The Rewatchables: Close Encounters of the Third Kind

Episode Overview

Title: ‘Close Encounters of the Third Kind’
Host: Bill Simmons
Participants: Bill Simmons, Chris Ryan, Sean Fantasy
Release Date: May 20, 2025
Podcast: The Rewatchables by The Ringer

In this episode of The Rewatchables, Bill Simmons, alongside Chris Ryan and Sean Fantasy, delves deep into Steven Spielberg’s seminal 1977 film Close Encounters of the Third Kind. The trio explores the film’s enduring legacy, its thematic depth, and the intricate details that make it a perennial favorite among movie enthusiasts.

Introduction to Close Encounters

[02:39] Bill Simmons:
“We're doing Close Encounters this week. A movie that maybe needed more time in the oven, but we're pulling it out anyway. Like a beautiful thing of banana bread.”

[03:03] Sean Fantasy:
“I believe in it. I believe it's the right course of action.”

The discussion kicks off with a lighthearted comparison of the film to banana bread, hinting at its timeless appeal despite being a product of its time.

Personal Experiences with the Film

[02:58] Bill Simmons:
“I saw this movie in 1977. I gotta be honest. I was six years old. It kind of freaked me out.”

[04:33] Bill Simmons:
“This childlike wonder.”

Bill reflects on his childhood viewing experience, highlighting how the film influenced him from a young age. Sean and Chris share their own memories, underscoring the film’s capacity to evoke strong emotions across generations.

Spielberg’s Directorial Mastery

[03:19] Chris Ryan:
“This might be like one of the best directed movies I've ever seen. Is there a bad shot in this movie? It’s like you could freeze frame any single thing from this film. And it's a painting.”

The panel praises Spielberg’s direction, emphasizing the film’s visual prowess and meticulous shot composition. Sean adds:

[04:11] Sean Fantasy:
“It’s breathtaking. It’s one of only three movies that he has a screenplay credit on. And you can tell that it comes from a deep, deep part of his soul.”

They delve into Spielberg’s artistic evolution post-Jaws, noting how Close Encounters showcases his matured storytelling tools while retaining youthful energy.

Themes and Emotional Depth

[04:35] Chris Ryan:
“The movie is way more optimistic and romantic about the otherworldly, the extraterrestrial than it is about the human. I think it's actually a pretty cynical movie about humanity in a lot of ways.”

[06:05] Sean Fantasy:
“It’s just not pessimistic. And all of those other movies that you talked about ultimately end on these moments of like, ugh, I guess we're just kind of screwed as a society. And this movie doesn't feel that way at all.”

The conversation pivots to the film’s core themes of obsession, reality, and the human condition. While maintaining an optimistic view of extraterrestrial contact, the film critiques societal norms and individual obsessions.

Cinematic Techniques and Special Effects

[03:36] Bill Simmons:
“After Jaws, but he's still 29.”

[05:38] Bill Simmons:
“In this house. And just everything about it, just everything, the way it moves.”

The trio examines Spielberg’s use of practical effects and motion control photography, which were groundbreaking at the time. They discuss the technical challenges and innovations that contributed to the film’s immersive experience.

[24:10] Sean Fantasy:
“I think that Close Encounters is like the most majestic movie he made.”

[24:12] Bill Simmons:
“And the first five minutes.”

They highlight specific scenes, such as the air traffic controller sequence and the iconic final encounter, praising their suspense and visual storytelling.

Casting Choices and What-If Scenarios

[28:07] Chris Ryan:
“What's the Dir. Co’s like, I don't really act. Like, I just do my thing.”

[89:50] Bill Simmons:
“Steve McQueen was like, yeah, Ali MacGraw’s gonna do Steve McQueen. What could go wrong?”

The panel engages in speculative discussions about alternative casting, imagining how actors like Steve McQueen, Robert De Niro, or Meryl Streep might have influenced the film’s dynamic and reception.

[93:56] Chris Ryan:
“Do you think Roy Neary should have been a verb? Like, I just Roy neary it last week. Just left.”

This whimsical idea underscores the character’s profound impact, illustrating how Roy Neary’s obsession with the UFO has permeated popular culture.

Legacy and Influence on Modern Filmmaking

[65:03] Sean Fantasy:
“What happened the next day? Close Encounters was like two popcorn y and two.”

[84:17] Sean Fantasy:
“I think this movie in 2001 are the most responsible for the current wave of great event filmmakers that we have. So Nolan, Villeneuve, Bong Joon Ho, Guillermo del Toro—they're all hugely inspired by this movie.”

Sean attributes the film’s influence to contemporary directors, highlighting its role in shaping modern sci-fi and fantastical narratives.

[125:03] Chris Ryan:
“That would probably be tough for JJ who made Super 8 and is basically, like, trying to make Close Encounters.”

The group compares Close Encounters with other Spielberg works and its influence on directors like J.J. Abrams, noting its foundational role in modern storytelling about extraterrestrial life.

Critical Reception and Enduring Appeal

[84:35] Bill Simmons:
“Recasting couch. Director city I came up with every 10 years. Who I would have casted in the Dreyfus part.”

[121:07] Bill Simmons:
“You have no sense of any sort of connection.”

They discuss how critical perspectives, including those from esteemed critics like Pauline Kael and Roger Ebert, have shaped the film’s reputation. Despite some criticisms about pacing, the consensus remains overwhelmingly positive regarding its craftsmanship and emotional resonance.

Rewatchability and Personal Reflections

[04:35] Chris Ryan:
“Yeah. But like we kind of like make fun of that, right? Like the Spielberg face and his always seeing the world through a kid's eyes.”

The hosts reflect on the film’s rewatchability, sharing personal anecdotes about viewing the movie multiple times with family and friends. They appreciate how repeated viewings reveal new layers and details, enhancing the overall experience.

[47:36] Bill Simmons:
“This is another one where I just have to say, 1977, we did not have, like, a ton of awesome special effects for scenes like this. Now this is a layup. You just CGI shit and the monkey.”

Despite advancements in technology, the panel acknowledges the ingenuity of the original special effects, appreciating their practical authenticity compared to modern CGI.

Cultural and Societal Context

[06:05] Sean Fantasy:
“UFOs were potentially evil. They’re coming to get us. They’re going to invade us. That was like all the programming from the radio stuff in the 30s and 40s, the movie shows in the 50s and 60s…”

[07:06] Chris Ryan:
“The movie is way more optimistic and romantic about the otherworldly, the extraterrestrial than it is about the human.”

The podcast situates Close Encounters within the broader context of Cold War-era distrust in government and the evolving portrayal of aliens in media. They contrast the film’s hopeful depiction of extraterrestrial contact with the more adversarial narratives prevalent in earlier decades.

Final Thoughts and Conclusion

[105:16] Sean Fantasy:
“It’s a very powerful movie.”

[125:06] Sean Fantasy:
“Gene Siskel called this movie a fairy tale for adults, which I've always thought was the best way to describe it.”

In wrapping up, the hosts reaffirm the film’s status as a masterpiece that seamlessly blends awe, wonder, and human emotion. They celebrate its technical achievements, compelling narrative, and lasting influence on both audiences and filmmakers alike.

Notable Quotes with Timestamps

• Bill Simmons [02:39]:
  “Close Encounters is like a beautiful thing of banana bread.”

• Chris Ryan [03:19]:
  “This might be like one of the best directed movies I've ever seen. Is there a bad shot in this movie? It’s like you could freeze frame any single thing from this film. And it's a painting.”

• Sean Fantasy [04:11]:
  “It’s one of only three movies that he has a screenplay credit on. And you can tell that it comes from a deep, deep part of his soul.”

• Chris Ryan [04:35]:
  “The movie is way more optimistic and romantic about the otherworldly, the extraterrestrial than it is about the human. I think it's actually a pretty cynical movie about humanity in a lot of ways.”

• Sean Fantasy [06:05]:
  “Close Encounters is one of the softest government conspiracies of all time.”

• Bill Simmons [23:06]:
  “They say to him, you have to show the inside of the spaceship. Which they do.”

• Sean Fantasy [65:03]:
  “The idea of the barrier of communication is such a key theme of the movie.”

• Chris Ryan [75:05]:
  “There's a lot of really cool recurring images when you rewatch the film of, like, Roy looking at maps. Roy stuck at a crossroads.”

• Sean Fantasy [118:14]:
  “They make music together on the computer. That scene in the movie when he says toys, it's because he's literally showing him a toy coming out of a box. But it looks like he's watching an alien spaceship.”

Conclusion

Close Encounters of the Third Kind remains a cornerstone of science fiction cinema, celebrated for its visionary direction, emotional depth, and technical innovation. Through engaging dialogue and insightful analysis, Bill Simmons, Chris Ryan, and Sean Fantasy illuminate the film’s multifaceted brilliance, reaffirming its place among the greatest rewatchable films of all time.