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Monument by Anilore Banon at Omaha Beach, Normandy, France.

This is a memorial to the American forces, consisting of three elements: The Wings of Hope, Rise Freedom, and the Wings of Fraternity.

 

This memorial stands on the beach known as Omaha Beach in the village St. Laurent-sur-Mer in Normandy, France and commemorates the soldiers that fell on the beaches of Normandy on D-Day, June6, 1944. The memorial was dedicated on June 5 2004, for the 60th anniversary of the invasion.

   

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1977 Close Encounters of the Third Kind Film Locations

 

After an encounter with U.F.O.s, a line worker feels undeniably drawn to an isolated area in the wilderness where something spectacular is about to happen.

 

Director: Steven Spielberg

Writer: Steven Spielberg

Stars: Richard Dreyfuss, François Truffaut, Teri Garr etc

 

Filming Locations

 

Steven Spielberg resurrected the Cinema of Awe not seen since the days of the great religious epics (just count the references to The Ten Commandments) as earth is visited by friendly aliens.

 

The opening sandstorm, and the ship stranded in the ‘Sahara Desert’ seen in the Special Edition, were filmed in California’s Mojave Desert.

 

Also in the California desert is the air traffic control center, which is in Palmdale. Howard K Smith, the news anchorman, shot his scenes in Washington DC, and the footage of Claude Lacombe (French director François Truffaut) making recordings of the musical notes in India was filmed in Hal, a small village near Khalapur, about 35 miles southeast of Mumbai.

 

Most of the filming, however, was in Alabama, where dirigible hangars, larger than any Hollywood soundstage, were found to house the enormous sets. Consequently, the whole production moved to the South. The landing site was the biggest indoor set ever built, constructed at the former air force base, now an industrial complex in Mobile.

 

The hangars are numbers 5 and 6, Building 17 of the Brookley Field Industrial Complex, Old Bay Street, Mobile. Other sets built in the hangars include the road bend where the cop cars attempt to follow the alien craft into space, and the interior of the Neary home. The mountainside scenes used artificial boulders – with only twelve basic shapes carefully placed at differing angles to prevent patterns becoming obvious.

 

The house of Roy Neary (Richard Dreyfuss) is 1613 Carlisle Drive East, off Howells Ferry Road in Colonial Heights, to the west of Mobile, while Jillian’s mother’s house is in Baldwin County to the east of the city.

 

The big evacuation scene filmed at Bay Minette over the Mobile and Tensaw Rivers, 30 miles northeast of Mobile on Route 31.

 

Apart from the ‘strip’ itself, the landing site is real and has since become a major tourist attraction. The striking sawn-off peak of Devil’s Tower National Monument can be found in the northeast corner of Wyoming in the Black Hills National Forest.

 

According to native legend, the strange formation was made by giant bears clawing at a mountain to reach a princess on the summit. More prosaically, according to science, it’s an ‘igneous intrusion’ – solidified magma which had welled up inside (since eroded) sedimentary rock.

 

Devil’s Tower was designated the US’ first national monument, in 1906. It’s open all year round, and there’s a visitor centre open from April to October, about three miles from the entrance. It’s 33 miles northeast of Moorcroft, I-90.

 

Close Encounters of the Third Kind ( FILMING LOCATION ) Part 1

 

www.youtube.com/watch?v=YiJKVBol5V4

 

Close Encounters of the Third Kind ( FILMING LOCATION ) Part 2

 

www.youtube.com/watch?v=TFQPLUhbuSc

 

Film Facts

 

The iconic five-note melody was a chance arrangement that both John Williams and Steven Spielberg happened to like out of hundreds of different permutations.

 

Cary Guffey's performances were so good that they only ever had to do one or two takes of each shot he was in. He became known as One-Take Cary on the set, and Steven Spielberg had a t-shirt printed up for him with the phrase written on it.

 

The words that the crowd in India is chanting are "Aaya Re! Aaya!" which in Hindi mean "He has come".

 

During the dinner scene just before Roy piles on the mashed potatoes, you can hear the little girl say, "There's a fly in my potatoes." This was unscripted and almost caused the rest of the cast to laugh. The scene was kept as-is.

 

The situation on U.S. Navy Flight 19, from which the airplanes that appear in the Mexican desert came from, disappeared off Fort Lauderdale, Fla., in December 1945. No trace has ever been found of "the Lost Flight 19" which left the Naval Air Station near there in 1945.

 

Stanley Kubrick was so impressed by Cary Guffey's performance that he wanted him for the role of Danny Torrence in The Shining (1980).

 

In the scene where Ronnie cuts out a newspaper article about the UFO sightings, the night after Roy's first glimpse of the UFOs, an article on Star Wars: Episode IV - A New Hope (1977) appears on either side of the UFO article.

 

Paul Schrader wrote the original script. When Steven Spielberg changed a great deal of it, Schrader decided to remove his credit. Since the film couldn't be left with no credit for writing, Spielberg claimed it for himself.

 

Most of the UFO miniatures were filmed in dark smoke-filled rooms to give them a halo effect and so the beams of light emanating from them would be more prominent.

 

Steven Spielberg has stated that absolutely nothing in his life has been more difficult than editing the final 25 minutes of Close Encounters of the Third Kind.

 

CE3K was partly inspired by an experience from Steven Spielberg's childhood, when without advance warning, his parents rushed the children into their car one night, drove to an area where many others were gathered, and watched a spectacular meteor shower.

 

Real air traffic controllers were used in the opening sequence. The synthesizer technician/performer was the actual engineer sent by ARP Instruments to install the synthesizer equipment (ARP 2500) on the set. Steven Spielberg watched his expert playing of the equipment and immediately cast him for the role. The name of the ARP engineer is Philip Dodds and he is actually mentioned in the credits.

 

François Truffaut's English was not strong. In order to get through some of his scenes, he stuck pieces of paper with his lines on them on various objects where he could read from them but the camera would not pick them up. In one case, as he arguing stands face to face with an Army officer (who has his back to the camera), he is in fact reading his lines off a card pinned to the man's chest. (He had shown the same trick being used with an actress who was having trouble with her lines in his own Day for Night (1973) (Day for Night), in which he played the director of the movie-within-the-movie.)

 

J. Allen Hynek was a famous ufologist and too the creator of the diverse kinds of contact with extra-terrestrial life, explained in the book "The UFO Experience: A Scientific Study" (1972). First kind: sighting of an one or more UFOs. Second kind: observation of physical evidence of extra-terrestrial visitation. Third kind: contact with one or more extra-terrestrials.

 

Became one of the first films to have a "Special Edition" director's cut made when Steven Spielberg wanted to improve his original vision.

 

The John Williams score was created before the film was edited. Steven Spielberg edited the film to match the music, a reverse of what is usually done in the film scoring process. Both Spielberg and Williams felt that it ultimately gave the film a lyrical feel.

 

SFX man Douglas Trumbull created the cloud effects by injecting white paint into tanks half filled with salt water and half filled with fresh water.

 

Bob Balaban had not spoken French since high school. When Spielberg, over the phone, asked if he did spoke French, he answered in bad French that he did not speak much, half hoping that someone in the room, overhearing the call, could at least know enough French to hear that he was no good at it. No one did. Balaban auditioned in French. The actor attended Berlitz classes and spent hours talking to Truffaut in preparation for his role. In 1980 the two filmed additional footage for the revised Special Edition of "Encounters."

 

Cinematographer Vilmos Zsigmond overexposed the scenes with the extraterrestrials deliberately so they would appear fuzzy and diffuse. When producer Julia Phillips saw the footage, she thought he'd made a mistake and ordered the film re-processed so that the aliens came out with a normal contrast, and their rubber heads and suits were obviously fake. She then told Zsigmond he'd botched up the filming and it looked awful. The upset Zsigmond told the lab to reprocess the film the way he originally said and everything looked fine in dailies the next day.

 

The hand signals used by the aliens are actually used by classroom teachers to teach the solfege scale. They were invented by the Reverend John Curwen, an English Congregationalist minister, and then adapted by composer Zoltán Kodály.

 

It is possible to see an upside down R2-D2 (from Star Wars: Episode IV - A New Hope (1977), etc) in part of the large spacecraft that flies over Devils Tower. The SFX people needed more detail, and so supposedly there are many more such items, such as a shark from Jaws (1975) (also directed by Steven Spielberg), etc. R2-D2 is visible as Jillian first sees the mothership up close from her hiding place in the rocks.

 

Opened the same week that Star Wars: Episode IV - A New Hope (1977) overtook Jaws (1975) to become the biggest blockbuster of all time.

 

Tuba player Jim Self is the "musical voice" of the mother-ship in the climactic scene when the big ship comes down on Devils Tower. Steven Spielberg and John Williams chose the tuba as the voice of the mother-ship because the difficulty of playing the instrument added a human characteristic to the aliens.

 

According to Julia Phillips in her autobiography "You'll Never Eat Lunch in This Town Again", she and the studio did not want to meet Richard Dreyfuss' price of $500,000 plus gross points to play Roy Neary and offered the script to Al Pacino, Jack Nicholson, and Gene Hackman. Pacino wasn't interested, and Nicholson thought that any actor would be overwhelmed by the special effects. Hackman turned down the role because he was in a troubled marriage and could not spend 16 weeks outside of Los Angeles on location-shooting. The studio suggested James Caan, but his agent wanted $1 million plus 10% of the gross. Phillips went back to Dreyfuss and cut his deal back a bit, and he became immortalized on film as Roy Neary.

 

In the scene where Barry (Cary Guffey) says, "Toys!" as he looks out the window and spots the UFOs, Steven Spielberg actually pulled out a toy car behind the camera to cause Barry's unexpected one-take reaction.

 

For the scene where Richard Dreyfuss appears to go weightless in his truck in his first encounter with flying saucers, his truck was put on a turntable and rotated 360 degrees.

 

Lacombe is François Truffaut's only acting role in a film that he did not direct.

 

The humans communicate with the aliens by making music with their computers. Writer-director Steven Spielberg's mother was a musician and his father was a computer scientist. Spielberg himself had not thought of this until it was pointed out by James Lipton in an interview on Inside the Actors Studio (1994).

 

The working title was "Watch the Skies," the closing words from The Thing from Another World (1951). These words also can be heard in the cartoon that wakes Neary.

 

Actor Bob Balaban kept a diary of behind-the-scenes events during production. This diary was published to tie-in with the release of the film.

 

Steven Spielberg repeatedly watched John Ford's The Searchers (1956) while he was making the film.

 

Steven Spielberg was originally aiming for a Summer 1978 release date for CE3K, but Columbia Pictures - on the verge of bankruptcy - spurred him to finish it for late 1977. This meant that Spielberg felt rushed, and had left important elements out of the film. Because of the large success of CE3K on its first theatrical run, Columbia was happy to give Spielberg another $2 million to film the interior of the alien spaceship for "The Special Edition". In retrospect, Spielberg now acknowledges that doing all of this addition was unnecessary.

 

Richard Dreyfuss had become quite interested in the ideas behind "CE3K" when he had heard Steven Spielberg talking about them on the set of Jaws (1975). When Dreyfus heard that casting for "CE3K" was underway, he began a concerted effort to persuade the director to take him on.

 

The last scene to be filmed was the opening scene in the desert.

 

The film originally ended with the version of When You Wish Upon a Star used in the film Pinocchio (1940), but it tested negatively in previews and was cut. That is why Roy Neary was trying to convince his family to see that film together just before the blackout. The song remains incorporated in the John Williams score, though. A toy can also be heard playing the song's melody right before Roy rips off the top off his sculpture.

 

The underside of the mothership was inspired by the lights of the San Fernando Valley at night.

 

The darkening sky and the shape of the clouds forming in the scene before Jilian's son gets abducted by the aliens resembles that of the "Angel of Death" in The Ten Commandments (1956) that comes into the sky before the slaying of all the firstborn of Egypt begins. Also, Roy and his family are watching this movie on TV before he is called to work after the power failure.

 

The ship found in the Gobi Desert, 'The Cotopaxi', is an actual tramp steamer that went down in the Bermuda Triangle in December of 1925.

 

No one was more surprised than Steven Spielberg when his first choice to play the Frenchman - François Truffaut - said yes to appearing in his first American film.

 

The mothership is now located at the Steven F. Udvar-Hazy annex of the Smithsonian Air and Space Museum, south of the Dulles Airport, in Chantilly, VA. Visible on it are a miniature R2-D2, a mailbox, a cemetery, and models of the airplanes that were abducted by the ship.

 

All of the stars in the background of the night shots, as well as many distant trees, hills, roads, etc. were special effects and not real. This is true even in non-special effect shots, such as when Neary's truck is just driving along country roads.

 

Steven Spielberg had approached Steve McQueen, Dustin Hoffman, and Gene Hackman for the role of Roy Neary. Jack Nicholson was also considered. McQueen turned the role down because he said he wasn't able to cry on film.

 

Stuntman Craig R. Baxley was injured during the sequence where the police cars are chasing the UFOs on a mountain road. This stunt called for him to skid around a turn, go through a fence and over an embankment, but Baxley was traveling too fast, and he overshot the area where he was supposed to land. His car landed too hard and, even though he was wearing a helmet, he received head injuries. He was hospitalized for several days.

 

Melinda Dillon - who earned an Oscar nomination for her performance - was not cast until the weekend before she was due to begin filming.

 

The federal agent-types on stage with Lacombe during the auditorium scene where he teaches the hand signals were real federal agents. Similarly some of the extras who played scientists in the end sequence were real scientists. However, one of the "agents" was actually the principal of Foley High School in Foley AL, a town near Mobile AL, and was an actor in local theatres.

 

From a budget of $20 million (sizeable at the time), this went on to become one of the top grossing films of the 1970s.

 

Despite the title "Close Encounters of the Third Kind", Barry and the other abductees were actually involved in a case of "Close Encounters of the Fourth Kind", which means being abducted by extraterrestrial beings. However, among other problems, the phrase "Close Encounters of the Fourth Kind" had not been invented yet, and was unnecessary for Steven Spielberg's use.

 

Steven Spielberg knew only vaguely what the mothership would look like when he was filming the live action scenes. Basically he decided it would be big and hulk-like, and very dark. While filming in India months later he drove past a giant oil refinery every day and was inspired by the many lights and pipes and outcroppings on the rig to change the look of the spaceship. He now decided it would be brightly lit, which is how it appears in the final film, even though the footage of it casting a dark shadow over the crowd had already been shot.

 

The UFO landing site built for the movie was 27 m high, 137 m long, and 76 m wide, making it the largest indoor film set ever constructed. The structure included 6.4 km of scaffolding, 1570 square metres of fibreglass, and 2740 square metres of nylon canopy.

 

One early concept for interpreting the aliens included an orangutan on roller skates. The idea did not work, because the orangutan became very frightened the second its roller skates touched the ground, and it kept grabbing onto the arms of its caretaker.

 

A model miniature was used for some of the shots in the climactic scene. At least part of the illumination coming out of the ship was created by a set of Christmas lights strung up on the back of a metal plate, behind little tiny alien figures, creating the silhouetted look we see. This was composited into a shot with real-life actors.

 

Several scenes were filmed around Mobile, AL, and many locals were cast. This is why several characters in the film have accents uncharacteristic of those from Indiana and Wyoming.

 

The film holds the record for most cinematographers on a production (11, counting the Special Edition).

 

Steven Spielberg was eager to show François Truffaut the giant landing site set, hoping to impress the other director. Truffaut didn't seem to be impressed at all. Spielberg and his crewmates later realized that Truffaut was used to directing movies in small, intimate settings, and Truffaut simply could not grasp the scale of the landing site. When he went into the set of the hotel room where Jillian watches the Devils Tower newscast, Truffaut stood in the middle of the room, raised his arms up, and said, "Now, THIS is a set!"

 

From the beginning when he took the part of Lacombe, François Truffaut made it quite clear that he was working strictly as an actor, and he had no interest in helping out as an assistant director.

 

Meryl Streep auditioned to play Veronica.

 

Steven Spielberg cast Teri Garr in the film after seeing her work on a coffee commercial.

 

According to the book 'Reel Gags' by Bill Givens, Grateful Dead singer Jerry Garcia was an extra during the scenes in India, and he can be seen in a crowd shot.

 

Steven Spielberg and other producers wanted Walter Cronkite as newsreader for the broadcast that Neary ignores in the living room sculpture scene. However, CBS would not allow Cronkite to take the role, so producers settled on ABC's Howard K. Smith. Unfortunately, the news cutaway scene to Wyoming reporter was filmed before this decision; as a result, the reporter says Order your steak well-done, Walter. In addition, during the interrogation of Neary by Lacombe, Neary shouts "You think I investigate every Walter Cronkite story there is?"

 

To get the spaceships' attention prior to their arrival at Devils Tower, the five notes the scientists play are G, A, F, (octave lower) F, C. When they arrive at the tower and are attempting communication, the notes they play are B flat, C, A flat, (octave lower) A flat, E flat.

 

In the beginning of the film in the Sonoran Desert, from inside one of the World War II airplanes, they pull out a calendar that looks vintage from 1945. Across the grid of the days of a full month on the calendar is plainly seen a light blue logo from the defunct Security National Bank (which did not exist in 1945, either). In the fall of 1972, Security National Bank issued a 1973 calendar that corresponded exactly, month by month, day by day, to the 1945 calendar for fun. Thus, this unique idea was a promotional give away to the bank's customers. The props crew for CE3K probably could not locate an authentic 1945 calendar, so instead they utilized the fake vintage calendar, which was not hard to find in 1976.

 

This is essentially an adult rethink of "Firelight", a movie that Steven Spielberg made as an adolescent. He even gave Douglas Trumbull and Vilmos Zsigmond notes that he'd made at that time, for their work on "Close Encounters of the Third Kind".

 

Ray Bradbury declared this the greatest science fiction film ever made.

 

Claude Lacombe (François Truffaut) is based on real-life French UFO expert Jacques Vallée.

 

Richard Dreyfuss's father was an extra in the film and spent six months on location; however the scenes in which he appeared never made the final cut.

 

Gillian's phone number, seen when she tries to dial for help when the aliens come for Barry, is 311-555-2368. This number frequently appeared on phones in Bell Telephone print ads around the late 1960s. Area code 311 is not an Area Code in North America, and it never will be. 311 is used in recent times as a non-emergency number for municipal services.

 

A highly detailed miniature and the filming technique "forced perspective" were used to create the effect of an ocean freighter left stranded in the Gobi desert.

 

Melinda Dillon was cast largely at the suggestion of director Hal Ashby. He had heard that Steven Spielberg was having difficulty casting the part of Jillian, and Ashby had just completed his movie Bound for Glory (1976) with her in the cast - and liked her work. So Ashby sent Spielberg a couple of film reels containing her acting. Upon seeing those, Speilberg hired Dillon immediately.

 

In a new technique, the special effects were produced in 70mm. A live action shot which would later have a special effect added, would also be shot in 70mm. The rest of the film was shot in 35mm. When the 70mm special effects shot was overlaid on the 70mm live action, the overall graininess was the same as normal, non-effect 35mm film, thus matching the rest of the film, even after the completed film was blown up to 70mm prints. This was to avoid the effect Steven Spielberg had noticed in previous effects-laden films, where the viewer instinctively knew when a special effect was coming up, because of the change in the grain of the shot.

 

Look for the same "Devils Tower" geological formation that John Ford used in My Darling Clementine (1946) - that's where Steven Spielberg got the location idea.

 

The nine foot diameter model of the mothership that was used in the final sequences was kept locked up in Steven Spielberg's garage to help prevent pictures of it from appearing in the media before the release of the film.

 

John Williams wanted the music to "convey a sense of awe and fascination" as well as "overwhelming happiness and excitement" at the prospect of seeing aliens for the first time.

 

The entire landing strip complex behind Devils Tower was actually constructed and filmed in an abandoned aircraft hangar at the former Brookley AFB in Mobile, Alabama.

 

Steven Spielberg and Joe Alves at first thought they would build the landing site in Monument Valley but realized that would present great difficulties in controlling climate and lighting conditions. They settled on an abandoned hangar near Mobile, Alabama where they thought they'd have greater control over the enormous $700,000 set. Bigger than a football field and six times the size of the largest Hollywood sound stage, the hangar harbored its own climate, trapping humidity that sometimes caused clouds and precipitation during filming. Dozens of very large lights were needed, and the 200 extras involved necessitated careful choreography of movement. All of this meant frequent delays and rising costs. The scenes filmed on this set accounted for only about a fifth of the film's running time but took up easily half of the shooting schedule. Spielberg stated, "That set became our shark on this picture."

 

Douglas Trumbull achieved the dramatic cloud effects by filling a tank half full of salt water with lighter fresh water on top, then injecting paint into the top layer. The paint billowed through the fresh water but flattened out at the top of the heavier salt water, creating the effect we see on screen.

 

Cary Guffey really did cry at the end of the movie when he said goodbye to the aliens. Steven Spielberg told him to think of all his friends going away forever.

 

While no part of the film was actually shot in Muncie, Indiana, a production team did visit for local details and props, such as the pull-down map of Muncie that Roy consults in his truck. They also visited the bookstore of Ball State University for university memorabilia, such as a fraternity "BSU" paddle visible on Roy's wall, and the red-and-white "BallU" (or U-Ball) T-shirt worn by Roy in the shaving-cream scene.

 

Neary also references Walter Cronkite when he's being interviewed saying, "You think I investigate every Walter Cronkite story there is ... huh?!"

 

The organization that Claude Lacombe (François Truffaut) leads is called the "Mayflower Project". Its flag is a white one with a black triangle on it, and it can be seen in the secret reunion scene (where Lacombe explains the manual signals for the musical notes) between the American and France flags.

 

The huge success of the film made a popular icon of its signature logo, a black-and-white image of a highway receding towards a glowing horizon at night. In 1978, an enterprising group of students from the College of Architecture at Ball State University in Muncie, IN, manufactured and sold a small production run of black T-shirts emulating the logo and typeface of the original, but reading "MUNCIE INDIANA: A Gross Encounter of the Worst Kind." Sales were going well until stories about the shirts appeared in local media, prompting complaints from Columbia Pictures, which was offended about the logo, and the Muncie City Council, which was offended about the slogan.

 

When the aliens visit Jillian's home, there's a shot of the screws in the floor vent unscrewing. This is shown in an extreme close-up. The unscrewing effect is very similar to what we see in the movie version of The War of the Worlds (1953).

 

Neary gives his date of birth as December 4, 1944. This is also the date of birth of Richard Dreyfuss' older brother Lorin Dreyfuss -- and, by coincidence, a year and a day before the disappearance of Flight 19, on which the lost planes in the movie are based.

 

During the very beginning of the "space show" at the end of the film, the various dots (ships) during their tricks in the sky, form the "Big Dipper." This takes place just before Roy and Gillian laugh as they watch the objects in the sky.

 

While making Jaws (1975), Steven Spielberg was sure he was in the midst of the most difficult production he would ever have to tackle. He would come to find Close Encounters to be "twice as bad, and twice as expensive, as well."

 

Vilmos Zsigmond, the director of photography on The Sugarland Express (1974), returned to work with Spielberg after passing up the job of shooting Jaws (1975). He found the director more commanding and less eager to discuss options than previously, but Zsigmond was enthusiastic to be on the picture. "(Close Encounters)" had the smell of a great movie. We fell into sandtraps not because anybody made mistakes but because we were making things that had never been done before." Zsigmond found himself blamed for many of those "sandtraps" by producer Julia Phillips and the studio, who almost fired him over his insistence that he needed at least one day to pre-light the enormous set. Nevertheless, Zsigmond refused to give in to pressure to use less lighting, and he was supported in this by Spielberg and especially Trumbull, who knew what it would take to match the scenes to the special effects. After the first two months of shooting in Mobile, when studio executives and financial backers began to show up on set, Phillips insisted on firing him. Several other cinematographers were called as potential replacements--John Alonzo, László Kovács, Ernest Laszlo--but most of them were friends of Zsigmond and agreed that if he couldn't handle the job, no one could.

 

According to Melinda Dillon, because it was done without rehearsal, the scene in the kitchen with all the objects flying around was truly scary, and her alarmed reactions were often quite real and spontaneous as she tried to protect herself and Cary Guffey.

 

In an interview for the "making-of" featurette on the DVD release, a grown Cary Guffey said it was embarrassing for him to shoot the scene of him exiting the mother ship because he had to wear ballet slippers to keep from falling on the ramp.

 

Six "wrap parties" were held before CE3K completed its production, since Steven Spielberg was continually revising his vision of the film.

 

The scene where Jillian grabs Roy's hand while he is hanging onto the side of the mountain right before they see the landing site resembles that of Cary Grant's hanging on Mount Rushmore before he is helped up in the film North by Northwest (1959). Also, Mount Rushmore is only about 90 miles away from the Devil's Tower.

 

The 2007 30th Anniversary Ultimate Edition is the first release of the original theatrical cut since the Criterion laserdisc released in 1991.

 

Marvel Comics published an adaptation of the movie as part of their Super Special series. However, artists were given very little visual references to work with, and were unable to obtain likeness rights for the movie's cast members.

 

Roy's son Toby was played by Justin Dreyfuss, the real life nephew of Richard Dreyfuss.

 

Famed ufologist J. Allen Hynek - who coined the phrase "Close Encounters of the Third Kind" - actually has a cameo in this movie. He can be seen as the gray-haired man with glasses, a pointed beard, and a pipe walking out to see the returnees in the final sequence.

 

Beyond having to manage the myriad of complex technical and artistic details involved, Steven Spielberg would find he also had to spend a lot of time and energy battling the studio for more and more money, a task he wasn't prepared for and didn't like. At one point later in production, the studio refused to shell out several thousand dollars for the effect of the Devil's Tower control room glass shattering and Spielberg used his own money for it.

 

Because the complicated and extensive visual effects were stretching the limits of what had been done before, Steven Spielberg also discovered a difficult new challenge in having to shoot scenes without an exact idea of how they would look when Douglas Trumbull completed them and added them to the film in post-production, months after principal photography was finished. On Jaws, the effects were difficult, but they were mechanical and physical, right there before him every day. The unknown of working around optical effects to be added later meant a more tense on-set atmosphere. Trumbull said, "I'll never be able to thank him enough for having the confidence and the patience to see it through time and not panic. There was enormous pressure on the production all the time from the studio to keep moving on."

 

The actors had to spend a lot of time acting to objects and things that weren't there and being told by Steven Spielberg what they were looking at and how to react. "For weeks we were just sitting on a rock, shifting positions, pretending to look at the landing site and the sky," Melinda Dillon said. "It was a great acting exercise." François Truffaut, however, found it very difficult, finally giving himself over to be nothing more than another object in the "grand cartoon strip" of 2,000 storyboard sketches Spielberg had shown him. When Richard Dreyfuss saw the final picture, he was upset with several moments of his performance, believing he would have reacted quite differently if he had seen the actual effects.

 

Steven Spielberg ran a few tests of computer generated imagery (CGI) now the industry standard but then in its very first stages of development. He decided none of it looked believable.

Larry Carlton Trio.

Blues Expres 2011, Luxembourg.

 

16-time Grammy nominee and 3-time Grammy winner, Larry Carlton is perhaps the most versatile and accomplished guitarist walking the planet today. With over 3,000 sessions, 200 hit records and 100 gold albums to his credit, Carlton has his fingerprints indelibly imprinted on virtually every genre of music.

 

Larry performed in Luxembourg on 9-July 2011, together with Travis Carlton and Gene Coye.

An extensive coverage of the event as well as the high resolution files can be found on my website.

 

My website | My Blog

All images are protected by copyright © Janos KOVACS. All rights reserved.

If you want to use these pics, please contact me at:

office@jkovacsphotography.com

Larry Carlton Trio.

Blues Expres 2011, Luxembourg.

 

16-time Grammy nominee and 3-time Grammy winner, Larry Carlton is perhaps the most versatile and accomplished guitarist walking the planet today. With over 3,000 sessions, 200 hit records and 100 gold albums to his credit, Carlton has his fingerprints indelibly imprinted on virtually every genre of music.

 

Larry performed in Luxembourg on 9-July 2011, together with Travis Carlton and Gene Coye.

An extensive coverage of the event as well as the high resolution files can be found on my website.

 

My website | My Blog

 

All images are protected by copyright © Janos KOVACS. All rights reserved.

If you want to use these pics, please contact me at:

office@jkovacsphotography.com

Larry Carlton Trio.

Blues Expres 2011, Luxembourg.

 

16-time Grammy nominee and 3-time Grammy winner, Larry Carlton is perhaps the most versatile and accomplished guitarist walking the planet today. With over 3,000 sessions, 200 hit records and 100 gold albums to his credit, Carlton has his fingerprints indelibly imprinted on virtually every genre of music.

 

Larry performed in Luxembourg on 9-July 2011, together with Travis Carlton and Gene Coye.

An extensive coverage of the event as well as the high resolution files can be found on my website.

 

My website | My Blog

 

All images are protected by copyright © Janos KOVACS. All rights reserved.

If you want to use these pics, please contact me at:

office@jkovacsphotography.com

Larry Carlton Trio.

Blues Expres 2011, Luxembourg.

 

16-time Grammy nominee and 3-time Grammy winner, Larry Carlton is perhaps the most versatile and accomplished guitarist walking the planet today. With over 3,000 sessions, 200 hit records and 100 gold albums to his credit, Carlton has his fingerprints indelibly imprinted on virtually every genre of music.

 

Larry performed in Luxembourg on 9-July 2011, together with Travis Carlton and Gene Coye.

An extensive coverage of the event as well as the high resolution files can be found on my website.

 

My website | My Blog

 

All images are protected by copyright © Janos KOVACS. All rights reserved.

If you want to use these pics, please contact me at:

office@jkovacsphotography.com

Larry Carlton Trio.

Blues Expres 2011, Luxembourg.

 

16-time Grammy nominee and 3-time Grammy winner, Larry Carlton is perhaps the most versatile and accomplished guitarist walking the planet today. With over 3,000 sessions, 200 hit records and 100 gold albums to his credit, Carlton has his fingerprints indelibly imprinted on virtually every genre of music.

 

Larry performed in Luxembourg on 9-July 2011, together with Travis Carlton and Gene Coye.

An extensive coverage of the event as well as the high resolution files can be found on my website.

 

My website | My Blog

 

All images are protected by copyright © Janos KOVACS. All rights reserved.

If you want to use these pics, please contact me at:

office@jkovacsphotography.com

Larry Carlton Trio.

Blues Expres 2011, Luxembourg.

 

16-time Grammy nominee and 3-time Grammy winner, Larry Carlton is perhaps the most versatile and accomplished guitarist walking the planet today. With over 3,000 sessions, 200 hit records and 100 gold albums to his credit, Carlton has his fingerprints indelibly imprinted on virtually every genre of music.

 

Larry performed in Luxembourg on 9-July 2011, together with Travis Carlton and Gene Coye.

An extensive coverage of the event as well as the high resolution files can be found on my website.

 

My website | My Blog

 

All images are protected by copyright © Janos KOVACS. All rights reserved.

If you want to use these pics, please contact me at:

office@jkovacsphotography.com

Larry Carlton Trio.

Blues Expres 2011, Luxembourg.

 

16-time Grammy nominee and 3-time Grammy winner, Larry Carlton is perhaps the most versatile and accomplished guitarist walking the planet today. With over 3,000 sessions, 200 hit records and 100 gold albums to his credit, Carlton has his fingerprints indelibly imprinted on virtually every genre of music.

 

Larry performed in Luxembourg on 9-July 2011, together with Travis Carlton and Gene Coye.

An extensive coverage of the event as well as the high resolution files can be found on my website.

 

My website | My Blog

 

All images are protected by copyright © Janos KOVACS. All rights reserved.

If you want to use these pics, please contact me at:

office@jkovacsphotography.com

Larry Carlton Trio.

Blues Expres 2011, Luxembourg.

 

16-time Grammy nominee and 3-time Grammy winner, Larry Carlton is perhaps the most versatile and accomplished guitarist walking the planet today. With over 3,000 sessions, 200 hit records and 100 gold albums to his credit, Carlton has his fingerprints indelibly imprinted on virtually every genre of music.

 

Larry performed in Luxembourg on 9-July 2011, together with Travis Carlton and Gene Coye.

An extensive coverage of the event as well as the high resolution files can be found on my website.

 

My website | My Blog

 

All images are protected by copyright © Janos KOVACS. All rights reserved.

If you want to use these pics, please contact me at:

office@jkovacsphotography.com

Larry Carlton Trio.

Blues Express 2011, Luxembourg.

 

16-time Grammy nominee and 3-time Grammy winner, Larry Carlton is perhaps the most versatile and accomplished guitarist walking the planet today. With over 3,000 sessions, 200 hit records and 100 gold albums to his credit, Carlton has his fingerprints indelibly imprinted on virtually every genre of music.

 

Larry performed in Luxembourg on 9-July 2011, together with Travis Carlton and Gene Coye.

 

An extensive coverage of the event as well as the high resolution files can be found on my website.

 

My website | My Blog

All images are protected by copyright © Janos KOVACS. All rights reserved.

If you want to use these pics, please contact me at:

office@jkovacsphotography.com