looked back at childhood by way of them their life is how he sees his own childhood
Spielberg: I saw my childhood through this family and those young, wonderful actors.Spielberg · 2017 — 第 6 / 10 章 · 2'06" · B2
Spielberg Directs the E.T. Kids, Explained：work yourself up
One voice says he saw his childhood through this family and those young actors. Another says working with children brings a "let's play" feeling, "not like somebody talking baby talk." On set the note is "Work yourself up," so a shouted line gets bigger. Later someone explains shooting in story order and warns a shock will be loud.
あらすじ
On the E.T. set, one person says he saw his childhood through a family and young actors. Another describes a "let's play" feeling when Steven works with children, and says it is not baby talk. A voice pushes a child to deliver "Are they coming?" bigger by working up. Later someone explains shooting in continuity, and warns that a loud shock on the chest makes you jump.
注目の表現
a kind of "let's play" feelingbaby talkdirect transmissionwork yourself up
00:00 / 02:06Space 再生 · ← → セリフ移動 · R リピート
いま
このシーンの表現
work yourself up
stir yourself into a stronger feeling
The no means that pass is not big enough, and work yourself up even more asks for a stronger feeling.
Work yourself up before you walk in, or the speech will come out flat.
このシーンの他の表現
- a kind of "let's play" feeling
a mood that feels like an invitation to play
- baby talk
cutesy, simplified talk to children
- direct transmission
a message arriving with nothing lost
- take me seriously
treat what I say as real
- in continuity
filmed in story order
このシーンのメモ一覧
34 行のセリフに 34 件のメモ
introduces a mood without pinning it down
Peter Coyote: When Steven works with children, he brings a kind of "let's play" feeling.time clause: When sets the repeated situation before the feeling he brings.
Peter Coyote: When Steven works with children, he brings a kind of "let's play" feeling.hold this spot and stay with it
He'd have to pull you back. Grab on to this, right here.Keep not against like, and don't breathe between them.
Coyote: It's not like somebody talking baby talk to kids.actually getting through to them
It's just he's really communicating to them.a hedged comparison, not a final label
And it's sort of like direct transmission.the eyes open and the person snaps alert
Now he suddenly turns to you, his eyes come open.a shout that comes from joy
Do that to E.T. Give that joyful scream to E.T.perform that spoken line once more line means the dialogue, not a queue
Do the line again, really excited about "Are they coming?"play that line with strong excitement
Do the line again, really excited about "Are they coming?"String the five breathings together; skip breaths at the commas, and don't reset each one.
Breathing, breathing, breathing, breathing, breathing.Hit up and let yourself stay light.
No, work yourself up even more. Work yourself up.somewhat fatherly, not fully a parent a fatherly side on set, not a parent by blood
- Yes! - ( screams ) Melissa Mathison: He had to be a bit of a father, a bitabove every other role
of a pal, but he was, more than anything, an observera buddy — Warm and casual; skip it in a formal introduction.
of a pal, but he was, more than anything, an observerLet the to inside gotta collapse instead of pausing in the middle.
- All of the kids were fun for him. - You gotta take me seriously.have got to — Fine when pushing someone close; too casual for a formal letter.
- All of the kids were fun for him. - You gotta take me seriously.everyone here — A spoken hello to a group, not for a formal notice.
- This is Halloween, folks. Hello, my love. - Hi, Granny.a place in the story for that day's work
It gives the kids a context for the work they're doing that day, 'cause they know thatrelative clause: The short clause pins work to what they are filming that day.
It gives the kids a context for the work they're doing that day, 'cause they know thatbecause — Spoken reason-giving; write because when the sentence is formal.
It gives the kids a context for the work they're doing that day, 'cause they know thatthe next shoot day matches the story's next day shoot day and story day are the same day
tomorrow will be tomorrow in the script and yesterday was yesterday in the script.the yesterday already lived is yesterday in the script like the tomorrow half, shoot day and script day match
tomorrow will be tomorrow in the script and yesterday was yesterday in the script.Keep will and be light so tomorrow carries the line.
tomorrow will be tomorrow in the script and yesterday was yesterday in the script.confidence that actually holds
it gives them a real confidence that they're living a life and they're living a story's life.experiencing the days as real life
it gives them a real confidence that they're living a life and they're living a story's life.content clause: The that-clause spells out what that confidence actually is.
it gives them a real confidence that they're living a life and they're living a story's life.give him one electric jolt a jolt from the machine, not a verbal surprise
Now they put the machine on his chest, and they're gonna give him a shock to try to make him come back.purpose clause: The infinitive gives the purpose of the shock: to bring him back.
Now they put the machine on his chest, and they're gonna give him a shock to try to make him come back.Don't unfold gonna; stick it straight to give.
Now they put the machine on his chest, and they're gonna give him a shock to try to make him come back.cry harder than you already are
And when they give him the shock, it's very loud and it makes you jump and cry even more.the next sound is a pow goes names the noise, not a person leaving
They're putting it on his chest now, and he presses the button, and it goes, "Pow!"a tender name — For a child or someone close, not for a stranger.
- ( crying ) - Are you okay, honey?「Spielberg Directs the E.T. Kids」を読み解く
What's really going on
The fond note is that working with children feels like play. Soon after, a refusal draws the real line. "It's not like somebody talking baby talk to kids." What follows is "really communicating" and "sort of like direct transmission," not a cutesy voice for kids. On the set that method gets physical. The cue "Work yourself up" sits with "Does this mean they're coming?" The next note is "work yourself up even more," and then the take has to get "Bigger, bigger." Play includes pressure. Someone is being asked to mean the line. The same plainness shows up in the schedule. "I wanted to shoot E.T. in continuity," so "tomorrow will be tomorrow in the script and yesterday was yesterday." That ties to "a real confidence" that the kids are "living a life and they're living a story's life." Even the shock is previewed in so many words: it "makes you jump and cry even more."
Theme
MemorySomeone says he saw his childhood through this family and the young actors, so the set memory is personal, not just a work story.
ParenthoodA speaker calls him a bit of a father and a pal, but more than anything an observer of them.
発音のポイント
- not like — Keep not against like, and don't breathe between them.
- Breathing, breathing — String the five breathings together; skip breaths at the commas, and don't reset each one.
- work yourself up — Hit up and let yourself stay light.
- You gotta — Let the to inside gotta collapse instead of pausing in the middle.
Spielberg: I saw my childhood through this family and those young, wonderful actors.In this passage it is a personal claim: the family and the young actors let him look back at his own childhood, not a general note about kids in movies.
Peter Coyote: When Steven works with children, he brings a kind of "let's play" feeling.Someone's description of Steven with children: the mood he brings is an invitation to play, not a formal order from an adult.
Coyote: It's not like somebody talking baby talk to kids.A correction. The playful mood is not baby talk, the cutesy voice adults put on for kids. It is being ruled out.
Do that to E.T. Give that joyful scream to E.T.A set note to aim the happy scream at E.T., asking for real joy in the performance rather than a flat line reading.
tomorrow will be tomorrow in the script and yesterday was yesterday in the script.Why continuity matters here. For the children, the next shooting day should also be the next day inside the story, and the day already shot should stay yesterday.
it gives them a real confidence that they're living a life and they're living a story's life.The payoff of shooting in order. The kids are supposed to feel they are actually living, and living the life the story gives them, which builds real confidence.
このシーンについての質問
Why does the set voice keep asking for the line to get bigger?
The instruction is to do the line again, really excited about "Are they coming?" Then the cue "Work yourself up" arrives with "Does this mean they're coming?" The reply to a take that is still too small is "No, work yourself up even more," followed by "Bigger, bigger." The point is a bigger, more excited reading, not a new line.
Why shoot E.T. in continuity?
The speaker says he wanted to shoot "E.T." in continuity because it gives the kids a context for that day's work. They know tomorrow will be tomorrow in the script and yesterday was yesterday. For young kids, that is a real confidence that they are living a life and living a story's life.
Why is someone crying after the shock is described?
The lines just before are a preview. Someone explains that they put the machine on his chest and are going to give him a shock to make him come back. The shock is very loud, and it "makes you jump and cry even more." Right after that, someone is crying, and another line asks, "Are you okay, honey?" The passage does not name the person who is crying.
How does "more than anything" set the emphasis in that line?
The line gives him "a bit of a father" and "a bit of a pal," then says "he was, more than anything, an observer of them." More than anything puts the weight on the last item. Father and pal stay partial. Watching them is the main claim, and the next line adds that this was a lot of fun for him.
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