
In an industry where sequels and reboots dominate, one of the most commercially successful films of all time, E.T. the Extra-Terrestrial (1982), remains untouched. That’s no accident.
At a recent TCM Classic Film Festival event in New York, Steven Spielberg revealed the behind-the-scenes battle he fought to prevent an E.T. sequel from ever happening—and why that was a crucial move both creatively and professionally.
Steven Spielberg, despite his growing influence in the early ’80s, didn’t fully control the rights to E.T. “That was a real hard-fought victory because I didn’t have any rights,” he explained. Without what’s known in the industry as “the freeze”—a contractual ability to block sequels or remakes—Spielberg had to rely on his persuasive power and reputation to stop Universal from greenlighting a follow-up.
Interestingly, Spielberg admitted he briefly entertained the idea of an E.T. sequel. He explored concepts that culminated in the publication of E.T.: The Book of the Green Planet, a novel detailing E.T.’s life on his home planet. Ultimately, Spielberg decided that the story belonged in print rather than on film. His instincts were echoed by E.T. star Drew Barrymore, who remarked, “They’re just going to compare it to the first and leave something that’s perfect alone in isolation open to scrutiny.”
Spielberg’s decision wasn’t just about preserving artistic integrity—it was a calculated professional move. After E.T. became the highest-grossing film in history, surpassing Star Wars with a $359.2 million domestic haul, Spielberg had solidified his standing as a powerhouse director. The film earned nine Academy Award nominations, winning four, and further established his brand as a filmmaker capable of blending commercial success with critical acclaim.
By refusing to dilute E.T. with a sequel, Spielberg maintained control over his narrative legacy and reinforced his creative authority in Hollywood. This likely played a role in his future collaborations with Universal, where he directed industry-defining films like Jurassic Park (1993) and Schindler’s List (1993). Had Universal pushed forward with an unwanted E.T. sequel, it’s possible that Spielberg might have taken his talents elsewhere, fundamentally altering the studio’s trajectory in the ’90s.
The closest fans ever came to an E.T. sequel was a 2019 Xfinity commercial featuring Henry Thomas reprising his role as Elliott. The ad was a nostalgic nod, but as Thomas noted, it’s “as close to a sequel as [Spielberg is] willing to go.”
In an era where intellectual property is king, Spielberg’s commitment to keeping E.T. a standalone masterpiece offers a rare example of a filmmaker prioritizing long-term legacy over short-term gains. His decision underscores the idea that sometimes, restraint can be as powerful as innovation in the world of cinema.