Word: poltergeistic
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...astounding success of Star Wars, his special-effects group, dubbed Industrial Light & Magic, relocated in San Rafael, Calif., just north of San Francisco, and became a permanent operation. ILM devised the special effects not just for Lucas' three Star Wars epics, but for such Steven Spielberg hits as E.T., Poltergeist and Raiders of the Lost Ark. Now ILM's handiwork seems to be everywhere. The company created the effects for six of last year's releases, among them Cocoon (for which ILM technicians won their seventh visual-effects Oscar), Back to the Future, Young Sherlock Holmes and Explorers. And that...
...competitors, most notably Boss Film Corp. (started by former ILM Special-Effects Supervisor Richard Edlund), which created the special effects for Ghostbusters and this summer's Poltergeist II. But for its combination of technical resources, expertise and sheer filmmaking pizazz, ILM deserves that highest of compliments in the techno-'80s: state of the art. "They're a wonderful think tank," says Robert Zemeckis, director of Back to the Future. "One of the biggest tragedies in Hollywood is that no one puts money into research and development. ILM is trying to break new ground...
...work. But it is the first appearance of Spielberg himself on the cover. For a 1975 account of the making of Jaws, his first megahit, the cover honors went to Bruce, the mechanical great white shark. A second, planned cover, in 1982, heralding E.T. The Extra-Terrestrial and Poltergeist, was bumped at the last minute when British troops landed on the Falkland Islands, though a long story ran inside. In the three years since E.T., notes Senior Writer Richard Corliss, who wrote both this week's cover story and the 1982 piece, Spielberg has become even more successful and influential...
...films. Close Encounters was born one night when young Steven's father woke the six-year-old and drove him to a large meadow to see a meteor shower. E.T. and The Goonies find their wellsprings in the need of a young outcast for a playmate, real or imagined. Poltergeist, which Spielberg describes as being "all about the terrible things I did to my younger sisters," also emerged from a spooky encounter (ethereal figure, shivery bedroom, car that wouldn't start) that the filmmaker experienced in 1972. Each picture has allowed him to remake his own childhood, then to generalize...
...where I was from nine to 16, my real home. For a kid, home is where you have your best friends and your first car, and your first kiss; it's where you do your worst stuff and get your best grades. Scottsdale was just like the neighborhood in Poltergeist: kitchen windows facing kitchen windows facing kitchen windows. People waved to each other from their windows. There were no fences, no big problems...