J.W. Rinzler - The Making of Star Wars: The Definitive Story Behind the Original Film
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Using his unprecedented access to the Lucasfilm Archives and its trove of never-before-published lost interviews, photos, production notes, factoids, and anecdotes, Star Wars scholar J. W. Rinzler hurtles readers back in time for a one-of-a-kind behind-the-scenes look at the nearly decade-long quest of George Lucas and his key collaborators to make the little movie that became a phenomenon. For the first time, its all here:
the evolution of the now-classic story and charactersincluding Annikin Starkiller and a huge green-skinned monster with no nose and large gills named Han Solo
excerpts from George Lucass numerous, ever-morphing script drafts
the birth of Industrial Light & Magic, the special-effects company that revolutionized Hollywood filmmaking
the studio-hopping and budget battles that nearly scuttled the entire project
the directors early casting saga, which might have led to a film spoken mostly in Japaneseincluding the intensive auditions that won the cast members their roles and made them legends
the grueling, nearly catastrophic location shoot in Tunisia and the subsequent breakneck dash at Elstree Studios in London
the whos who of young film rebels who pitched in to helpincluding Francis Ford Coppola, Steven Spielberg, and Brian DePalma
But perhaps most exciting, and rarest of all, are the interviews conducted before and during production and immediately after the release of Star Warsin which George Lucas, Mark Hamill, Harrison Ford, Carrie Fisher, Sir Alec Guinness, Anthony Daniels, composer John Williams, effects masters Dennis Muren, Richard Edlund, and John Dykstra, Phil Tippett, Rick Baker, legendary production designer John Barry, and a host of others share their fascinating tales from the trenches and candid opinions of the film that would ultimately change their lives.
No matter how you view the spectrum of this thirty-year phenomenon, The Making of Star Wars stands as a crucial documentrich in fascination and revelationof a genuine cinematic and cultural touchstone.
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Copyright 2007 by Lucasfilm Ltd. & or where indicated.
All Rights Reserved. Used Under Authorization.
Published in the United States by Del Rey Books, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York.
D EL R EY is a registered trademark and the Del Rey colophon is a trademark of Random House, Inc.
Tora! Tora! Tora! poster on copyright 1970 by Twentieth Century-Fox. All Rights Reserved.
The Day the Earth Stood Still poster on copyright 1951 by Twentieth Century-Fox. All Rights Reserved.
Freaks poster on copyright Turner Entertainment Co. A Warner Bros. Entertainment Company. All Rights Reserved.
Capitan Blood poster on copyright Turner Entertainment Co. A Warner Bros. Entertainment Company. All Rights Reserved.
eISBN: 978-0-345-54286-1
www.starwars.com
www.delreybooks.com
Photo Credits:
Ben and Peggy Burtt, Richard Edlund, Gloria Katz, Douglas Kirkland, Ralph McQuarrie, Tina Mills, Lorne Peterson, Matthew Porter, Bob Seidermann, David Steen, University of Southern California Archivesand a very special thanks to John Jay for many of the great behind-the-scenes photos on the set and in Tunisia. Photo of Park Way house on copyright Lucy Wilson.
Cover photo: Writer-director George Lucas and Mark Hamill (Luke Skywalker) in a Tunisian desert during principal photography late March 1976.
v3.1
TO MY MOTHER AND FATHER, MARILYN AND ALAN
At Lucasfilm present: This book could not have been completed without the invaluable help of those in Lucasfilms several archives. So tremendous thanks to: in the Research Library, Jo Donaldson, Carol Wing, and Robyn Stanley; in the Lucasfilm Archives, Laela French, Dinah Houghtaling, Claudia Kishler, and Erika Abad; in the Film Archives, Sterling Hedgpeth; and, last but far from least, a huge thanks to Image Archivesthat is, Tina Mills, Matthew Azeveda, and, in particular, Michelle Jouan, who oversaw every last image and kept track of some maniacal picture-gathering from obscure places. Also many thanks to, in the chairmans office, Jane Bay and Anne Merrifield; at Lucas Licensing, Howard Roffman and Amy Gary for overseeing the whole shebang; Sue Rostoni for taking on the extra editing while shepherding along the Expanded Universe, Troy Alders for his artistic acumen, and Leland Chee and Nancy Frisch; in the legal department, David Anderman, Jann Moorehead, Elaine Mederer, Chris Holm, and Sarah Garcia; and in the marketing department, Steve Sansweet for the key tip and Lynne Hale for the key assists; John Knoll at Industrial Light & Magic for his Special Edition special knowledge; David Nakabayashi at the ILM art library; and Lucy Wilson at George Lucas Books for providing pictures of life at Park Way way back when.
And to Rick McCallum, without whom this would never have happened.
At Lucasfilm past: Many and sincere thanks to Charles Lippincott, whose work three decades ago made this book possibleand for going beyond the call in reading the manuscript and contributing essential information; Ralph McQuarrie, for his great generosity and never-before-seen slides and reference material; Lorne Peterson, for an afternoon of tireless image identification and for letting us print a number of photographs from his private collection; Fred Roos, for remembering who was the alternate Han Solo and for sending some great pics; and Richard Tong, for digging up valuable preproduction financial information.
Do-gooders at large: Many, many thanks to Tom Hunter, who took time out to come up with incredibly important legal contracts and correspondence; Peter Jackson, for writing a fantastic foreword, and Matthew Dravitzki, for facilitating that process; Iain Morris, for his design expertise; and F. Warren Hellman, whose memories of life on the board of directors at Twentieth Century-Fox were a huge help.
At Tolleson Design: For putting together a beautiful book and making sense of the hundreds of images, thanks to Craig Clark, Holly Hudson, Charin Kidder, Said Osio, Ren Rosso, Boramee Seo, and Steve Tolleson.
At Ballantine: For making this happen and for understanding the point of this book, thanks to Keith Clayton, Erich Schoeneweiss, Scott Shannon, and Dave Stevenson.
And, of course, my heartfelt thanks to George Lucas, for what he did thirty years ago and for the help given during the last year.
Occasionally you will see colored film slugs where a sequence was taken to be used in the final film. Not all film clips contain audio.
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Six
Chapter Seven
Chapter Eight
Chapter Nine
Chapter Eleven
I regard myself as being very lucky, because Star Wars arrived in my life at an absolutely perfect time. I was sixteen years old. I loved visual effects, loved fantasyand ever since the age of eight or nine had been harboring ambitions to make films. I was also a movie buff. I used to read Famous Monsters of Filmland magazine, and I remember Starlog magazine had started about a year earlier. I was just a fan like any other kid. But I was becoming a little bit disillusioned with science-fiction films around that time. There were films like Logans Run and the remake of King Kong, and I remember feeling that the miniature shots looked just like miniatures, and the special effects looked like model work with dodgy bluescreen compositing. Nothing was really that impressive; certainly not since 2001 had anyone done anything really amazing in special effects. That was the frame of mind I was in.
Then Star Wars was released in the United States in May 1977. Can you imagine being a science-fiction fan, reading those magazines, reading all about Star Wars, reading about the phenomenon, about the queues around the block, how everyone was raving about itbut not being able to see it? Because the distribution thinking in those days was that they should hold the American summer movies until New Zealand had its summer. So Star Wars wasnt going to open here until our summer December! And there werent any entertainment channels on TV back then, no Internet; there really wasnt any way of hooking into it. You would just hear gossip about itand it was immensely frustrating. It was a slow-brewing phenomenon that took months and months to make its way down here.
Once Star Wars came out in the United States, however, there was a whole new flooda new cultureof science-fiction film magazines. I used to buy all of those that were packed with Star Wars photographs. All my friends and I could ever do was look at the still photos. I would look at the photos lying in bed at night, dreaming about what the actual film would be like. I remember being utterly familiar with the images of Star Wars months before I ever saw the film. I got the soundtrack album, too, so I heard the music a long time before I saw it.
Finally the summer came. Three or four school friends and I had bought tickets in advance for the first day, but we still had to queue up outside the Cinerama theater in Wellington. Inside the cinema had been equipped with Sensurround for films like
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