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Chocky is a science fiction novel by British writer John Wyndham. It was first published as a novelette in the March 1963 issue of Amazing Stories[2] and later developed into a novel in 1968, published by Michael Joseph.[3] The BBC produced a radio adaption by John Tydeman in 1967. In 1984 a children's television drama based on the novel was shown on ITV in the United Kingdom.

Key Information

Plot summary

[edit]

David Gore becomes concerned that his twelve-year-old son, Matthew, is too old to have an imaginary friend. His concerns deepen as Matthew becomes increasingly distressed and blames it on arguments with this unseen companion, whom he calls "Chocky". As the story unfolds it becomes clear that the friend is far from imaginary but is an alien consciousness communicating with Matthew's mind. The situation attracts the interest of shadowy government forces.

"Chocky" eventually reveals that it is a scout sent from its home planet (where there is only one sex) in search of new planets to colonise, or newly emerging intelligent life that it can subtly guide. Chocky, talking through Matthew, explains to David that in becoming overly attached to Matthew and saving him and his sister from drowning (and thus interfering with events on Earth) it has violated the rules of its scout mission and must end its link with him completely. Its further work on Earth will be conducted in a much more covert manner.

Adaptations

[edit]

Radio

[edit]

The novel was adapted and produced by John Tydeman as a single 60-minute drama for the BBC Radio 2, first broadcast on 27 November 1968. The cast includes:

BBC Radio 4 presented a reading by Andrew Burt of the novel in seven 15-minute episodes, abridged by Neville Teller, produced by David Johnson, and broadcast daily between 19 and 27 May 1975.

An adaptation by John Constable as a single 90-minute drama for BBC Radio 4, directed by Melanie Harris, was first broadcast on 18 March 1998. Music was by Paul Gargill, and the cast included:

This version was released on CD by BBC Audiobooks in 2008 and has been repeated on BBC Radio 7 and BBC Radio 4 Extra several times since November 2007.[4]

Television series

[edit]
Main article: Chocky (TV series)

The 1984 children's TV series Chocky, Chocky's Children and Chocky's Challenge were based on the 1968 novel. They were written by Anthony Read and produced by Thames Television. The main character, Matthew, was played by Andrew Ellams and Glynis Brooks played the haunting voice of Chocky.

Revelation Films released the first series of Chocky on DVD on 22 March 2010 and the 2nd series, Chocky's Children, on 21 June 2010. The 3rd series, Chocky's Challenge, was released on 23 August 2010

Proposed film

[edit]

Steven Spielberg acquired film rights in September 2008 and said he was interested in directing.[5]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Chocky

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Chocky is a science fiction novel by British author John Wyndham, first published as a novelette in the March 1963 issue of Amazing Stories and later expanded into a full novel in 1968, marking Wyndham's final work released during his lifetime. The story, narrated from the perspective of the protagonist's adoptive father, centers on an 11-year-old boy named Matthew who develops an "imaginary friend" named Chocky—an advanced alien consciousness that communicates telepathically with him, imparting knowledge on topics like binary code, artistic techniques, and human biology while prompting unusual questions about time and gender. Unlike Wyndham's earlier post-apocalyptic tales such as (1951) or (1955), Chocky adopts a lighter, domestic comedy tone, blending everyday family life with subtle suburban unease as Matthew's parents and teachers grapple with his extraordinary abilities and behaviors. The novel delves into profound themes, including the essence of human identity, the challenges of child-rearing and marriage, the origins of creativity and learning, and humanity's role as stewards of Earth, all while portraying Chocky as a benevolent yet enigmatic entity whose presence raises questions about extraterrestrial benevolence versus potential control. Wyndham's narrative highlights as a motif often associated with children in his works, contrasting sharply with more invasive alien invasion tropes in science fiction, such as those in . The book has been adapted into a production in 1968 and a British ITV television series in 1984, the latter of which was released on DVD in , further cementing its place in Wyndham's legacy of thoughtful, human-centered .

Publication History

Novelette Origins

"Chocky" was originally published as a novelette in the March 1963 issue of Amazing Stories, a prominent science fiction magazine edited by Cele Goldsmith. The story was also published as a two-part serial in Good Housekeeping magazine in March and April 1963. This issue, volume 37, number 3, had a cover price of 35 cents and included interior illustrations for the story by George Schelling. The novelette, approximately 20,000 words in length, centered on the core concept of an alien intelligence influencing a human child, marking an early iteration of Wyndham's exploration into subtle extraterrestrial contact. The publication reflected John Wyndham's evolving style during the early 1960s, transitioning from the large-scale post-apocalyptic disasters in his prior novels like The Day of the Triffids (1951) and The Kraken Wakes (1953) toward more intimate, psychological science fiction narratives. In Amazing Stories, known for its mix of adventure and speculative tales, "Chocky" fit into a lineup featuring works by authors such as Edmond Hamilton and J.G. Ballard, contributing to the magazine's reputation for innovative short fiction under Goldsmith's editorial guidance. This shorter form allowed Wyndham to distill the story's introspective elements without the expansive world-building of his earlier catastrophe-driven plots. The novelette's appearance in preceded its expansion into a full-length released in 1968 by Michael Joseph.

Novel Edition

The edition of Chocky represented a significant expansion of John Wyndham's 1963 novelette, originally published as a novelette in . This development roughly doubled the story's length from approximately 20,000 words to 50,000 words, incorporating deeper exploration of the family's dynamics and personal histories, enhanced psychological insights into the characters' experiences, and prolonged engagements between the protagonist and the enigmatic entity known as Chocky, alongside new subplots involving media scrutiny and official intervention. Published in hardcover by Michael Joseph in the in 1968, the edition spanned 184 pages and featured a aimed at broadening appeal to both general and readers amid post-war interests in rationality and . The writing process for this version took five years, facilitated by financial stability from an inheritance that allowed Wyndham to refine the narrative without commercial pressures. In the United States, released the as a in February 1968, with 191 pages, positioning it as an accessible entry in the market. This publication marked Wyndham's final issued during his lifetime, preceding his on March 11, 1969.

Plot Summary

Early Events

The Chocky is narrated by David Gore, a middle-class executive living in suburban with his wife Mary, their adopted son Matthew (now aged twelve), and their younger daughter Polly. The Gore family appears outwardly conventional and content, with Matthew having been a well-adjusted child prior to the story's events. Matthew's unusual behavior begins to emerge around age eleven, when he starts engaging in audible arguments with an invisible companion he names Chocky, whom he describes as a female presence. Initially, David and Mary attribute this to an overactive imagination, akin to Polly's earlier pretend friend, but they grow uneasy as Matthew exhibits sudden advancements, including a newfound artistic talent that results in abstract landscape drawings winning a prize. He also begins challenging conventional ideas, such as the necessity of binary systems, prompting family discussions on human norms. Concerned by these changes, consults his acquaintance Landis, a specializing in mental disorders, who evaluates Matthew and deems him psychologically healthy overall. Landis dismisses Chocky as a typical childhood phase but is struck by the boy's precocious questions on complex subjects, including binary numeral systems in mathematics and the limitations of compared to harnessing universal . Teachers similarly report Matthew's inquiries into advanced topics like cosmology and , further alarming the parents. The family's worries intensify through specific incidents, such as Matthew's continued production of enigmatic drawings depicting alien vistas. These events heighten the mystery surrounding Chocky without resolving it.

Climax and Resolution

As the story progresses, Matthew's interactions with Chocky lead to increasingly public and disruptive incidents that escalate the family's concerns. During a debate on , Matthew, under Chocky's influence, challenges his teacher with unusually advanced arguments about and planetary limits, drawing scrutiny from educators and attracting media attention to the Gore household. Chocky further attempts to impart complex scientific concepts to Matthew, such as the fundamentals of and binary mathematical systems, which exceed his age-appropriate knowledge and alarm his parents, David and Mary. The climax occurs during a boating accident when Chocky intervenes to save Polly from drowning, using Matthew's body—despite his being a nonswimmer—to execute an expert swimming maneuver and rescue her. This act violates the aliens' strict non-interference directive. The revelation of Chocky's true nature follows through direct telepathic communication with David, confirming that Chocky is not an imaginary companion but a genderless alien scout from a distant, severely overpopulated world, perceived as female due to cultural associations. Dispatched to evaluate Earth's suitability for potential colonization or alliance, Chocky seeks worlds with untapped intellectual and adaptive potential, emphasizing non-interference through observation alone, though its bond with Matthew enabled subtle knowledge transfer in art, athletics, and science. The intervention alerts Chocky's superiors and exposes its presence to human authorities, who intensify investigations into the family's anomalies. In response, authorities take Matthew away for questioning, and he disappears for about a week, heightening the family's distress. Upon his return, Chocky bids farewell to Matthew and David, severing the connection to protect him from further risk, while leaving a parting message about harnessing cosmic energies for sustainable progress. Matthew emerges with enduring enhancements such as superior artistic talent and physical coordination, which persist as subtle legacies of the encounter. David, reflecting on the ordeal, contemplates the profound implications for , recognizing Chocky's visit as a catalyst that underscores the species' underutilized potential amid everyday domestic life.

Characters

Matthew Gore

Matthew Gore is the protagonist of John Wyndham's 1968 Chocky, depicted as an 11-year-old adopted son living in a suburban English family with his parents David and Mary, and younger sister Polly. Initially presented as an average and unremarkable boy, Matthew's ordinary life is disrupted when he begins communicating telepathically with Chocky, an extraterrestrial entity that selects him due to his open and receptive mind. Prior to Chocky's influence, Matthew exhibits a shy and conformist personality, accepting societal norms such as the structure of time—"A week just is seven days"—as unquestionable natural laws, reflective of a typical child's limited . Under Chocky's guidance, his evolves from passive and initial confusion to inquisitive and intellectual maturity, as the alien imparts advanced concepts that challenge his understanding of . This development brings , including emotional strain and isolation, culminating in Matthew's resilience amid extraordinary pressures, though Chocky's eventual departure leaves his future ambiguous. His parents briefly note these changes with concern, attributing them at first to an overactive . Key traits of Matthew include his innate curiosity and sensitivity, which make him a suitable host for Chocky, alongside emerging talents such as exceptional problem-solving—demonstrated by his intuitive grasp of and advanced scientific ideas—and creative outbursts like producing cubist-style paintings that astonish his art teacher. His emotional depth manifests in breakdowns, such as tearful reactions to Chocky's critiques of everyday objects, highlighting the psychological toll of . Additionally, Matthew displays physical adaptability, as seen when Chocky enables him to swim proficiently and rescue his sister from during a boating accident, showcasing resilience under duress. In the narrative, Matthew symbolizes the untapped potential of humanity, particularly how an external, superior can unlock a child's innate capacities for and growth, bridging the gap between innocent perspective and cosmic . His struggles represent the tension between individual enlightenment and societal , as Chocky's alien viewpoint prompts him to question conventions like roles and temporal , ultimately embodying the theme of personal through otherworldly contact.

David and Mary Gore

David Gore serves as the first-person narrator of Chocky, providing an adult perspective on the unfolding events through his observations as an ordinary professional and father to his adopted son Matthew and their daughter . His rational and skeptical nature drives the narrative's investigative tone, as he initially dismisses his son's conversations with an but grows increasingly alarmed by Matthew's sudden advancements in abilities like painting and mathematics. To understand the phenomenon, David consults experts, including his old university friend Roy Landis, a who examines Matthew and concludes the presence suggests an external rather than a psychological disorder. This skeptical inquiry highlights David's role as the story's logical anchor, balancing the sci-fi elements with grounded parental concern. Mary Gore, David's wife and the children's mother, embodies a more practical and emotionally protective presence in the household, focusing on maintaining family normalcy amid the disruptions caused by Matthew's experiences. As a homemaker, she provides daily emotional support, particularly to their younger daughter Polly, while initially attributing Matthew's behavior to a harmless phase typical of childhood . Her reactions reveal a subtle tension, as she shares David's worries but approaches them with intuition rather than analysis, contributing to the domestic strain when the "friend" begins influencing Matthew's actions in unexpected ways. The Gores' , depicted as stable and longstanding, faces temporary strain from anxieties over their adopted Matthew's apparent possession by an otherworldly , compounded by societal expectations around childhood development and parental responsibility. David's narrative reflections explore broader themes of parenthood, including the challenges of raising an adopted child and navigating norms of family life in mid-20th-century . Together, the couple's complementary dynamics—David's reason paired with Mary's nurturing—underscore the story's emphasis on how extraordinary events ripple through ordinary domesticity. In their roles, offers a mature, external viewpoint on the speculative elements of alien contact, grounding the narrative in human and doubt, while Mary's focus on emotional care illustrates the personal and familial costs of such intrusions. This parental lens emphasizes the novel's exploration of marriage and child-rearing as central to understanding humanity's potential encounters with the unknown.

Themes and Analysis

Alien Contact and Human Potential

In John Wyndham's Chocky, the titular entity serves as an extraterrestrial scout dispatched by an advanced alien civilization to assess distant worlds for potential colonization or intellectual nurturing. This mission involves telepathic contact with a human host, in this case the young boy Matthew Gore, to gather data on Earth's suitability while subtly imparting knowledge to accelerate human development. The aliens, originating from a distant, hot planet, view such explorations as essential for their survival, employing non-physical probing to avoid detection and interference with primitive societies. The critiques several limitations through Chocky's observations, highlighting contrasts with the alien society's structure. Chocky expresses bewilderment at Earth's binary , as the aliens are and reproduce differently, rendering sexual dimorphism inefficient and a barrier to unified progress. Similarly, humanity's wasteful —reliant on finite fuels—is decried in favor of the aliens' mastery of infinite, sustainable power sources, underscoring environmental shortsightedness. Furthermore, the aliens' collectivist , where individuals prioritize communal advancement, exposes individualism as a hindrance to collective and ethical . Chocky's interactions unlock latent human potential by introducing concepts far beyond contemporary understanding, suggesting rapid evolution under guided influence. In science, Chocky teaches abstract mathematics, such as binary systems and advanced physics, enabling Matthew to solve complex problems intuitively. Artistically, it inspires unconventional creations, like Matthew's innovative abstract paintings, such as colorful depictions of alien landscapes. Ethically, Chocky advocates for stewardship of resources and knowledge-sharing, implying that humanity could achieve interstellar maturity by adopting these principles, though limited by perceptual and linguistic gaps. These encounters raise profound ethical questions about first contact, mirroring broader debates on non-interference. Chocky's decision to intervene—such as averting disasters—violates its species' protocols against meddling with underdeveloped worlds, risking exposure and conflict. The narrative probes whether uplifting a species justifies overriding its , with Chocky's benevolent intent clashing against the potential for unintended dominance or cultural erasure.

Family Dynamics and Childhood Development

In John Wyndham's Chocky, the Gore family serves as the central lens through which the narrative explores the disruptions caused by an external intelligence interfacing with human childhood. The story follows David and Mary Gore, a middle-class British couple, and their two children: the adopted 11-year-old son Matthew and younger daughter . Matthew's sudden engagement with an entity he names Chocky—initially dismissed as an —acts as a catalyst for his and identity exploration, pushing him beyond conventional boundaries of and norms prevalent in society. Chocky encourages Matthew to question binary distinctions, such as gender pronouns and the decimal system, fostering a form of accelerated personal growth that challenges the era's rigid expectations for . Parental anxiety forms a core tension in the household, reflecting post-war British ideals of stable family units and emotional well-being. David, the rational narrator and adoptive father, harbors deep fears of abnormality in Matthew, intensified by the boy's adoption status and the potential stigma of psychological deviation, leading him to consult experts amid escalating concerns over Matthew's advanced skills in painting and abstract thinking. Mary, in contrast, prioritizes her son's emotional health, viewing Chocky's influence with a mix of intuition and protectiveness, though both parents grow alarmed as they rule out schizophrenia or mere childish fancy, especially when media scrutiny invades their privacy in the novel's expanded edition. This dynamic underscores the parents' struggle to balance nurturing with conformity to societal standards of normalcy. Sibling interactions further illuminate protective instincts and the complexities of relationships, with playing a pivotal role in highlighting themes of , support, and mutual reliance. As a younger who previously had her own transient imaginary companion named Piff, initially teases Matthew about Chocky, revealing subtle jealousies, but their bond deepens when Chocky imparts knowledge to Matthew, enabling him to rescue from —a moment that shifts family perceptions toward tentative acceptance of the entity. This incident not only strengthens the s' connection but also exposes the vulnerabilities inherent in childhood interdependence within a seemingly ordinary home. On a broader level, Chocky critiques pressures in and , positioning the entity as a symbol of in child-rearing practices. Matthew's encounters with Chocky lead to conflicts at school, where his unconventional ideas clash with institutional expectations, mirroring wider anxieties about versus collective norms in British upbringing. The novel portrays Chocky's interventions as a benign force that liberates Matthew from and stereotypes, advocating for a more fluid approach to development that prioritizes curiosity over assimilation, though at the cost of familial and .

Reception

Critical Response

Upon its publication in , Chocky received praise for its departure from John Wyndham's earlier disaster-oriented narratives, shifting instead to a more intimate, domestic exploration of alien contact. , in her 2015 afterword to a reissued edition, highlighted this evolution, describing the novel as a "kindly alien invader" story that emphasizes psychological subtlety and rather than catastrophe, commending its first-person for creating a of personal involvement in the family's unfolding mystery. Reviewers appreciated the book's concise scale, which focuses on childhood development and subtle tension through everyday family dynamics, marking a stylistic maturation in Wyndham's work as his final novel published during his lifetime. Critics, however, occasionally viewed Chocky as lightweight in comparison to Wyndham's more expansive works like , noting its shorter length and gentler tone as potentially underdeveloped for deeper thematic exploration. Overall, Chocky enjoyed solid commercial reception, evidenced by multiple Penguin reprints throughout the that sustained its availability and popularity. As of November 2025, aggregated reader ratings on average 3.87 out of 5 stars, reflecting enduring appreciation for its accessible and hopeful approach to speculative themes.

Legacy and Influence

Chocky, John Wyndham's final novel published in 1968, marks a pivotal shift in his career from the large-scale societal disasters of his earlier works, such as (1951), to intimate, character-driven explorations of alien contact and human psychology, thereby bridging the genre's emphasis on fears with the more introspective of the . This evolution reflects Wyndham's late-career focus on personal narratives amid financial and market pressures, contributing to the "Wyndhamesque" style of understated, domestic-infused often termed "cosy catastrophe." The novel's portrayal of an alien entity influencing a child's development has been recognized as advancing themes of otherness and untapped , inverting optimism into ambiguous critiques of institutional rationality and middle-class . In academic circles, Chocky has been analyzed for its Darwinian undertones and examination of alien contact as a metaphor for psychological and evolutionary growth, particularly through the first-person perspective of the protagonist's father, which highlights individual agency against societal norms. Scholar Matthew Moore's 2007 PhD thesis positions it alongside works like Trouble with Lichen (1960) as a reassessment of Huxleyan ideologies, emphasizing the dissolution of human solidarity under external scrutiny and the thwarted promise of "cosmic power" offered by the alien Chocky. These analyses often explore how the novel challenges conventions of childhood development and otherness, blending science fiction with subtle social commentary. Culturally, Chocky echoes in discussions of imaginary companions as vehicles for exploring identity and external influence, with its gender-ambiguous alien entity prompting reflections on non-binary perspectives in speculative narratives. The story's focus on a child's "possession" by an extraterrestrial mind has informed broader conversations on psychological phenomena like experiences, though primarily through literary rather than clinical lenses. highlighted its benevolent alien trope in a essay, praising its departure from catastrophic sci-fi toward domestic and philosophical inquiry. As of 2025, Chocky maintains modern relevance through centennial retrospectives on Wyndham's legacy and increased accessibility via digital reprints, including the Classics edition (2015) and e-texts on platforms like Faded Page (2023). Recent commentary, such as a 2025 analysis deeming it an underrated masterpiece of non-physical alien contact, underscores its enduring appeal in examining humanity's potential amid existential ambiguity. These efforts have revitalized interest in Wyndham's final work, ensuring its place in contemporary discourse.

Adaptations

Radio Versions

The first radio adaptation of Chocky was a 60-minute dramatization broadcast on on 27 November 1968, adapted and directed by John Tydeman. The production featured as David Gore, as Matthew Gore, as Mary Gore, and supporting roles by Michael Spice, , and others, with incorporating ethereal effects to represent Chocky's telepathic communications. This version remained faithful to the novel's core plot of a boy's encounter with an alien intelligence, emphasizing concern and subtle psychological tension through audio cues rather than visual elements. In 1975, aired an abridged reading of the novel in seven 15-minute episodes as part of A Book at Bedtime, broadcast daily from 19 to 27 May, narrated by Andrew Burt and produced by David Johnson with abridgment by Neville Teller. Burt's performance captured the introspective narrative from David Gore's perspective, highlighting the gradual revelation of Chocky's extraterrestrial nature without additional dramatic staging, allowing listeners to focus on the story's themes of imagination versus reality. This audio book format introduced the tale to a broader audience during evening slots, prioritizing verbal storytelling over ensemble acting. A more expansive 90-minute full-cast dramatization followed on on 14 March 1998, adapted by and directed by Melanie Harris, starring as David Gore, as Mary Gore, and as Matthew Gore. The production underscored the psychological strain on the family, using layered voice modulation and ambient soundscapes to convey Chocky's otherworldly presence and the internal conflicts it provokes. Like earlier adaptations, it adhered closely to Wyndham's original text while enhancing the auditory immersion of telepathic dialogue to explore human-alien interaction.

Television Series

The television adaptation of Chocky began with a six-episode series produced by for ITV, airing from 9 January to 13 February 1984 in the children's drama slot. Adapted by Anthony Read from John Wyndham's 1968 novel, the series starred Andrew Ellams as the young Matthew Gore, as his father David Gore, as his mother Mary Gore, and Zoe Hart as his sister , with Glynis Brooks providing the voice of the alien entity Chocky. Directed by Vic Hughes and Christopher Hodson, each 25-minute episode centered on Matthew's internal communication with Chocky, portraying the family's growing concern over his apparent and sudden intellectual advancements through subtle psychological tension rather than overt spectacle. The success of the original led to two sequels that expanded the narrative beyond the Gore family, targeting young audiences with serialized storytelling. Chocky's Children, also six episodes of 25 minutes each, aired from 7 January to 11 February 1985 on ITV. Retaining the core cast including Ellams, Hazeldine, and Drinkwater, it introduced Anabel Worrell as Albertine Meyer, a gifted girl similarly contacted by Chocky, marking the first depiction of group possessions among children and emphasizing the alien's wider influence on human potential. Directed by Peter Duguid and written by Read, the series shifted focus to Matthew's encounters with other prodigies during a family holiday, heightening themes of isolation and protection amid emerging threats from observers like scientist Landis Cole. The trilogy concluded with Chocky's Challenge, another six-episode run airing from 29 September to 16 October 1986 on ITV, with episodes broadcast on Mondays and Thursdays. Andrew Ellams returned as the now-teenage Matthew, alongside Worrell as Albertine and supporting actors as Arnold Meyer and as Professor Ferris, while the Gore parents were played by Hazeldine and Drinkwater. Directed by Bob Blagden, the story escalated to global stakes, as Chocky guides the children in researching technology, drawing interference and international intrigue that tests their alliance against human exploitation. This final series underscored the alien's mission to advance humanity while amplifying suspense through interpersonal conflicts and ethical dilemmas. Produced as family-oriented children's programming, the adaptations employed mild effects—such as voice modulation for Chocky and simple visual cues for events—to maintain accessibility for youth viewers, avoiding graphic content in favor of emotional and intellectual exploration. Each series totaled approximately 150 minutes, fitting ITV's afternoon schedule and earning praise for its wholesome, engaging portrayal of curiosity and growth within a relatable domestic framework.

Proposed Film

In September 2008, DreamWorks SKG, the production company co-founded by , acquired the film rights to John Wyndham's novel Chocky from Pollinger Limited, the agency managing Wyndham's , with the intention of developing a live-action . Spielberg expressed interest in directing the project himself, viewing it as a potential follow-up to his work on , and emphasized its alignment with his affinity for intimate narratives exploring human-alien encounters, similar to his 1977 film Close Encounters of the Third Kind. Development proceeded slowly, with initial plans focusing on a family-centered drama highlighting the psychological and emotional impacts of the story's extraterrestrial influence on a young boy. However, the project stalled due to scheduling conflicts arising from Spielberg's commitments to other films, including Lincoln (2012) and subsequent projects, and no further substantive updates emerged after 2010. As of 2025, the Chocky film remains in development , often described as part of Spielberg's roster of unrealized projects, with only sporadic rumors of revival but no confirmed production, , or scripting advancements. This unproduced contrasts with the novel's earlier successful television from the 1980s, which aired on ITV.

References

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  30. https://www.tvmaze.com/shows/9513/chocky
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  33. https://www.hollywoodreporter.com/business/business-news/dreamworks-picks-up-chocky-rights-119807/
  34. https://www.reuters.com/article/lifestyle/spielberg-eyes-helm-of-dreamworks-chocky-idUSTRE48O1AG/
  35. https://www.theguardian.com/film/2008/sep/26/stevenspielberg
  36. https://www.digitalspy.com/movies/a131074/spielberg-makes-chocky-his-next-film/
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  38. https://www.mentalfloss.com/article/644207/movies-steven-spielberg-never-made
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