Close Encounters was a long-cherished project for Spielberg. In late 1973, he developed a deal with Columbia Pictures for a science-fiction film. Though Spielberg received sole credit for the script, he was assisted by Paul Schrader, John Hill, David Giler, Hal Barwood, Matthew Robbins, and Jerry Belson, all of whom contributed to the screenplay in varying degrees. The title is derived from Ufologist J. Allen Hynek's classification of close encounters with extraterrestrials, in which the third kind denotes human observations of extraterrestrials or "animate beings". Douglas Trumbull served as the visual effects supervisor, while Carlo Rambaldi designed the extraterrestrials.
The title of our film, third kind encounters have been popping up for decades. One of the eeriest incidents happened in 1994 when 60 schoolchildren from Zimbabwe reported seeing strange lights in the sky (which were seen in neighboring regions). Different interviews by UFO researchers and Harvard scientists reported the kids actually saw the aliens and even had telepathic links.
Today, an encounter of the third kind. The University of Houston's College of Engineering presents this series about the machines that make our civilization run, and the people whose ingenuity created them.
A close encounter occurs within 500 feet of an observer. In a close encounter of the first kind a UFO is seen but no interaction with the environment is observed. In the second kind, physical effects are observed like vegetation being pressed down or tree branches being broken. In the third kind, the presence of "occupants" in or about the UFO is reported.
Roy Neary (Richard Dreyfuss) is a power lineman sent out to investigate an unusual energy drain that is causing massive blackouts across the city. Driving along the back roads of Indiana, he witnesses low-flying UFOs that flood his truck in a brilliant light. His close encounter (of a third kind) leaves him not only with an oddly burned face but an unexplainable obsession for a particular shape.
The average filmgoer has felt the full effect of this transformantion. Violence and sex have soared in Hollywood productions, often on the argument that "serious" subjects must be "explored" in motion pictures. Technical resources multiply every year, inspiring a kind of technological warfare among filmmakers, who rush madly for new gadgets that may not be necessary to their projects. A new generation of directors, chock full of cinema savvy, concoct enormous and spectacular effects -- leaving out nothing but the old- fashioned human values that used to be a main reason for going to movies. 2b1af7f3a8