into the bathroom to splash my face with cold water. The walls were lined with on-set photographs and cartoons. A Peanuts takeoff on _Jaws_ signed by Charles Schulz, and a _Road Runner_ signed by Chuck Jones. When I returned, Spielberg was over by the picture window, watching TV. It was _Body and Soul_; John Garfield walking through a nighttime montage of saloons, dames, payoffs.

Spielberg stared at it as if it were the shadows of forgotten ancestors. You’ve never heard a movie picked apart until you’ve heard a director do it. “There were better filmmakers years ago,” he said after a while. His voice was reverent. “There’s just a handful today, as opposed to dozens of filmmakers in the old days.

“People have forgotten how to tell a story,” he sighed, taking his seat again. “Stories don’t have a middle or an end anymore. They usually have a beginning that never stops beginning. Occasionally something comes along in the Kipling sense of good storytelling, or the old _Saturday Evening Post_ yarns, or Mark Twain, Hemingway….

“By the same token, you have so many moviemakers who want the effects before the story. Not just the special effects, but they want the _affectation_ before the once-upon-a-time. You need good storytelling to offset the amount of technique the audience demands, the amount of spectacle audiences demand before they’ll leave their television sets. And I think people will leave their television sets for a good story before anything else. Before fire and skyscrapers and floods, plane crashes, laser fire and spaceships, they want good stories.

“That was the reason I spent so much time on the story of _Close Encounters_, because I didn’t just want to make a UFO movie, where something lands, people get on, and it takes off again. I figured I had to write a mystery story. As opposed to just a special effects movie.”

His face and voice fell into a serious expression.

“Movies for me are a heightened reality. Making reality fun to live with, as opposed to something you run from and protect yourself from. And they used to make them all the time. Frank Capra the most notable. He and John Ford and Preston Sturges had more heart, as filmmakers, than everybody else.”

We fell into silence. His eyes rose to the TV screen, pulled as if by magnets. Garfield was lacing up the gloves. “Don’t they have a fight here where he comes up against an opponent who’s too strong for him?”

When I left him that night, he was standing in front of the set, watching a program called _The UFO Connection_. Pictures of flying saucers flashed on the screen. “Maybe I ought to watch this,” he said. Then he jerked back. “That’s a cloud,” he sniped. “And that’s a hubcap. I know all these hoaxes and how they’re done.” Next were aerial pictures of mysterious land shapes which narrator Rod Serling suggested might be UFO airports.

Spielberg’s voice changed in midcroak. “Not Von Daniken again! Those aren’t runways. They didn’t need runways.” His head revolved with disbelief. He spoke with the authority of someone who had studied their habits intimately, and had no doubts. Like maybe he’d even been there. Like maybe he saw it all outside his picture window.

[Science Fiction in Steven Spielberg’s Suburbia](https://www.rollingstone.com/tv-movies/tv-movie-features/science-fiction-in-steven-spielbergs-suburbia-44190/), Page 3 of 3

[Page 2 Sign Up](https://www.rollingstone.com/tv-movies/tv-movie-features/science-fiction-in-steven-spielbergs-suburbia-44190/2/)

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