Close Encounters Of The Third Kind Quotes

She wanted to go over and hug his tears away, but she was too frightened.

Daddy, are you going to yell at us some more today?' Neary gazed down into her clear, guileless eyes. That was how he looked to her---a yelling machine. And she was prepared to accept more yelling because she loved him.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we are going to haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

Without introverts, the world would be devoid of: the theory of gravity the theory of relativity W. B. Yeats’s “The Second Coming” Chopin’s nocturnes Proust’s In Search of Lost Time Peter Pan Orwell’s Nineteen Eighty-Four and Animal Farm The Cat in the Hat Charlie Brown Schindler’s List, E.T., and Close Encounters of the Third Kind

Without introverts, the world would be devoid of: the theory of gravity the theory of relativity W. B. Yeats’s “The Second Coming” Chopin’s nocturnes Proust’s In Search of Lost Time Peter Pan Orwell’s Nineteen Eighty-Four and Animal Farm The Cat in the Hat Charlie Brown Schindler’s List, E.T., and Close Encounters of the Third Kind Google Harry Potter *

Some of our greatest ideas, art, and inventions—from the theory of evolution to van Gogh’s sunflowers to the personal computer—came from quiet and cerebral people who knew how to tune in to their inner worlds and the treasures to be found there. Without introverts, the world would be devoid of: the theory of gravity the theory of relativity W. B. Yeats’s “The Second Coming” Chopin’s nocturnes Proust’s In Search of Lost Time Peter Pan Orwell’s Nineteen Eighty-Four and Animal Farm The Cat in the Hat Charlie Brown Schindler’s List, E.T., and Close Encounters of the Third Kind Google Harry Potter* As

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we're gonna have it haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

I have come to think of the UFO problem in terms of three distinct levels. The first level is physical. We now know that the UFO behaves like a region of space, of small dimensions (about ten meters), within which a very large amount of energy is stored. This energy is manifested by pulsed light phenomena of intense colors and by other forms of electromagnetic radiation. The second level is biological. Reports of UFOs show all kinds of psychophysiological effects on the witnesses. Exposure to the phenomenon causes visions, hallucinations, space and time disorientation, physiological reactions (including temporary blindness, paralysis, sleep cycle changes), and long-term personality changes. The third level is social. Belief in the reality of UFOs is spreading rapidly at all levels of society throughout the world. Books on the subject continue to accumulate. Documentaries and major films are being made by men and women who grew up with flying-saucer stories. Expectations about life in the universe have been revolutionized. Many modern themes in our culture can be traced back to the "messages from space" coming from UFO contactees of the forties and fifties. The experience of a close encounter with a UFO is a shattering physical and mental ordeal. The trauma has effects that go far beyond what the witnesses recall consciously. New types of behavior are conditioned, and new types of beliefs are promoted. Aside from any scientific consideration, the social, political, and religious consequences of the experience are enormous if they are considered over the timespan of a generation. Faced with the new wave of experiences of UFO contact that are described in books like Communion and Intruders and in movies like Close Encounters of the Third Kind, our religions seem obsolete. Our idea of the church as a social entity working within rational structures is obviously challenged by the claim of a direct communication in modern times with visible beings who seem endowed with supernatural powers. This idea can shake our society to the very roots of its culture. Witnesses are no longer afraid to come forward with personal stories of abductions, of spiritual exchanges with aliens, even of sexual interaction with them. Such reports are folklore in the making. I have discovered that they form a striking parallel to the tales of meetings with elves and jinn of medieval times, with the denizens of "Magonia," the land beyond the clouds of ancient chronicles. But they are something else, too: a portent of important things to come.

On this particular evening, we had managed to get a hold of some Quaaludes and we were feeling the effects as we approached the intersection of Wilshire and Westwood boulevards. One of us mentioned the trivial fact that this intersection was the busiest in the entire world. We pondered this bit of trivia as the river of cars flowed by in all four directions, and the bigger than life enormous billboard advertising Close Encounters of the Third Kind loomed above. Anthony mentioned that it would be wise if we scaled to the top of this billboard, stood in front of it, and whipped out our cocks and wagged them at the world. So we climbed up there and did it, engulfed by our own laughing hysteria once again. We’d have preferred to have been successfully romancing some Westwood girls, but this was pretty good. Fuck the world anyways.

ROY NEARY: Just close your eyes and hold your breath and everything will turn real pretty. —Steven Spielberg, Close Encounters of the Third Kind

It was on my third viewing of Henry Levin’s 1959 movie Journey to the Center of the Earth that I first stumbled upon an exercise I still use today. I had left the living room with the TV’s sound turned low, and when I returned for the “exciting conclusion” that the program’s announcer always promised, I came upon my favorite action sequence, in which the protagonists encounter a convincingly real-looking dimetrodon dinosaur. I had long wondered how the filmmakers pulled this off. With the sound down, I could more easily decode the techniques and effects at work. I noticed that the monstrous dinosaur was actually an iguana of some kind with a spine sail glued to its back. I figured out that the ruins of Atlantis were really carefully rendered matte paintings. I identified the camera setups that the filmmakers used to stage the sequence and make the audience believe every second of it. Thereafter, I lowered the sound whenever there was a scene that I wanted to study closely. With my own money, I bought a Bauer

To enter you have to enter a special keycode, which just happens to be the five-note sequence from Close Encounters of a Third Kind – a tongue-in-cheek joke Broccoli managed to achieve by personally asking Spielberg for permission. (Being a huge Bond fan, Spielberg agreed immediately, and many years later asked for the favour to be returned when producing The Goonies, asking Broccoli if he could use the 007 theme when Data swings through Mikey’s screen door.)

Later, I talked with Doug Trumbull, a Hollywood director now but then a special-effects man for the movie Close Encounters of the Third Kind. He had looked me up because he was interested in interspecies communication. Since my career had been devoted to dolphins and the problems of communicating with them, I was one of a number of people Doug was questioning about how we might relate to creatures intelligent but totally different from us. I didn’t know which movie he was working on then—I got the impression it was about an airplane—but when I saw Close Encounters, which is about man’s first contact with an alien intelligence, I realized what we had been talking about.