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Wikimedia Commons // Public Domain
Wikimedia Commons // Public Domain

20 Things You Might Not Know About E.T.

Wikimedia Commons // Public Domain
Wikimedia Commons // Public Domain

1. The film was initially patched together from different ideas for separate movies.

With his newfound success following the back-to-back smash hits of Jaws in 1975 and Close Encounters of the Third Kind in 1977, director Steven Spielberg wanted to tell a smaller, more personal story for his next film. Entitled Growing Up, the proposed movie was inspired by the divorce of his parents when he was 15 years old. It included the feelings of alienation Spielberg felt being Jewish in an all Gentile neighborhood in Arizona and was told from the perspective of three children.

When the project was shelved, Spielberg moved on to another big budget film, 1941, but the basic idea stayed with him. Around the same time, Columbia Pictures demanded a sequel to Close Encounters. Spielberg wanted no part of that, though he had a small idea about what would have happened if an alien didn’t go back to the mothership at the end of that movie. To ensure they didn’t make the sequel without him, he instead commissioned writer/director John Sayles to create a script for a pseudo-sequel called Night Skies, about a suburban family terrorized by a group of aliens with one befriending the family’s son.

The project was too dark in tone for Spielberg, though, and ultimately, he had Columbia just re-release Close Encounters in a Special Edition with additional scenes. But he still recognized the potential of a film like Night Skies, so he and screenwriter Melissa Mathison then combined Spielberg’s semi-autobiographical story with the benevolent alien visiting a boy on earth to create E.T. The idea of the terrorized family was refashioned as another eventual Spielberg production: Poltergeist.         

2. Mathison’s first draft is the shooting script.

Most films go through several drafts before a final shooting script is locked into place, but Melissa Mathison’s first draft is what Spielberg used during the shoot of the film. Instead of constantly revising individual drafts, Spielberg gave Mathison the general narrative plot for her to round out. She would write for five straight days and then collaborate with him for five successive days of feedback. This process went on for eight weeks, and Spielberg later called the resulting screenplay “the best first draft I’ve ever read.” In order to maintain a spontaneous and streamlined shoot (and unlike the fully pre-visualized Raiders of the Lost Ark), Spielberg didn’t storyboard any of the shots for E.T. and kept the script Mathison had written on 3 x 5-inch notecards in his shirt pocket. This gave him the freedom to revise, improvise, and make things up with the child actors on set. To maintain secrecy while shooting, the production name was listed as the rather mundane “A Boy’s Life.”

3. A young Drew Barrymore’s little white lies made Spielberg cast her as Gertie.

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Getting the right young actors to play the three main young siblings was a paramount problem for Spielberg. The first kid he cast was Drew Barrymore as Gertie, the youngest of the trio. During her audition, the six-year-old Barrymore allegedly told Spielberg that she wasn’t really an actress at all but rather the drummer of a loud and menacing punk rock band called the Purple People Eaters, who painted their faces with makeup for every show and who had played to an arena packed with thousands of people the night before. Spielberg recognized the value of her vivid imagination and she got the part.

4. Henry Thomas’ improvised audition won him the part of Elliott.

The most difficult role for Spielberg to cast was that of Elliott, the boy who discovers and befriends E.T. Spielberg’s friend Jack Fisk (Sissy Spacek’s husband and the production designer of such films as Badlands and Eraserhead) suggested a young actor by the name of Henry Thomas, whom he directed in his 1981 film Raggedy Man. Spielberg brought Thomas in for a meeting to audition at Universal Studios, but instead of giving Henry the script to read, the director opted to have the young actor improv a scene with a government agent (played by casting director Mike Fenton) who is trying to take his alien best friend away from him. Spielberg’s only direction to Thomas was to do whatever it takes to stop the government agent from taking the alien away. In the heartbreaking audition (seen above), Thomas broke down in tears while pleading with Fenton not to take his friend, prompting Spielberg to conclude the session with “OK kid, you got the job."

5. Peter Coyote’s bad audition for Raiders of the Lost Ark got him a part in E.T.

Actor Peter Coyote, who plays the sympathetic government agent Keys in E.T., auditioned for the role of Indiana Jones during a May 1980 casting session held by Steven Spielberg and George Lucas. Coyote, who was given snippets of the Raiders script along with a character outline of Indy, brought along a dashing fedora to accentuate his audition in hopes of wowing the two Hollywood heavyweights. But when he was told it was his turn to go, he tripped over the wiring of the lights that were set up in the room. His stumbling first impression was the furthest thing from the debonair, tough-guy Indy. The part went to Harrison Ford, but Spielberg found something endearing in Coyote's clumsiness, and when it came time to cast Keysan adult with childlike wondermentthe choice was obvious. Sometimes being awkward pays off!

6. The combination of a painting and photos of famous people inspired the look of E.T..

Universal Pictures

Spielberg originally had production illustrator Ed Verreaux—with whom he had worked on Raiders of the Lost Ark—draft the initial designs of the titular alien creature. Eventually, he went with a different set of design ideas, created by special effects artist Carlo Rambaldi. Rambaldi had previously designed the mechanical head effects for the xenomorph in Ridley Scott’s Alien and the visitors from Spielberg’s own Close Encounters of the Third Kind. For E.T., Spielberg tasked him with coming up with an alien form that audiences could sympathize with. The primary inspiration was one of his own paintings from the Academy of Fine Arts in Bologna, titled “Women of Delta.” It depicted a shriveled character with stumpy legs, a long neck, an oblong head, and large eyes. To make the alien empathetic, Spielberg had Rambaldi study photos of elderly people who lived during the Great Depression. He also collated the alien's facial design with photos of Albert Einstein, Ernest Hemingway, and Carl Sandburg. Rambaldi completed his design in clay, and an impressed Spielberg quickly gave it the go-ahead. Artist Ralph McQuarrie, who was responsible for the famous concept art for George Lucas’ Star Wars, designed E.T.’s spaceship, saying it was meant to resemble a hot air balloon as if it were created by Dr. Seuss.

7.  The E.T. puppet was a conceptual wonder, but made the sets a logistical nightmare.

Universal Pictures

For scenes that required the animatronic E.T. puppet—like Elliott’s room and the family’s living room—Spielberg had the production designers build the sets raised on stilts. The heavy robotic puppet was bolted down, and its wiring was hidden under the floor. The puppeteers were able to observe and manage the puppet’s performance from a series of TV monitors located in another room.

Spielberg wanted those on-set to act as if E.T. were a real actor for maximum believability, and asked the special effects designers to test out all puppet movements well before production began to ensure that the illusion wasn’t easily broken. Taking the farce even further, Spielberg told the young Drew Barrymore that the puppet was an actual living, breathing alien, and during the scene where—spoiler alert!—E.T. dies, the sobbing reaction shots of Barrymore are true-to-life tears, as she truly believed that E.T. had passed away.  

8. A mime was responsible for E.T.’s hand movements.

A puppet can only do so much, so to breathe a little bit more balletic life into his creature, Spielberg hired professional mime Caprice Rothe to provide fluid and naturalistic hand motions. Each time the puppet was meant to interact with Elliott or pick certain things up during a scene, Rothe would have to lay horizontally underneath the puppet and extend her hands vertically, for take after take. She wore sleeve-length gloves that were made up to look like E.T.’s leathery skin, and mimicked his long, slender, four-fingered hands with her ring and pinky fingers sneakily tucked away in the fourth digit. In the final cut, she was credited as the “E.T. Movement Coordinator.”

9. A trio of actors brought E.T.’s other movements to life.

Universal Pictures

The scenes where Spielberg opted to show full-body shots of E.T. freely moving around were performed by three different actors. Two little people, Tamara de Treaux and Pat Bilon, wore special E.T. suits for wide shots of the alien walking around. They were able to see out of well-hidden slits cut into the upper part of E.T.’s chest. Other scenes, like when E.T. falls on his face from having a few too many beers, were performed by 12-year-old Matthew DeMeritt, an actor who was born without legs. His specially-rigged suit allowed him to walk with his arms where the alien’s feet would be.

10. The first voice of E.T. was Spielberg himself.

Getty Images

During shooting, Spielberg acted out the voice parts of E.T. by positioning himself just to the side of the camera, uttering famous phrases like “E.T. phone home,” but also occasionally speaking in full sentences to better connect the character to the child actors. In the rough cut, Spielberg’s temp track was later replaced with the voice of actress Debra Winger. (Fun fact: Winger has an uncredited appearance in the Halloween scene as the zombie nurse carrying a little dog). For the final print, sound designer Ben Burtt—who previously worked on all of the Star Wars films and also on Raiders of the Lost Ark with Spielberg—hired a non-actor named Pat Welsh, whose deep and raspy smoker’s voice he overheard at a local camera store. Burtt lowered the pitch of her voice and mixed it with sounds of various animals breathing. For her performance, Welsh allegedly received only $380. In all there were 18 different contributors to the voice of E.T.—including Ken Miura, Burtt’s cinema professor from USC, who provided the burp in the scene where E.T. gets drunk.      

11. Harrison Ford appeared in one scene, but it was cut from the final film.

Ford was already an iconic Spielberg alum, so to play with that image, the filmmaker cast his Raiders of the Lost Ark star as the principal of Elliott’s school. Other than Elliott’s mother, another adult's face wasn't shown until the third act, so Ford was always filmed from behind.  Ford reprimands the youngster after the scene where Elliott frees all of the frogs about to be dissected (when he passionately kisses his classmate in an homage to John Ford’s 1952 film The Quiet Man). In another example of Elliott's and E.T.’s consciences melding, he’s seen levitating just out of his principal’s view until his mother barges in to take him home. These scenes were ultimately cut for time.

12. E.T.’s favorite candy was supposed to be M&Ms.

Getty Images

Spielberg brought his idea to Mars Incorporated, the company that owns M&Ms, to ask if they could use their little candies in a scene where Elliott attracts the inquisitive alien back to his house. Universal Studios legally barred the company from seeing the final script, so Mars passed on the cross-promotional opportunity. Spielberg and company then brought the idea to the Hershey Company to see if they could use Hershey Kisses, but the company was looking to get more exposure for their newest creation, Reese’s Pieces, and suggested the peanut butter filled treats instead. Hershey agreed to spend $1 million for the rights to promote the use of their product in E.T., and Reese’s Pieces became the little alien's candy of choice. The agreement certainly paid off for Hershey, as the company reported a 65 percent increase in profits on Reese's Pieces just two weeks after the film premiere.

13. On set, Spielberg was an old hag.

In the Halloween scene (shot in October 1981), Elliott and his brother Michael dress E.T. up as if he’s their costumed little sister so that they can safely get him to the forest to phone home. To join in the fun, Spielberg spent the entire day dressed up as an old woman. He even bobbed for apples and went trick-or-treating with the cast at the wrap of that day’s shoot.

14. An international flight into LAX inspired one of the film’s later scenes.

In the original script, Elliott and E.T. are brought to an undisclosed hospital when the government captures them both, but production designer James Bissell and cinematographer Allen Daviau were having trouble finding a hospital suitable for filming. One day, Spielberg flew into Los Angeles International Airport aboard an overseas flight, and his return was severely delayed by the airport’s extensive construction that included huge scaffolding, over-sized plastic sheets, and cylindrical tubing everywhere. The space sparked Spielberg's imagination, so instead of bringing the two to a hospital, the government would create a temporary structure to shroud the family’s house in gigantic mylar sheets and plastic tubing similar to what he saw from the construction at LAX. The production covered the exterior of the house in the Northridge neighborhood of Los Angeles for the shots in the final film. The interiors were done on soundstages.

15. Everything in the famous shot of Elliott and E.T. flying across the face of the Moon was real—except Elliott and E.T.

Visual Effects Supervisor Dennis Muren and his team at Industrial Light and Magic were tasked with creating organic special effects to surround the potentially inorganic looking E.T. puppet. Surprisingly, the iconic shot of the boy and alien flying across the full moon was mostly a "real" shot. It took Muren and his team weeks to find the right spot to film a low moon among trees, so they used maps and charts to coordinate the scene once they found the right spot. In the shot, Elliott and E.T. are puppets that were added with special effects in post-production, but the rest is photo-real.

16. Spielberg gave a cinematic tip of the hat to George Lucas, and eventually Lucas did the same thing back.

The two friends and collaborators had hidden little nods to each other’s films in their work before, but for E.T., Spielberg didn’t need to hide anything at all. In one of the film’s cheekiest jokes, E.T. sees a child dressed up as Yoda for Halloween, prompting the little alien to exclaim, “Home! Home!” Spielberg didn’t tell Lucas about the joke until he held a personal screening for his friend at his Skywalker Ranch, which Lucas approved of with laughter. When he went on to make The Phantom Menace, Lucas returned the favor and made E.T.’s race of aliens part of the Galactic Senate. You can see them acting uncharacteristically hostile in the video above.

17. François Truffaut gave the film, and Spielberg, his blessing.

Spielberg worried that his intensely personal story wouldn’t resonate with audiences, and that they might have trouble identifying with a potentially off-putting alien character. Once finished, E.T. was publicly previewed a handful of times, but when the film was shown out-of-competition at the 1982 Cannes Film festival, audience members stood and applauded 15 whole minutes before the film ended. The standing ovation went on for another 15 minutes after the credits rolled, and Spielberg knew he had hit the perfect mark. After the Cannes screening, he received a telegram from fellow director François Truffaut, who acted in Spielberg’s Close Encounters of the Third Kind. The telegram read, “You belong here more than me,” echoing a similar line his character uttered in Close Encounters.

18. The film wowed audiences and heads of state alike.

Following Cannes, the film was released in the United States on June 11, 1982, and would go on to overtake Star Wars as the highest-grossing film of all time—a record it would hold until 1993, when it was beaten by another Spielberg film, Jurassic Park.  Spielberg held personal previews like the one with Lucas for his friends and colleagues, but he would also go on to screen the film at the White House for then-President Ronald Reagan and the First Lady, Nancy Reagan. The director recalled sitting next to the President for the show, and even thought he saw Reagan shed a tear or two. When the film was screened for newlyweds Prince Charles and Princess Diana, Spielberg and the stars in attendance were bizarrely ushered backstage the moment the film ended. Apparently, Diana had wept so much that her prim and proper makeup was running, causing the Royal minders to whisk her away to redo the makeup before holding an informal meeting at the Princess’ request.

19. There was a plagiarism scandal.

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Following the film’s resounding worldwide success, a claim of plagiarism arose when Indian director Satyajit Ray alleged that Spielberg had stolen the idea from a script he wrote in 1967, titled The Alien. Columbia Pictures had optioned the concept with Peter Sellers and Marlon Brando in the lead roles, but legal troubles forced Ray to abandon the project. When E.T. broke the bank in 1982, Ray felt certain that the similarities weren’t mere coincidence. Ray told the press, "E.T. would not have been possible without my script of The Alien being available throughout America in mimeographed copies," but Spielberg denied plagiarizing the script, saying, “I was a kid in high school when his script was circulating in Hollywood.” No further legal action was taken, and Ray would continue to make films until his death in 1992.

20. Spielberg and co-writer Melissa Mathison envisioned a sequel that was eventually abandoned.

Both Spielberg and Mathison wrote a story treatment for a potential sequel to E.T. during its initial theatrical run. Dated July 17, 1982, the treatment is titled “E.T. II: Nocturnal Fears,” and takes place the summer after the events in the first film. The story describes a plot in which Elliott and his friends are abducted by a mutated race of E.T.s led by an evil entity named Korel who is looking for Zrek, another alien stranded on Earth. Eventually, E.T. manages to save the group of kids and helps them back to Earth. Ultimately, Spielberg decided not to do a sequel because doing so "would do nothing but rob the original of its virginity.” You can read the 10-page treatment by clicking here. A novelized sequel by author William Kotzwinkle—who also penned the novelization of the original film—was published in 1985. E.T.: The Book of the Green Planet was set on E.T.’s home planet, which Kotzwinkle dubbed Brodo Asogi.

Additional Sources: E.T. Blu-ray special features; The Films of Steven Spielberg by Douglas Brode; Steven Spielberg: A Retrospective by Richard Schickel

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Flurry Road: 5 Tips for Safe Driving on Winter Roads
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For drivers in the Upper Midwest, traveling during the winter can range from slightly unsettling to deadly. Between 2011 and 2015, according to data from the National Highway Traffic Safety Administration and the Auto Insurance Center, an average of 800 fatalities occurred annually as a result of weather-related accidents. Icy roads, poor visibility, and other factors can make cold-weather commuting a dicey proposition.

While we can’t control the weather (yet), we can increase our odds of navigating slush-filled roadways successfully. Mental Floss spoke with American Automobile Association (AAA) driving education expert William Van Tassel, Ph.D., for some key tips on how to get your winter driving in gear.

1. GATHER SUPPLIES.

Before you even start your car up for a trip through inclement weather, Van Tassel recommends you pack a worst-case scenario trunk full of supplies. “In case of emergency, you want things on board like water, a blanket, a flashlight, gloves, and kitty litter,” he says. (That last one is for traction in case you get stuck in a snowbank.) You should also have road flares, a shovel, an ice scraper, and a fully-charged cell phone to call for assistance if needed.

2. SLOW DOWN.

Posted speed limit signs assume you’re driving on clear and clean roadways. If snow or ice has accumulated, you need to adjust your speed accordingly. “In slick conditions, tires lose a lot of traction,” Van Tassel says. “You should be cutting your speed down by half or more.” Unfortunately, a lot of people learn this the hard way. “After a snowstorm, we’ll see more crashes on day one than days two or three.”

Van Tassel also cautions to avoid becoming overconfident on snow tires. While they provide better traction in bad weather, it’s not license to speed up.

3. MAINTAIN A SAFE DISTANCE FROM OTHER CARS.

You should be doing this regardless, but bad weather makes it even more crucial. Keep your vehicle at a safe distance from cars behind, in front, and off to the sides, as well as away from pedestrians or cyclists. If you need to brake suddenly, you need time—and space—to avoid a collision. “You really want more space in front,” Van Tassel says. Try to stay between seven and 10 seconds behind the vehicle ahead. That means seeing a landmark and then counting down until you pass the same marker. If you’re only a few seconds behind, you’re too close.

4. DON’T STEER INTO SKIDS.

“That was an old rule of thumb,” Van Tassel says. “The problem is, by the time I remember to steer into a skid, I’m already in a ditch.” If you feel your vehicle sliding, it’s better to steer in the direction you want to go. “You’ll drive where you look, so don’t look at a telephone pole.”

To help maintain control of the car, you want to focus on doing one thing at a time. “If you’re going through a turn, brake, finish braking, then turn. Don’t brake and turn at the same time.”

5. KEEP YOUR HEADLIGHTS ON.

Yep, even in broad daylight. Bad weather limits visibility, and headlights allow both you and your fellow drivers to orient a vehicle. “You’re twice as visible to other drivers that way,” Van Tassel says. “When people can see you, they can avoid you.”

Van Tassel also recommends that drivers avoid relying on fancy car technology to keep them safe. While blind spot monitoring and lane changing sensors are useful, they’re not there so you can zone out. “The tech is there to back you up if you need it. Drive the car, but don’t rely on those things,” he says.

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25 Polite Compliments You Can Pay a Coworker
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January 24 is National Compliment Day, and a great way to celebrate is by making a concerted effort to praise the people you work with. Be sure to consider when an appropriate time and place for a compliment would be (for instance, shy people would rather be commended on their stellar presentation in private rather than in front of a crowd), but know that whether a coworker is a longtime friend or more of an acquaintance, lauding their work performance and letting them know you appreciate their skills could really make their day.

1. "YOU HAVE A GREAT SENSE OF HUMOR."

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Every office has one person who knows how to ease tensions at work by cracking a quick joke or sharing a funny link. If this person's sense of humor makes your job a little more enjoyable, make sure to let them know.

2. "NICE JOB ON THAT PRESENTATION."

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Public speaking is intimidating, especially to someone who's new to their job and not used to giving presentations. Notice your coworker is nervous before a big meeting? Seek them out afterwards. Letting them know you enjoyed and learned from what they said will hopefully make them feel more confident next time.

3. "YOU ALWAYS KNOW WHEN TO LEND A HAND."

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You probably know someone who's always willing to help out with a project when you need it most, and odds are they rarely receive the recognition they deserve. Next time a coworker offers some relief when you're feeling overwhelmed, don't let it go unnoticed. Set aside time to tell them you see the great work they're doing and you appreciate it.

4. "YOU'RE A SAVVY PROBLEM-SOLVER."

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Being able to see problems differently is a valuable skill in the workplace. It can open up a team to new ideas and save precious time and resources. Sometimes you may be the person to spot the way out of a problem, and other times it's a coworker who points out the solution that was right in front of your face. If you're grateful for their point of view, they deserve to hear it.

5. "YOU'RE A GREAT COMMUNICATOR."

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Without communication, collaborating with the people in your workplace would be impossible. A great communicator knows how to understand other people's perspectives, explain their own, and make sure they're never keeping anyone in the dark. They're also not above receiving a compliment every now and then.

6. "I LOVE YOUR ENTHUSIASM."

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For some people, getting up and going to work each day is easy: They're personally invested in the company they work for and enjoy helping it succeed. Maybe you're not there yet, but you might see this level of passion and enthusiasm in at least one person you work with. Don't let that inspiring attitude go unrecognized.

7. "I APPRECIATE YOUR TRUST."

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Effective management is just as much about offering guidance and support as knowing when to back off. Sometimes leaving employees room to breathe is the best thing managers can do to encourage growth and creativity. It's also a thankless move that often goes unrewarded. Expressing your appreciation to your manager can make a big difference in their day.

8. "WHAT A FUN PARTY (LUNCH/HAPPY HOUR/ETC.)."

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People take certain work events for granted without stopping to consider the employees who make them possible. Birthday cakes don't magically appear and after-work happy hours don't plan themselves. Behind every fun break you get from your day-to-day duties, there's a coworker who took the initiative to make it happen, and they would like to hear that you enjoyed the fruits of their labor.

9. "YOU'VE GOT A KILLER WORK ETHIC."

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We all wish we could be the employee who blows through projects without breaking a sweat. If you're not that person, the least you can do is pay the tireless person in your workplace a compliment—especially after a big project that had them tackling most of the work.

10. "YOUR POSITIVE ATTITUDE IS INFECTIOUS."

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Just like one pessimistic employee can bring down the whole office, a positive person can have the opposite effect. It's hard to feel grumpy about starting a new week when the colleague sitting next to you does everything with a smile on their face.

11. "YOU ASK GREAT QUESTIONS."

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Asking about something you're not familiar with at work can be intimidating, whether it's about a new policy or procedure or perhaps about the ins and outs of a department you don't usually work with. But asking for help or clarification is also the only way to learn and grow. Complimenting a coworker who asks a lot of questions lets them know that not only is that OK, it's valued.

12. "I LOVE YOUR IDEAS."

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When someone introduces a great idea at work, people often respond in one of two ways: They get upset that they didn't think of it themselves, or they admire the person for their brilliance. If you want to strengthen work relationships and feel better in the long run, we suggest expressing the latter.

13. "YOU'RE GREAT AT TAKING INITIATIVE."

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Employees who take initiative help businesses run smoothly. Managers don't have to worry about babysitting them, and their coworkers never end up picking up their slack. Next time you go into work, find the person you know who always takes initiative and compliment them for their efforts.

14. "YOU'RE VERY CREATIVE."

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Even if your job isn't particularly inspiring, you may have coworkers who find everyday opportunities to be creative. Their creativity might shine through in the form of a sharply designed flyer, a well-written memo, or an innovative solution to the problem at hand. Sometimes people who don't work in a traditionally artistic field are rarely complimented for their creativity—you can change that.

15. "I APPRECIATE YOU TAKING RESPONSIBILITY."

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Do you know someone at work who's taken responsibility—whether for a botched performance, a failed pitch, or a missed deadline—even when they could have gotten away with keeping quiet? That's not easy to do. Recognize their actions, and they may be inclined to do it more often.

16. "YOU'RE SO FLEXIBLE."

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Sure, you can promise your coworker this is the absolute last time you'll ask them to push a meeting back a couple of days or move up a deadline by a week. Or, you can compliment them on being so flexible and thank them for working around the changes so efficiently.

17. "I LOVE YOUR CONFIDENCE."

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Confidence in the workplace is hard to ignore. It radiates from everything a person does, and when you're working on a project with such a person, it can make you feel more confident as well. Let this employee know that you appreciate their poise and self-assuredness.

18. "I APPRECIATE HOW TECH-SAVVY YOU ARE."

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Who do you turn to when your screen freezes, or when the long email you spent the last 15 minutes crafting suddenly disappears? Likely, instead of running to I.T. every time, you ask a nearby coworker who always seems to have the answers. Even if they don't share their know-how for the praise, they deserve a compliment and gratitude.

19. "YOU'RE A GREAT BAKER."

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People who bake for their coworkers are a special breed. By sharing what they made with the office, it means that they not only took the time to cook with you in mind, but also that they're sharing a bit of their personal likes or hobbies with you. What better time to compliment the chef than when they bring platter of fresh cookies to the morning meeting?

20. "I ADMIRE YOUR LEADERSHIP."

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A good leader is many things, including fair, compassionate, and hard-working. But whatever qualities your manager exhibits that make you appreciate working for him or her, find a chance to let them know you commend their leadership, and that you're a better employee because of it.

21. "YOU HAVE A MIND FOR DETAIL."

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Details make a big difference at work, whether you're writing a big report or a thank you email. Sometimes the details that make the biggest impact on a project are hard to notice on their own. See if you can spot the smart, subtle details the next time you're evaluating your coworker's work, and tell them if you're impressed by what you find.

22. "YOU'RE ON MY WAVELENGTH."

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It may not always top lists of most valuable skills to take into the workplace, but empathy can do wonders for office culture. When team members practice empathy and really make an effort to understand the people they work with, they make everyone's job easier. This is one skill that definitely deserves recognition.

23. "THANKS FOR BEING SO RELIABLE."

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No matter what you do for work, it's impossible to do your job entirely on your own. Reliable coworkers you can depend on for support, guidance, and inspiration are a priceless resource. If they make the effort to show up and work hard consistently, the least you can do is show them you appreciate it.

24. "YOU'RE A REAL TEAM PLAYER."

Team working together in the office.
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In order to succeed as a team, your colleagues need to have the right attitude. Maybe there's one person on your team who sets a good example for the rest of you: They know exactly when to step back and listen to other people's ideas and when to come forward with their own. Sometimes being a good team player means swallowing your pride to do what's best for the group, and that's behavior worth celebrating.

25. "YOU GIVE GREAT ADVICE."

Women talking to her colleagues at work.
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At some point in your career, you've likely relied on a more experienced coworker for advice. Without mentors, many of the world's most successful people wouldn't be where they are today. Never be ashamed to ask for guidance, and once you receive it, make sure to show your gratitude.

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