Steve Ahlman

The connection that you felt, you felt imperiled for him.

Mm-hmm.

You wanted the humans to lose.

You wanted the children to win.

Now, putting kids in anything like that, I realize that that's a cheat code.

But, like, E.T.

's look didn't really matter.

In this look, in this film, we're talking about the look of the aliens because by the time the aliens hit the screen, we're like, where am I supposed to be?

Am I supposed to, like, what is this, like, what's supposed to happen here?

Like, how am I supposed to feel towards the aliens?

Even the...

the lady who is giving the news report at the end, as she becomes more and more moved, at a point that starts to get kind of corny.

It starts to get a little bit like... I just want to see the alien.

It starts to get like she is telling us exactly the emotion that we're supposed to feel.

She's guiding us through the scene.

That part was terrible.

Yeah, and it was weird because of all the things that a Spielberg movie has ever been,

it's never been technically poor meaning that like I've never seen one to where I've seen one where it hasn't worked for me or whatever but for every reason but it's never been poor scene craft yeah and a couple of times in this movie it's like legitimately poor scene craft poor like this like you're watching something and you're thinking that this is made by somebody who is not as good as Steven Spielberg now don't get me wrong

When you go and you see the movie, the lens flares are there.

The ridiculous crafting of- Where he puts the camera.