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Steven Spielbergs Early TV Idea Became the 1987 Family-Fantasy Film Batteries Not Included
When Spielberg’s first foray into television was still a half‑hour story, it was the seed that would grow into a 1987 feature that would later earn a place in the hearts of family‑film fans.
The seed was a tale titled Gramps and Grammie and Company, a concept pitched for the original Amazing Stories anthology. Mick Garris, who would later write eight episodes for the series and direct the television adaptation of Stephen King’s The Stand, drafted the initial version. The script was then refined by Brad Bird—future director of The Iron Giant—and Matthew Robbins, who had collaborated with Spielberg on The Sugarland Express. The result was a story about an elderly New York couple, played by Hume Cronyn and Jessica Tandy, who find unlikely allies in a squad of miniature extraterrestrial repair robots when a ruthless developer threatens to raze their apartment block.
Robbins took the helm in the transition from TV to feature film, while Spielberg stayed on as a producer through Amblin Entertainment. The small alien characters were described on set as “model flying saucers,” and their presence added both comic relief and a quiet message about cooperation. The narrative expanded to a full-length screenplay, weaving the couple’s fight against the developer with the community’s efforts to preserve their home.
Universal Pictures released the film on December 18, 1987, and it quickly became a cult family classic. With a production budget of $25 million, the movie went on to earn $70 million worldwide—a respectable return for a family‑fantasy film of its era.
Critical opinion was split. On Rotten Tomatoes the film sits at a 55 % rating, reflecting a mixed consensus. Gene Siskel of the Chicago Tribune dismissed it as “so harmless it’s boring,” while Victoria Mather of The Daily Telegraph called it “ineffectual and dated.” In contrast, Roger Ebert praised the movie, noting it was “a sweet, cheerful, and funny family entertainment.” Reviewers generally agreed that the film’s whimsical tone and visual effects were charming, but they also pointed out its formulaic narrative and sentimental excesses.
Despite the divided reviews, the film’s box‑office performance helped cement its status among 1980s family‑film enthusiasts. Its blend of science‑fiction elements and heartfelt storytelling has kept it in circulation, and it remains available on streaming platforms where it occasionally surfaces in retrospectives of Spielberg’s early work.
In the broader context of Spielberg’s career, Batteries Not Included did not reach the critical heights of E.T. or Jurassic Park, yet it exemplifies his willingness to explore family‑friendly science‑fiction beyond the big screen. The project also highlights the collaborative nature of Hollywood, bringing together writers Mick Garris and Brad Bird, director Matthew Robbins, and producer Ronald L. Schwary.
Today the film is often cited in discussions of 1980s family cinema, remembered for its endearing alien characters and the performances of Cronyn and Tandy. It remains a recognizable title in the decade’s film landscape, a testament to how a modest television idea can evolve into a beloved feature film.
In sum, Spielberg’s early television concept was transformed into a commercially successful, though critically mixed, family‑fantasy movie that continues to find an audience decades after its release.
The seed was a tale titled Gramps and Grammie and Company, a concept pitched for the original Amazing Stories anthology. Mick Garris, who would later write eight episodes for the series and direct the television adaptation of Stephen King’s The Stand, drafted the initial version. The script was then refined by Brad Bird—future director of The Iron Giant—and Matthew Robbins, who had collaborated with Spielberg on The Sugarland Express. The result was a story about an elderly New York couple, played by Hume Cronyn and Jessica Tandy, who find unlikely allies in a squad of miniature extraterrestrial repair robots when a ruthless developer threatens to raze their apartment block.
Robbins took the helm in the transition from TV to feature film, while Spielberg stayed on as a producer through Amblin Entertainment. The small alien characters were described on set as “model flying saucers,” and their presence added both comic relief and a quiet message about cooperation. The narrative expanded to a full-length screenplay, weaving the couple’s fight against the developer with the community’s efforts to preserve their home.
Universal Pictures released the film on December 18, 1987, and it quickly became a cult family classic. With a production budget of $25 million, the movie went on to earn $70 million worldwide—a respectable return for a family‑fantasy film of its era.
Critical opinion was split. On Rotten Tomatoes the film sits at a 55 % rating, reflecting a mixed consensus. Gene Siskel of the Chicago Tribune dismissed it as “so harmless it’s boring,” while Victoria Mather of The Daily Telegraph called it “ineffectual and dated.” In contrast, Roger Ebert praised the movie, noting it was “a sweet, cheerful, and funny family entertainment.” Reviewers generally agreed that the film’s whimsical tone and visual effects were charming, but they also pointed out its formulaic narrative and sentimental excesses.
Despite the divided reviews, the film’s box‑office performance helped cement its status among 1980s family‑film enthusiasts. Its blend of science‑fiction elements and heartfelt storytelling has kept it in circulation, and it remains available on streaming platforms where it occasionally surfaces in retrospectives of Spielberg’s early work.
In the broader context of Spielberg’s career, Batteries Not Included did not reach the critical heights of E.T. or Jurassic Park, yet it exemplifies his willingness to explore family‑friendly science‑fiction beyond the big screen. The project also highlights the collaborative nature of Hollywood, bringing together writers Mick Garris and Brad Bird, director Matthew Robbins, and producer Ronald L. Schwary.
Today the film is often cited in discussions of 1980s family cinema, remembered for its endearing alien characters and the performances of Cronyn and Tandy. It remains a recognizable title in the decade’s film landscape, a testament to how a modest television idea can evolve into a beloved feature film.
In sum, Spielberg’s early television concept was transformed into a commercially successful, though critically mixed, family‑fantasy movie that continues to find an audience decades after its release.
