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The Clone Wars Episode Guide: Cloak of Darkness

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

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The Clone Wars Episode Guide: Cloak of Darkness

Episode Air No.:9
Original Air Date: 
December 5, 2008

Production No.: 10

Written by Paul Dini
Directed by Dave Filoni

Key Characters: Ahsoka Tano, Luminara Unduli, Viceroy Nute Gunray, Count Dooku, Asajj Ventress, Clone Commander Gree, Senate Guard Captain Argyus

Cast:

Matt Lanter as Anakin Skywalker
Ashley Eckstein as Ahsoka Tano
Olivia d’Abo as Luminara Unduli
Tom Kenny as Nute Gunray
Nika Futterman as Asajj Ventress
James Marsters as Captain Argyus
Dee Bradley Baker as clone troopers
Corey Burton as Count Dooku/Senate Guard
Ian Abercrombie as Darth Sidious
Tom Kane as Yoda/Narrator

Episode Brief: Ahsoka and Jedi Master Luminara escort captured Viceroy Nute Gunray to trial, unaware that Count Dooku has dispatched his deadly apprentice assassin Asajj Ventress to free the prisoner and eliminate the Jedi.

Notable: All female warrior fight between Ventress, Luminara and Ahsoka; written by comics | animation superstar Paul Dini; directed by series supervising director Dave Filoni.


Full Synopsis

“Ignore your instincts at your peril.”

Newsreel: Viceroy Gunray captured!
Senator Padmé Amidala has scored a
victory against the Separatist Alliance
on the remote world of Rodia, securing
the arrest of the diabolical Confederate
leader, Nute Gunray. The Jedi Council
has dispatched Master Luminara
Unduli and Anakin Skywalker’s Padawan
Ahsoka to escort the Viceroy to Coruscant
under heavy guard. Once there, he will
face trial for his many war crimes….

ACT I

A Republic frigate carrying Luminara Unduli and Ahsoka Tano lifts off from Rodia, soaring toward the Venator-class Star Destroyer Tranquility. Senate Commando leader Captain Argyus clears the frigate for landing within the cruiser’s ventral hold. Aboard the Tranquility, the Jedi march a shackled Nute Gunray down its cold corridors, escorted by Clone Commander Gree. Gunray wails about this “miscarriage of justice,” and demands his litigator, but there’s no sympathy to be found as the viceroy is handed over to Argyus and his commandos. Ahsoka is confused as to why Gunray rates such elevated levels of security, but Luminara advises her not to underestimate the viceroy.

Elsewhere in space, within a Separatist fleet, Count Dooku bends on one knee to receive the holographic presence of Darth Sidious. Dooku’s dark master worries about Gunray’s capture, for the spineless Neimoidian is not likely to last long under Jedi interrogation, and could spill all sorts of valuable secrets. Dooku assures Sidious that he has already dispatched his most trusted assassin, Asajj Ventress, to infiltrate the Tranquility and either free Gunray, or permanently silence him. Sidious is skeptical about Ventress’s abilities, but allows Dooku to proceed. After Sidious’ form vanishes, Dooku turns to Ventress and stresses the importance of her mission.

The Tranquility breaks orbit from Rodia as Gunray is secured in his ray-shielded cell. Luminara is coolly questioning him. The Jedi Master senses Gunray’s fear that he may lose the power and wealth given to him by the war. Desperately, Gunray claims innocence. This infuriates Ahsoka, who erupts in a show of anger; she ignites her lightsaber, and holds it to Gunray’s neck. He scurries into a corner, terrified. Luminara scolds Ahsoka for brandishing terror as a weapon. Ahsoka sheepishly explains she wasn’t serious, but thinks that the coward Gunray will only talk if scared enough. Gunray composes himself, ready to negotiate.

Just then, a tremor shakes the ship. Gree gets a status report from the bridge: the Tranquility is under attack. Vulture droids buzz the bridge, and a trio of thorn-shaped boarding ships darts toward the cruiser. Gree orders Green Company to prepare to repel invaders. The spiraling boarding ships spear into Tranquility‘s ventral spine, their blade-like nosecones sticking through the hangar bay ceilings beyond. These nosecones blossom open, disgorging super battle droids into the hold.

A firefight erupts as Green Company arrives to blast away at the infiltrators. They are overwhelmed by the super battle droids, who push their way deeper into the ship toward the detention levels. Luminara and Gree depart to assist the hangar troops, but Master Unduli orders Ahsoka to remain with the prisoner and Captain Argyus.

After the fighting in the hangar bay has subsided, Asajj Ventress emerges from one of the boarding vessels. A wounded clone survivor takes a shot at her, but she easily deflects it and beheads him before he can get out his call of warning. Asajj picks up the fallen clone’s gauntlet comlink and then cuts her way into the Tranquility‘s ventilation systems.

ACT II

The inexorable super battle droids march through the interior corridors of the Tranquility, as clones hunker down to repel them, sealing dilating blast doors to slow their progress. Master Luminara and Gree arrive at a cross corridor, and ambush the droids. She and Gree cut through them, eliminating the infiltrators, but Luminara does not feel their troubles are over.

Elsewhere, Ventress emerges in the engine room of the massive vessel. A simpleminded Treadwell, 327-T, is inspecting the ship’s inner works, shining its luminous photoreceptors into various nooks and crannies, but it fails to spot the stealthy assassin. A clone captain and a fellow trooper enter the reactor room to check for any signs of infiltrators, but their cursory glance reveals nothing. The clones ask the Treadwell to keep an eye on the place before moving on in their patrol. Asajj slinks around, careful to stay in 327-T’s blind spot. She affixes explosives on several key spots around the reactors, and then makes her way back to the grate unnoticed.

In the detention center, Ahsoka teases Gunray since its evident the attempt to rescue the viceroy has failed. Suddenly, she spots Ventress’ twin lightsaber blades carve an entrance into the detention center’s control room. Ventress drops into the room from a hole in the ceiling and quickly subdues the two commandos on duty. Ahsoka ignites her lightsaber blade, and squares off against Ventress. She orders the commandos to open fire. The remaining three commandos on duty — Captain Argyus included — try to blast Ventress, but she deflects their bolts back at them, dropping two of them, and leaving Argyus standing. She tosses Argyus aside with the Force, and continues pressing on Ahsoka.

Asajj slips past Ahsoka and runs to Gunray’s cell. She deactivates the shields, pulling Gunray out and kicking Ahsoka in! Gunray relishes this reversal as he reactivates the shield, locking Ahsoka inside.

Just then, Luminara and Gree arrive in the cellblock, and the Jedi Master charges down the corridor, her lightsaber ignited. Using the Force, she opens Ahsoka’s cell, and the Padawan emerges, lighting her blade and flanking Ventress who now has to deal with two combatants. Ventress seemingly surrenders, lowering her weapons, raising her arms… but she grins as her timed explosives in the engine room detonate.

The whole ship is rocked by the blast. Ventress takes advantage of the distraction and bowls over Luminara. She runs to the open turbolift tube and dives in, spearing her lightsabers into shaft wall to slow her descent, leaving a pair of molten metal trails in her wake. Ahsoka tries to impulsively follow her down the open shaft, but Luminara stops her just in time to avoid being smashed by a descending turbolift car.

Argyus examines the status boards, and reports the grim news. Security doors, turbolifts, communications and propulsion systems are all haywire. But all is not lost. The commandos are still in possession of Gunray. Luminara orders the guards to be extra vigilant while she sets off to stop Ventress. Ahsoka implores Luminara to let her help, but Master Unduli orders her to stay in the detention block.

Unduli arrives in the smoldering engine room, where she is promptly pounced upon by Ventress. Asajj cuts through a nearby vent, blasting a jet a steam into Unduli’s face, momentarily blinding her.

Ahsoka is not happy to be left behind, especially since she has firsthand experience dealing with Ventress. She voices her frustrations to the guards. Argyus seems to sympathize with her, and states that sometimes being a good soldier is doing what you believe is right. Gree, however, voices the opposite view: that following orders matters above all else. Gunray, unhelpfully, offers that he would never do anything that would risk his own neck. At Argyus’ nudging that Gunray is in safe hands, Ahsoka leaves her station to help Master Luminara.

The duel between Jedi Master and dark assassin intensifies, moving from the relatively safe upper platforms into the thick of the reactor chamber fires. Ventress cuts through some heavy machinery, sending it crashing down at Luminara. Luminara uses the Force to keep the debris from crushing her, but is nonetheless pinned by a heavy pipe. Ventress closes in for the kill.

ACT III

Ahsoka rushes in, Force-pushing Asajj in the middle of the assassin’s leap. Ventress goes hurling into the debris as the Padawan runs to Luminara’s side. Ahsoka cuts Luminara free, and braces for her rebuke, but there’s no time. Ventress emerges from the wreckage and attacks anew. She leaps into the upper levels, but the Jedi give pursuit. Hidden in the shadows, she activates a signal on her wrist gauntlet.

At that exact moment in the detention center, Captain Argyus receives a signal on his gauntlet. He suddenly spins around and coldly blasts his fellow commandos. He turns to blast Gree, but the clone trooper takes cover. Argyus opens Gunray’s cell, and holds the viceroy hostage in front of him, knowing that Gree will not kill the valuable Separatist prisoner. Argyus is a traitor: he’s being paid a fortune by Count Dooku to deliver Gunray.

In the engine room, the Jedi find someone stirring in the debris, but it’s only 327-T. As they work their way deeper into the ruined chamber, Luminara concedes that she did underestimate Ventress, and that she does need and appreciate Ahsoka’s help. Just then Gree communicates to Luminara, informing her of Argyus’ betrayal. The Jedi start to rush back to the detention level. Ventress resumes her attack.

The standoff between Argyus and Gree continues, with a whining Gunray in between. Argyus feels confident behind his Neimoidian shield, but Gree targets his blaster and shoots the weapon from Argyus’ hand. The commando captain shoves Gunray at Gree, distracting him, and then kicks the clone’s blaster from his hands. It’s down to fisticuffs. The two soldiers circle each other. As a clone fervently loyal to the Republic, Gree cannot understand Argyus’s betrayal. Likewise, Argyus cannot understand Gree’s commitment to “empty servitude.” Argyus lunges for Gree’s fallen blaster, but Gree steps on the weapon and delivers a stunning blow to the side of the commando’s head. But all the while, the two warriors have taken their eye off Gunray. The viceroy slams Argyus’ discarded blaster rifle butt onto Gree’s unhelmeted head, knocking him unconscious.

With Viceroy Gunray free, Argyus signals Ventress in the engine room. Her mission accomplished, Ventress activates several leftover explosives to cover her escape, leaving Ahsoka perilously dangling over a battered catwalk to be saved by Luminara.

Argyus and Gunray escape to the Republic frigate in the Tranquility‘s hold. With the Star Destroyer in such turmoil, its outer shields are down, allowing the smaller vessel to ease out of its docking bay. Ventress, meanwhile, cuts her way to an escape pod bay and launches from the crippled ship. Luminara and Ahsoka are a few steps behind and witness the pod launch towards the frigate.

Captain Argyus gloats about his success as Asajj comes aboard. He cockily mentions that he’ll ensure Ventress’ contributions to their rescue efforts will be noted in his report to Count Dooku. Ventress suddenly drives her lightsaber into Argyus’ back, killing him.

Aboard the Tranquility, communication systems have been restored. In the bridge’s war room, Ahsoka and Luminara confer holographically with Yoda and Anakin Skywalker. Yoda is troubled by the treachery of Captain Argyus; the Jedi are coming to realize that they are surrounded by enemies. On a more positive note, Luminara reminds her fellow Jedi that Gunray fled in a Republic ship, which can be tracked. Master Kit Fisto’s fleet was near the viceroy’s last known position. Fisto is tracking the signal, determined to recapture the Separatist leader.


Trivia & Details

  • This episode marks the first series appearance of Senate Commandos, a new type of soldier derived from the blue-robed Senate Guards seen in Episodes I-III. The model of the soldier uses the same basic body of a clone trooper, with a custom blue paint job, different head, and a large scarab-like shoulder pad with the Senate seal for the captain.
  • The Treadwell droid’s name is another conspicuous appearance of the digits “327.” In Episode IV, the Millennium Falcon is docked in hangar bay 327 aboard the Death Star, while in Episode V, it lands on platform 327 in Cloud City. In Episode I, the Naboo starship is identified as a Nubian J-type 327. (See the Episode Guide for “Rookies” for another 327 occurrence as well as the leading theory of its origin).
  • The catwalks and clusters of cylinders that dominate the engine room are an architectural nod to the gravity control room found aboard the Super Dimensional Fortress (SDF-1) from the Macross anime, (or Robotech series, if you’re so inclined).
  • This episode marks the third use of a particular ship model in a new role — the podhunters from “Rising Malevolence,” and the dropships from “Rookies” are now seen as boarding craft. Internally, this ship design is nicknamed the “juicer,” named after the basic kichen appliance that inspired its design.

Memorable Quotes

“I am a man of great wealth, and I can be very generous to my allies.” — Nute Gunray

“That is a very tempting offer, Viceroy. In the meantime, I have a gift for you.” — Clone Commander Gree shackling Gunray.

“I know nothing!” — Nute Gunray, under interrogation

“Tell us what we what we want to know right now, or I will gut you like a Rokarian dirt-fish!” — Ahsoka Tano, interrogating Gunray.

– “If it isn’t the hairless harpy.”
– “If it isn’t Skywalker’s filthy, obnoxious little pet. Stand down, little girl, and I’ll give you a cookie.”
– “How nice of you. Tell you what. I’ll give you a merciful death.” — Ahsoka Tano versus Asajj Ventress.

“Open this door and I’ll buy you a planet!” — Nute Gunray

“Don’t shoot! I’m an innocent pawn!” — Nute Gunray (He really shines this episode).


Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-04-17 08:00:19.

Kathleen Kennedy To Become Co-chair Of Lucasfilm Ltd.

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Kathleen Kennedy To Become Co-chair Of Lucasfilm Ltd.

Lucasfilm Ltd. today announced that Kathleen Kennedy will become Co-Chair of Lucasfilm. In an effort to move forward with his retirement plans, George Lucas will work with Kathleen Kennedy to transition into her new role. Lucas will become Co-Chairman of the Board of Lucasfilm and continue as CEO. Micheline Chau will remain as President and COO of Lucasfilm, and continue to focus on the day-to-day operations of the business.

“I’ve spent my life building Lucasfilm and as I shift my focus into other directions I wanted to make sure it was in the hands of someone equipped to carry my vision into the future,” said George Lucas. “It was important that my successor not only be someone with great creative passion and proven leadership abilities, but also someone who loves movies. I care deeply about my employees-it is their creativity and hard work that has made this company what it is today. As the company grows and expands I wanted to be sure the employees of Lucasfilm have a strong captain for the ship. I also care deeply about our fans and it was important to have someone who would carry on the passion and care that I’ve given the films over the years. So for me Kathy was the obvious choice, she is a trusted friend and one of the most respected producers and executives in the industry.”

Director Steven Spielberg said, “George’s prescience is once again proven by his choice of my long time producing partner, Kathy Kennedy to co-chair Lucasfilm. Kathy has been a member of both of our families going into a fourth decade so it does not feel like she is going to another galaxy far far away. She will get just as much support from me with Lucasfilm as George has given both of us all these years.”

“George is a true visionary,” said Kathleen Kennedy. “I’ve seen him build Lucasfilm from a small rebel unit in Northern California to an international fully integrated entertainment company. I’m excited to have the chance to work with such an extraordinary group of talented people. George and I have talked about the enormous opportunities that lie ahead for the company, and as George moves towards retirement I am honored that he trusts me with taking care of the beloved film franchises. I feel fortunate to have George working with me for the next year or two as I take on this role-it is nice to have Yoda by your side.”

Seven-time Academy Award nominated Kathleen Kennedy is one of the most successful and esteemed producers and executives in the film industry. As a producer she has an impeccable record with a robust filmography working with such filmmakers as Steven Spielberg, Peter Jackson, Martin Scorsese, Robert Zemeckis, Barry Levinson, Clint Eastwood, David Fincher and Gary Ross. As a testament to her standing in the film community, she previously held the position of governor and officer of the Academy of Motion Pictures Arts and Sciences (AMPAS) and currently serves as a member of the board of trustees. She is also a former President of the Producers Guild of America.

Kathleen will step down from her role at The Kennedy/Marshall Company, shifting her responsibilities to partner Frank Marshall. The Kennedy/Marshall Company is currently in post production on LINCOLN, directed by long time collaborator Steven Spielberg whom Kennedy also produced for on the INDIANA JONES and JURASSIC PARK franchises, and THE BOURNE LEGACY, written and directed by Tony Gilroy and produced by Marshall. Under the Kennedy/Marshall banner, the pair has produced such Academy Award nominated Best Picture films as WAR HORSE (six nominations), THE CURIOUS CASE OF BENJAMIN BUTTON (thirteen nominations) THE SIXTH SENSE, (six nominations) and SEABISCUIT (seven nominations), as well as blockbusters including the BOURNE series and THE ADVENTURES OF TINTIN. Marshall will oversee the company’s current slate of projects and continue to expand it via their development deals with DreamWorks and CBS TV Studios.

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-10-16 16:00:01.

Correct Calculations

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(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Correct Calculations

“If my calculations are correct, this year should be the 10th Anniversary of The Empire Strikes Back!”

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-12-04 20:00:01.

Black Milk Star Wars: Fan Fashion

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(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Black Milk Star Wars: Fan Fashion

James Lillis

I grew up in the ’80s. I’ll never forget when I was a kid, going down to the store with my loose change to get the latest bubble gum cards from my favorite movie — Return of the Jedi. I would spend hours pouring over all the classic cards in my collection, looking at all my favorite characters. When people asked me what I wanted to be when I grew up, I said “Han Solo.”

As it turned out, when I grew up I didn’t become a galactic smuggler — I became a fashion designer.

Chewie leggings 2So it has been something of a dream come true for me that I have been able to produce a collection for Black Milk based on Star Wars. For those of you who don’t know, Black Milk is a bit unusual — is it a fashion label, an elaborate social experiment, or a cult? (For anyone wondering — it’s all of the above.)

It has been lots of fun creating these pieces. So I want to send out MASSIVE love to all the Sharkies around the world who have supported us and fangirled over the Star Wars collection. (”Sharkies,” for the uninitiated, are ravenous predators that savagely attack the Black Milk web store every time there is a new product release.) You guys look amazing!

The support of Lucasfilm in making this happen has been fantastic and I am really grateful for it. Like us at Black Milk, they seem to really like girls, swimsuits, tights, and Star Wars.

But then again…who doesn’t?

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-09-11 12:34:05.

The Clone Wars Episode Guide: Citadel Rescue

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(*Archived here with Permission utilising The Internet Archive Wayback Machine)

The Clone Wars Episode Guide: Citadel Rescue

Episode No.: 64 (Season 3, Episode 20)
Production No.: 317 (Season 3, Episode 17)
Original Air Date: March 11, 2011

“Without honor, victory is hollow.”

Written by Matt Michnovetz
Directed by Steward Lee

Cast:
James Arnold Taylor as Obi-Wan Kenobi | Osi Sobeck | Plo Koon
Matt Lanter as Anakin Skywalker
Ashley Eckstein as Ahsoka Tano | K2-B4
Blair Bess as Even Piell
Dee Bradley Baker as clone troopers | Saesee Tiin | Admiral Coburn
Stephen Stanton as Tarkin
Tom Kane as the narrator | Yoda
Matthew Wood as battle droids
Corey Burton as Count Dooku
Terrence Carson as Mace Windu
Angelique Perrin as Adi Gallia


Synopsis: After their ship and only way off the planet is destroyed, Anakin and Obi-Wan must lead the escaped prisoners across Lola Sayu’s perilous landscape as Plo Koon commands a task force of four cruisers and their fighters through the Separatist defenses in a daring rescue. Even Piell is ravaged by anooba tracking beasts, but before he dies, he passes on his Nexus Routes coordinates to Ahsoka. When the survivors return to Coruscant, Ahsoka knows half the intel, and refuses to disclose it to anyone but the Jedi Council, while Tarkin refuses to hand over his half to anyone other than the Chancellor.

Returning Characters: Anakin Skywalker, Obi-Wan Kenobi, Ahsoka Tano, R2-D2, Clone Captain Rex, Clone Commander Cody, Fives, OOM-10, K2-B4, Plo Koon, Mace Windu, Saesee Tiin, Adi Gallia, Kit Fisto, Count Dooku

Worlds Visited: Lola Sayu, Coruscant

Secrets Revealed

  • The Citadel combat scenario seen during the clone training sessions in “Clone Cadets” are named after the Citadel installation in this trilogy.
  • When escaping the crab droids, Commander Cody pulls a move that one of his clone troopers in Episode III will later do on Utapau — running atop a crab droid and gunning it down.
  • The Expanded Universe of Star Wars novels originally had Even Piell survive the Clone Wars only to be killed while as a fugitive in the early days of the Empire. Piell’s death in the Citadel Mission is the character’s true fate.
  • In the script for this episode, Osi Sobeck was to have been killed by Tarkin. Tarkin would have shot an unarmed Sobeck in cold blood, causing the Jedi to further question his honor.
  • When Saesee Tiin refers to “the Old Republic,” he is talking about the government that predates the modern founding of the Galactic Republic 1,000 years ago. That is a time of great strife and conflict, when the Sith battled against the Jedi.
  • Saesee Tiin’s starfighter has the same pattern on it as Ahsoka Tano, but in a different color. Likewise, Adi Gallia’s fighter has the same pattern as Plo Koon’s starfighter, seen in earlier episodes.
  • During the space battle, a clone trooper aboard an exploding Republic vessel lets out a distinct, high-pitched scream. This scream, called the “Wilhelm,” is an old sound effect that dates back to the 1930s, and appears in all six of the live action Star Wars feature films.
  • The Plo’s Bros gunship that rescues the strike team from Lola Sayu is designated a “space gunship”, with a sealed cabin and search spotlights mounted in the gunnery sockets.
  • The anoobas are actually a concept designed for Episode I by concept artist Terryl Whitlatch, who explored the sharp-toothed hound as a possible creature on Tatooine.
  • The cage the anoobas are kept in was visually inspired by the velociraptor cages in Jurassic Park.

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-07-16 12:00:54.

Empire Chronicles: Emperor Palpatine

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Empire Chronicles: Emperor Palpatine

“There is a great disturbance in the Force”

In the spirit of Empire‘s 30th anniversary this week (May 21st), we felt that a visit from one of the film’s most resonant characters — Emperor Palpatine — was in order, given his pivotal role within the Star Wars saga.

Turning in a performance that lasted less than a minute, Empire‘s Palpatine gave audiences their first exposure to the deeper mysteries of the Sith, a term that was still vaguely defined at the time (in fact, most fans hadn’t even heard of the Sith until the word appeared on a 1977 Star Wars bubblegum card).

What makes the Emperor’s appearance in Empire noteworthy to those with a scholarly interest in the films is the character’s different voice and appearance in the 1980 original — different, that is, from Ian McDiarmid’s Palpatine performances in Return of the Jedi and the prequels. For the 2004 DVD release of Empire, Ian McDiarmid gave a new performance — with a couple dialog tweaks — for the film’s Emperor, giving the character a uniform look and voice to mesh seamlessly with the rest of the saga.

Since our Empire Chronicles feature strives to document the behind-the-scenes story of the characters, creatures, and spacecraft of The Empire Strikes Back, we’re limiting our discussion of Emperor Palpatine to his original 1980 performance, which consisted of a woman’s face, a Broadway actor’s voice, and — would you believe — a chimpanzee’s eyes.

George Lucas (ghost-written by Alan Dean Foster)
“Aided and abetted by restless, power-hungry individuals within the government, and the massive organs of commerce, the ambitious Senator Palpatine caused himself to be elected President of the Republic. He promised to reunite the disaffected among the people and to restore the remembered glory of the Republic. Once secure in office he declared himself Emperor, shutting himself away from the populace. Soon he was controlled by the very assistants and boot-lickers he had appointed to high office, and the cries of the people for justice did not reach his ears.”
— Prologue, Star Wars: A New Hope novelization (Nov 1976)

Early concept sketches for the Emperor by Ralph McQuarrie

Laurent Bouzereau, author
“During meetings George Lucas and [initial screenwriter] Leigh Brackett decided that the Emperor and the Force had to be the two main concerns in the film; the Emperor had barely been dealt with in the first movie, and the intention in the sequel was to deal with him on a more concrete level. Eventually this idea was used later on, in the third film. The Emperor, however, was then envisioned as a bureaucrat, Nixonian in his outlook and sort of a Wizard of Oz-type person.
— Star Wars: The Annotated Screenplays (1997)

Mark Hamill, actor, “Luke Skywalker”
“Originally, I saw a lot of sketches [of the Emperor], and I told them how I thought he should be. I thought he should be like the Wizard of Oz. Maybe the images should change so you can’t really get a fix on him. Have it like a beautiful woman’s lips moving, and that fades to a stop-frame animation creature, to an actor in makeup. So you just can’t pin it down.”

“The first time I saw the Emperor I was disappointed. I thought he was too human, too ordinary. You figure if Darth Vader bows and says, ‘Yes, My Lord,’ the guy’s got to be a real horror. But it’s interesting because the Emperor was an actress, dubbed with a male voice, and monkey’s eyes superimposed.”
— Starlog #40 (Nov 1980)

Ken Ralston, Effects Cameraman
“To create the hologram of the Emperor we shot a person in makeup with the eye sockets blacked out. George wanted to put some different, stranger eyes in the Emperor so we wound up shooting a chimpanzee and then match-moving the eyes into the Emperor. That was again rephotographed off of a television screen to get the look of the hologram.”
— Star Wars: The Definitive Collection laserdisc commentary (1993)

Clive Revill, original voice of “Emperor Palpatine” for 1980 release
“I’d done a film for [Empire director] Irvin Kershner called A Fine Madness…I got a call from Kershner, and he said, ‘Listen, I want you to come down and read something.’ I didn’t have anything planned that day, so I went down to the recording studio. He showed me some clips, and he said, ‘Read it and get some oomph in it.’ So I read the stuff through, and gave it the oomph, and they tinkered around with it — and the result is that I get a lot of mail.”
— Star Wars Insider #49 (May/June 2000)

Michael Matessino, author
[Regarding the music in the Emperor scene]: “For this ominous sequence, [composer John] Williams applies very quiet atonal strings and celeste.”
— The Empire Strikes Back: Special Edition Soundtrack liner notes (1997)

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-02-15 08:00:29.

A Galaxy in Ruin

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A Galaxy in Ruin – An Interview with Michael A. Stackpole

Perched on the edge of the galaxy, waiting to pounce on an unsuspecting Republic, is an alien threat bent on domination. The Yuuzhan Vong continue their vicious incursion into New Republic space, and no one — not even the beloved heroes of The New Jedi Order — is safe. The epic novel series that expands the Star Wars universe more than two decades after the Battle of Yavin continues with this month’s release of Ruin, the second book in the Dark Tide paperback duology.

For author Michael A. Stackpole, Ruin marks his eighth Star Wars book. The popular novelist has written five books of the bestselling X-Wing series, and the stand-alone novel I, Jedi.

“I was lucky enough to be asked to participate in planning The New Jedi Order story-arc,” says Stackpole. “In March of 1998 and again in 1999 I attended meetings at Skywalker Ranch along with Shelly Shapiro and Steve Saffel of Del Rey; Sue Rostoni, Lucy Wilson, Allan Kausch and Howard Roffman of Lucas Licensing; and authors James Luceno and Kathy Tyers to set up the series, then work out the details of its progressions.”

Stackpole recounts, “The discussions were wide-ranging, starting with the universe as a whole and the characters we wanted to have involved; how the series and characters would evolve and then details like aspects of Yuuzhan Vong society and, yes, the dreaded decision to splash a main character.”

The New Jedi Order, specifically the first novel, Vector Prime, is easily the most controversial book in Star Wars’ expanded universe, for it depicts Chewbacca dying in a Yuuzhan Vong-orchestrated catastrophe. Although such a bold move is shocking to many fans, it is a needed dramatic point in the storyline. It has opened up new avenues of drama to authors, as now the novels of The New Jedi Order have the ability to indelibly mark the Star Wars universe.

“Because the immunity bubble had been popped,” says Stackpole, “the suspense factor was a lot higher in the novels. If it looked like someone was going to die, the readers could legitimately fear they would die.”

Such grave story options don’t come lightly to the author. “In terms of killing characters and participating in major events like that, I did realize I had a solemn duty to make sure any death fit with the life of the character in question. I’m pleased with my work in that regard in Ruin.”

For the first time, one of Stackpole’s novels sits at the end of the timeline. In his past works, his stories have had to rest between the previously published works of others. For instance, his X-Wing series had to set up the events of the coming Thrawn Trilogy. The novel I, Jedi took place concurrently with the events of the Jedi Academy Trilogy.

“Oddly enough, I wasn’t as free this time as it might seem,” says Stackpole, “since I had to take a handoff from R.A. Salvatore’s Vector Prime, and set things up for Jim Luceno’s Hero’s Trial. Because what would happen in my novels had been the subject of discussion at the meetings, what I was doing was fairly well set in stone. That’s fine for me. I never have seen needing to fit my work into a timeline as at all limiting. Truth be told, I like doing that, because I can foreshadow with impunity, or posit other meanings for events that have happened in the past.”

That the Dark Tide series was the first of The New Jedi Order in paperback did affect Stackpole’s approach, particularly in presenting the villains of the saga. Because some readers would hold off buying Vector Prime in hardback, Dark Tide I: Onslaught would be the first New Jedi Order book for many. “I took the Yuuzhan Vong from a standing start and looked at them through the eyes of folks who’d not seen them before,” he explains. “I wanted to make them scary and nasty, which is why the only time we see things from their point of view is at the end of Onslaught. I wanted readers to fear them before they begin to understand them.”

The new novel sheds more light on the unwholesome invaders. Readers will learn more of the Yuuzhan Vong societal structure, and their familial relations. “I think the readers would love to have a huge core-dump of data on the Vong,” says Stackpole, “but doling it out in little dribs and drabs is vital in such a project.

“The readers are learning about the Vong as the characters learn about the Vong,” the author says, “and the Vong and the characters are being changed by what they learn. This is going to be a long and involved dance, not a three-books-and-out series where we start looking for the next threat. In this case, the next threat will be the old threat, retooled, re-energized, and out for blood.”

In the pages of Ruin, one of the New Republic’s own surrenders himself to the Yuuzhan Vong, and is enveloped in a sadistic and alien world built on pain and suffering. Getting into such a destructively intolerant mindset requires an author to tread very carefully, says Stackpole. “Actually, it’s not that tough for me because I tend to read power flows in social situations. With the Vong, the key is understanding the source of power and how it flows.

“Shedao Shai embraces pain, and does not shy away from it,” Stackpole adds, “whereas his aides do not embrace it as openly as he does. He sees it as a duty, then, to inflict pain on them, physical, mental, emotional, however he can, to toughen and enlighten them.

“When you realize that they reach enlightenment and union with their gods through pain, that kind of calibrates the societal compass, and you plot your courses based on that,” explains Stackpole.

Whereas nay-sayers in the New Republic government were once skeptical of the Yuuzhan Vong threat, the massive Dantooine ground battle in Onslaught’s final chapters have shaken up the complacent. In Ruin, the Republic turns to former enemies as allies in an attempt to stem the tide. By tale’s end, no one can deny the Yuuzhan Vong menace.

Despite the encroaching darkness invading the books of The New Jedi Order, there is still room for levity. Stackpole has introduced the character of Chalco in Ruin, a shifty but bumbling grifter who accompanies Anakin Solo on an important mission.

“There’s always a need for balance in such novels,” says Stackpole. “Without the light, you can’t have dark. I also needed Chalco to put Anakin in touch with real life and real people, since he so seldom is. And, well, part of the magic of writing is just coming to a point in a scene where you need someone and you begin to realize there’s a role for this character further on in the book. Chalco was just such a guy.”

Among the warmer elements of the novel is the theme of family. Many of the central characters are related by blood or marriage. “I guess my experience with family gives me a point of departure, since I grew up in a decidedly normal household, no traumas, no upsets. I mean, the Cleavers lived down the block, and that nice Mr. Douglas and his three sons were on the next street over,” jokes Stackpole. “It was a very normal childhood in Vermont.”

Beyond the heroes, the theme of family continues even into the dark folds of Yuuzhan Vong culture, where it is revealed that lineage and ancestry are of prime importance to the seemingly heartless villains. “Much of the family loyalty and revering of ancestors came specifically out of my study of Samurai culture. There, the individual is subordinate to the family, which is something of an alien concept for Americans. It’s a great way to contrast that society with our own.”

Both books of the Dark Tide duology strongly feature Jedi characters, particularly Corran Horn and the Solo children. With the release of Episode I, authors are now given increased latitude in the depiction of Jedi characters. “I don’t think before we would have had a division in the Jedi or different philosophies,” explains Stackpole. “This means we have more to explore and play with, which just increases the depth of the universe. The Phantom Menace also provided us characters to contrast our Jedi with, and this is good as well. It allows readers to wonder how Obi-Wan or Qui-Gon might have handled the Yuuzhan Vong, or any particular situation.”

Much has been made of this being Stackpole’s last Star Wars novel for the time being. After having written eight novels, he is taking a break from the saga with a sense of satisfaction. That said, however, there are always possibilities in the future. Stackpole has long been involved with roleplaying fiction, and with a new Star Wars roleplaying game in the works, there is the chance he will contribute to the game.

“Star Wars, as always, is an ‘invitation-only’ venue,” explains Stackpole. “That said, Wizards of the Coast’s folks have been in touch. I’ve written an introduction for the game, and we’re talking about my doing some other things. It will depend upon my schedule and all, but I’m certainly open to doing work in the universe. Being able to participate with Star Wars on any level is just so cool, I’ll dismiss nothing out of hand.”

Ruin is scheduled for release June 6. Here is an excerpt from the book:

Chapter Ten

Corran Horn glanced up from his datapad. “Everything on the checklist is covered. I think we are ready to go.”

Admiral Kre’fey nodded slowly and escorted Corran across the Ralroost’s deck. The proximal docking bay had been cleared of starfighter, leaving a decrepit freighter as the sole occupant. “My engineers have assured me that the Lost Hope will be able to make it off the ship. How much longer it will hold together after that they will now say.”

“I understand, Admiral. We’ve all known this was a gamble from the star.” Corran sighed and slipped the datapad into a thigh pocket on his flight suit. “If it works, great. If it doesn’t, well, make sure others learn from our mistake.”

“Certainly.”

The problem of inserting a scouting team onto an enemy planet was one that had perplexed military strategists for ages. Ships often tried to slip in disguised as space debris, streaking toward a planet like a meteorite, then veering off under power once they were too low to the ground to be tracked. While the lack of an impact would tip the enemy to the fact that something was odd, the scout team could be well away from the area and safely gone to ground by the time investigators tried to puzzle out where they had gone.

With the Yuuzhan Vong, things got a bit more complicated because the New Republic wasn’t certain about the technical capabilities of their scanners. The fact that the Yuuzhan Vong used biologically based tools suggested severe limitations, but without actually knowing, there was no way to put together a sure plan to slip in unnoticed. Absent the ability to go in unseen, the New Republic decided to go for the other extreme and make sure the Yuuzhan Vong knew, beyond a shadow of a doubt, that their security had been penetrated.

Corran boarded the Lost Hope and retracted the gantry. He went up front to the bridge and waved at the admiral. He refrained from touching anything in there. Since the Yuuzhan Vong would undoubtedly investigate the crash, the New Republic knew they’d need trace biological matter in the ship to make the enemy believe the crew had not survived insertion into Garqi. Biomatter had been synthesized and sprayed around in all the logical locations, so any inquiry would have plenty of data to sort out in reconstructing the deceased crew of the Lost Hope.

He worked his way back to the main cargo hold and climbed into a much smaller ship, one of the tiny shuttle craft found on luxury liners. All six of the Noghri were jammed in the back and strapped in place. Ganner sat back with them, looking very large and uncomfortable since his feet rested on equipment and his knees were tucked under his chin. Corran slipped past Jacen and took his place in the forward of the two seats in the cockpit. He buckled on his restraining belts, then pulled on a helmet and opened a comm channel to the Ralroost.

“Lost Hope reporting in. Ready to go.”

“Copy, Hope. Two minutes to reversion.”

Corran initiated the start-up sequence. Both sublight engines came on-line, but the starboard one was producing only 75 percent of its usual power. “Jacen, can you see about bringing Hope’s starboard up at least another 10 percent?”

“As ordered.”

The older Jedi hit a button on his console and reports concerning the Lost Hope vanished, to be replaced by the monitors for Best Chance, the smaller shuttle craft contained within the freighter’s hold. Corran brought its engines on-line, and each reported 100 percent output. Repulsorlift coils reported operational. He hit a button that sealed Chance and made it spaceworthy.

“I’ve got Hope’s engines balanced.”

“Thanks, Jacen, The charges are set and functional?”

“Yes, ready to go on your command.”

“Good, we’re perfect.” Corran forced himself to smile. The plan was simple enough. The Lost Hope would leave the Ralroost and head down, then suffer a catastrophic engine failure. As it plunged into Garqi’s atmosphere, the ship would break apart. Debris would be strewn everywhere, and Best Chance would be able to fly away free. By the time the Yuuzhan Vong collected all of the Hope’s parts and figured out something was going on, the survey team would have returned to the New Republic.

The only Hutt spoiling the party was the lack of a hyperdrive on Best Chance. Without it, the only way the party could leave the system would be by rendezvousing with a larger ship, like the Ralroost. The lack of a hyperdrive made emergency extraction very tricky, but Corran knew that if they needed to get off Garqi in a hurry, they’d already be in enough trouble that there was no guarantee they’d ever get a chance to escape into hyperspace.

Corran flicked his comm unit over to address Ganner and the Noghri. “Get set for a wild ride. No guarantees on this one, but with any luck, we’ll all get out of it alive.”

Jaina’s X-wing shot free of the magnetic containment bubble over the Ralroost’s belly launch bay. She brought the fighter around on a heading that tucked it into the Rogue Squadron formation above Garqi. Anni Capstan, Jaina’s wingmate, designated Rogue Twelve, came up behind her, then Rogue Alpha, a recon X-wing piloted by General Antilles, completed the formation.

Colonel Gavin Darklighter’s voice came strong and steady through the comm channel. “Two flight, you’re on the snoop; One on my polar, Three below. Lock S-foils in attack position.”

Major Alinn Varth followed Gavin’s orders with a quick comment. “On me, Three. Tighten it up, Sticks.”

Jaina suppressed a smile. Because she was a Jedi and carried a lightsaber, and because she used a flight stick to control the X-wing, her compatriots had given her the call sign Sticks. She took it as a sign of acceptance, which was good, since she was a lot younger than the others in the squadron and didn’t have a fraction of their experience. They didn’t look down on her for those lacks. However, and had even bragged about her to some of the new recruits.

“As ordered, Nine.” She nudged the stick to port, bringing her into proper position in the formation. Jaina glanced back at the R2 unit riding behind her. “Sparky, pipe up if I slip out of formation again.”

The droid beeped an acknowledgment.

Colonel Celchu’s voice came through the comm channel. “Rogues, Flight Control here. We have ten skips coming up from Garqi. Intercept is plotted, being sent now.”

Data scrolled up on Jaina’s primary monitor, and Sparky tootled as he assimilated it. The skips–more properly, coral-skippers–were single-pilot fighter craft, similar in purpose to X-wings. But utterly dissimilar in design. Unlike X-wings, which were manufactured, skips were grown, forming a symbiotic union of various creatures that provided a hull, propulsion, navigation, and weapons for the stony ships. The pilot interfaced with the fighter through a hooded device that fed impressions to him and received his orders by reading his brain waves.

Jaina shivered. Her uncle had tried on one of the cognition hoods and experienced the contact with the alien fighter. She’d not been offered the opportunity to do the same, nor would she have taken it. Her experience as a Jedi built in her a dislike for anything trying to pick up stray thoughts, and having her head enclosed in a gelatinous membrane while that was going on was just not something she wanted to think about.

She looked at her monitors as the Lost Hope deployed from the Bothan Assault Cruiser’s belly bay. “Nine, I have two skips breaking off to go after Hope.”

“I copy, Sticks. You and Twelve are on them.”

Anni hit her comm unit’s talk switch twice, sending a double click through the channel in acknowledgement of the order. Jaina broke to port and pulled back on her stick, coming around in a tight turn. She inverted, then dived and cut to starboard to make her fist run at the skips.

“I have lead, Twelve.” Jaina flicked a thumb over her weapon-selection switch and linked her lasers for quad fire. She nudged the stick around and dropped the aiming reticle over the lead skip’s ovoid outline. She hit the fire-control button beneath her middle finger, starting the lasers through a fast cycle that spat out dozens of little red energy darts.

The scarlet bolts flew on target until ten meters from the skip, then they bent inward. The dovin basals that manipulated gravity fields to provide the skip with propulsion like-wise shielded it by creating gravitic anomalies. These little voids sucked the light in the like a black hole.

Jaina kept her fire steady, but let the targeting point shift up and back. To properly shield the skip, the dovin basil had to more the void, taxing its energy much as absorbing the bolts did. Finally a few stray bolts got past, scoring the black rock hull. Jaina then hit the primary trigger and sent a quartet of full-powered laser bolts into the skip.

A void picked one off, but the other three hit the skip’s aft hard. Yorik coral bubbled and evaporated in some spots, became fluidly molten in other. In the frigid vacuum of space, the mineral shell hardened almost immediately into an icicle trailing behind the Yuuzhan Vong fighter. The hot stone burned dovin basals and scorched neural tissue that allowed for control of the ship, sending the lead skip into a tight spiral that curled it back down toward Garqi.

The second skip proved to be more evasive. It juked and dove, cutting to port and starboard at random. Shots missed entirely instead of being absorbed by a dovin basal. The pilot had clearly learned that agility in space combat was worth as much or more than shielding. He used his skills as a pilot to avoid the X-wings and to draw ever closer to his target

“Cover me, Sticks.”

“Got it, Twelve.”

Anni Capstan’s X-wing cruised forward and broke hard to port, bringing it in on a slashing attack at the skip’s starboard aft quarter. She sprayed laser darts all over the ship, using her etheric rudder to keep the fire on target, and the Yuuzhan Vong pilot finally had to deploy a void to keep her shots off him. She cut loose with a full quad shot, but the void sucked all four of those bolts in, then the skip bounced up above Anni’s line of flight

Jaina saw the nose of Anni’s fighter come up and wondered for a second why she hadn’t fired another burst. It occurred to her that Anni’s lasers might be recharging, since she had sprayed a lot of energy around to little effect. The skip boosted forward, pulling away form the X-wing, and Jaina thought Anni would lose him since he could now use the dovin basal that had been shielding him to provide more propulsion.

Then fire blossomed on either side of the X-wing’s slender nose.

Throughout the time snubfighters had engaged in combat, a debate had raged over the efficacy of employing proton torpedoes against other starfighters. There was no doubting that the missiles would obliterate a starfighter. The weapons were designed for damaging much larger ships. To use them against a snubfighter was the equivalent of using a vibro-ax to kill an insect–gross overkill

Then again, in combat, can overkill ever be gross?

Jaina couldn’t be sure if the Yuuzhan Vong pilot realized that Anni had waited for him to pick up speed before she fired, or if he died assuming she had just gotten lucky. He did try to deploy another void, but it was late in materializing and only slightly altered the course of the second torpedo. The first one flew straight and true, slamming into the skip’s belly. It detonated in a burst of argent fire that fed up through the fighter like lightning. The fragmenting coralskipper disintegrated before her eyes, with the second torpedo flying through the heart of the blast and detonating a hundred meters beyond it.

“Great shot, Twelve.” Jaina smiled as she looked up at the Lost Hope. She could feel her brother on board. You’re safe now, Jacen.

Then a terrible explosion ripped apart the freighter’s port side, and the stricken ship started falling toward Garqi.

Hitting Jacen harder than the jolt from the explosion was Jaina’s shocked anguish. He’d tried to steel himself for it, having anticipated it, but the grief and sense of loss rolled through the Force all raw and jagged. He wanted to reach out to her, through the Force, and tell her all was well, but he could not.

Instead he pulled himself in, shutting down his presence in the Force. He’d not liked having to deceive his sister about how the Lost Hope would be used to get them onto Garqi, but fooling her had been necessary. No one knew how much the Yuuzhan Vong could read in terms of communications or emotions. Just because we are blind to them through the Force, we’ve no call to assume they are blind to us, too. Only by having the people on the ship and in the fighters think their freighter was going down could they be sure the emotions and communicants would be genuine.

“Jacen, my screen is showing a faulty linkage at J-14 is broken and has released prematurely. J-13 and J-15 are still holding, but pressure is beyond spec already.”

“Sith spit.” Corran turned in his chair enough to glance back at Jacen. “Get the secondary charges ready to go. blow them in sequence two on my mark. Be sharp. Can’t be worrying about your sister right now.”

“Yes, sir.” Jacen brought up the pattern diagram of the sequence two explosions. Six of the eight charges glowed green, but two others showed red. The two nearest J-14. “We have a problem, Corran. The charges near J-14 are bad.”

“Got it.”

Jacen looked past the pilot’s head and at the holographic feed occupying the area of Best Chance’s forward viewpoint.

The feed came from holocams mounted on the Hope’s hull, allowing the pilot to see what things looked like as the doomed freighter hurtled at the planet. The freighter was just beginning to hit the edge of the planet’s atmosphere. Little pieces of the hull began to glow from the friction, with scraps of paint ablating off as sparks.

Corran keyed a comlink. “Ganner, look out the starboard viewport. Can you see the two charges there on the stanchion? They’re blinking red.”

“I see them.”

“Can you use the Force to compress the det-chargers to the point of exploding?”

“Never done it before.”

“Well, we have to do it now. If you can’t get both, just focus on the upper one. On my signal.”

“I copy.”

“Jacen, get ready. Once his goes, you blow yours.”

“As ordered.”

The freighter bucked as the atmosphere became denser. Corran’s hand danced over the command console. He fed power into the repulsorlift coils, which slightly insulated the ship from the tremors wracking the Hope. The Chance shimmied a bit, and stresses mounted on some of the other connectors holding the two ships together, but nothing else released.

The freighter started to turn to port as the jagged hull there began to drag in the atmosphere. Corran fought it and tried to get the ship oriented on a simple flight path, then hit a switch that cut the power on the Hope’s engines. The whole craft lurched, then twisted as the atmosphere battered it.

“Everyone stand by. This won’t be fun or pretty.” Corran hit some switches on his console. “Ganner, blow the charges, now!”

The Force gathered behind Jacen and focused itself on the explosives. The first one blew easily and vanished from Jacen’s screen. Without waiting for the second, the young Jedi hit a button on his console, lighting off the other explosives in a rippling sequence that shattered the aft hull.

Corran hit a switch, and the connectors holding Best Chance inside Lost Hope all released. The smaller ship tumbled free of the shell that had had brought it into the atmosphere. Corran made no attempt to direct its flight or stabilize it, he just let it twist like any other piece of debris. As the ship came around, Jacen managed to look through the viewports and catch a glimpse of the Hope’s fiery descent to Garqi.

The altimeter built into Jacen’s console scrolled off the meters to the planet’s surface dizzyingly fast. Six kilometers shrank swiftly to four, then three and two. Jacen recalled a single klick being their margin of safety and sought any sense of anxiety from Corran as the small ship plunged past that barrier.

He got none, which brought a smile to his face. He could easily imagine his father sitting in the pilot’s chair, waiting and waiting to bring the ship to full power, pushing safety margins that he considered overly generous. Jacen didn’t necessarily think this willingness to undertake risks was part and parcel of being a Corellian as much as it was an artifact of the Rebellion. Pilots then had had to do outrageous things to win the freedom of everyone in the galaxy. For them, prudence gave way to efficacy.

Five hundred and seven meters above Garqi’s rain forest–covered surface, Corran boosted full power to the repulsorlift coils. This marginally slowed their descent but didn’t prevent the ship from plunging into the trees, shearing off limbs, splintering wood, and scatterin a colorful cloud of birds. The Best Chance crashed down through the upper canopy and through the midlevel before the repulsorlift coils met enough resistance in the planet’s mass to bounce the Chance back up.

Corran let the small ship hand there in the air as the purple leaves and gnarled branches strewn over the forward viewport began to shrivel and smolder against the hot hull. “Everyone okay?”

“I’m good.” Jacen glanced back at the others as they all reported in unharmed.

The small ship’s comm speakers crackled. “This is Flight Command Ralroost recalling all fighters. Evac countdown has commenced.”

“Rogue Eleven here. We have a freighter down.”

“We’re aware of that , Eleven. This hip broke up. No life signs.”

Jacen felt a shiver run down this spine. Jaina’s X-wing’s sensors would be too weak to pick up life signs at this great a range, so she had to believe he was dead. Just for a heartbeat he wanted to open himself up in the Force so she’d know he lived, but he stopped himself.

Corran turned and nodded to him. “I know it’s tough, Jacen, but she’ll be told the truth once the ‘Roost pulls out.”

Jacen shook his head. “I don’t think I’ve ever done anything like that to her before–to anyone before.”

“It would be great if you never had to do it again, either, but there are times when a little cruelty now saves more a lot later. It’s an unfortunate part of growing up.” Corran gave him a smile.

“I copy.” Jacen hit a button on his console and punched up a specific frequency. “I have a locator beacon on our contact frequency. Heading two-one-nine.”

Corran ruddered the ship around on that heading and fed power to the engines. The small ship began to move forward sliding through the forest. The branches scraped along the hull, and furry anthropoids scurried away in terror. The ship moved on, letting the purple world of Garqui swallow it and, hopefully, hide them and their mission from the Yuuzhan Vong.

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-08-11 16:00:45.

Star Wars – Aliens

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Star Wars – Aliens

Admiral Ackbar
Mon Calamari commander of the Rebel Fleet

As commander of the Rebel Fleet, Ackbar has one of the most important and demanding jobs in the Alliance. The fleet is the Rebellion’s most valuable asset and its most important tool to challenge the overwhelming might of the Empire. Admiral Ackbar was the natural choice for fleet commander.

Beyond the qualifications of his great skills and sterling character, Ackbar is a symbol to the rest of the galaxy: a symbol that the Alliance is fighting for everyone, no matter what their background or origin. The Empire, in contrast, has made discrimination against non-humans a longstanding policy.

Ackbar proved his competence while commanding the Shantipole project, which added the valuable B-wing fighter to the Alliance’s arsenal. He was also extremely influential on his home planet and was largely responsible for that planet’s decision to supply their precious Mon Calamari Cruisers, the cornerstones and largest vessels of the Rebel Fleet.

Although widely recognized as a fine tactician, it is his organizational and administrative abilities that make Ackbar an outstanding leader. He is known for being rather conservative in battle strategy, but this aspect of his personality is counterbalanced within the fleet’s command structure by the innovative impetuosity of his young officers and the aggressive nature of General Madine.

A case in point is the Battle of Endor. When the Death Star surprisingly went operational and began systematically destroying the Rebel Fleet’s most powerful vessels, Ackbar’s first instinct was to call off the attack. But Lando Calrissian pleaded with him to continue by engaging the Imperial Star Destroyers, in the hope that the Death Star wouldn’t be able to open up on them without hitting Imperial ships.

For all of his conservatism, Ackbar saw the logic in Calrissian’ radical plan and acted accordingly. The gamble paid off.

The battle over Endor proved to everyone that Mon Mothma’s choice for command of the fleet was perfect. It was the Alliance’s shining moment, and Ackbar deserves much of the credit.

Chewbacca
Han Solo’s 200-year-old Wookiee copilot

Strong, fearless, and an able pilot and mechanic, Chewbacca the Wookiee makes a capable ally to his friends and to the Rebel Alliance. A loyal friend to Corellian smuggler Han Solo, Chewbacca is his co-pilot when Luke Skywalker, Obi-Wan Kenobi, and two droids come aboard the Millennium Falcon for a fateful trip to Alderaan.

Chewbacca is a key part of the rescue plan for Princess Leia, acting as an ‘alien prisoner,’ allowing Han and Luke to infiltrate Detention Block AA-23 of the Death Star. It is also Chewie who persuades Han to go back to help Luke during his critical attack run on the Death Star’s fatal exhaust port.

It is later, during the events on Bespin that perhaps the greatest change takes place in Chewbacca. Roaring in rage as the Imperials began to lower Han into the carbon-freeze chamber, the Wookiee lashes out at the stormtroopers. It is Han himself who calms his friend and ends the berserker rage.

“Save your strength,” Solo calls out. “There’ll be another time. The Princess. You have to take care of her.”

It is then that Chewbacca realizes there is more to his honor family than just Han Solo. With Lando Calrissian in tow, Chewbacca and the Millennium Falcon return to Tatooine to await Luke Skywalker, firmly believing that together they can save Han from Jabba the Hutt.

His faith and belief in his friends continues throughout the war. Whether he is cramped inside a ship designed for beings much smaller than Wookiees, tied to a stake and at the mercy of the Ewoks, or battling a legion of the Empire’s best troops, Chewbacca remains confident that he and his comrades will eventually triumph.

Ewoks
Small tribal inhabitants of the forest moon of Endor

Only about one meter tall, the straightforward, even simple two-legged beings known as Ewoks are the antithesis of a high-technology culture. They are tribal and still use bows and arrows, slingshots and catapults as primary weapons. But through intense teamwork, and with a keen understanding of their environment and how to work with it to their best advantage, Ewoks have acumen and skills that cannot be replaced by high technology.

Ewok language is liquid and expressive, and not that difficult to speak for other species. Most tribe members are hunters and gatherers who live in clustered villages built high in hardy and long-living conifer trees, or life-trees. Ewok religion is centered around these giant trees, which legends refer to as guardian spirits. Each village plants a new seedling for each Ewok baby born, then nurtures it as it grows. Throughout their lives, each Ewok is linked to his or her “totem tree,” and when they die, Ewoks believe that their spirits go to live in their totem trees. Ewoks believe that their village shamans can communicate with the oldest and wisest trees in time of crisis.

From a life-tree’s bark, Ewoks distill a natural insect repellent. From fallen trees they make weapons, clothing, furniture and cooking implements. During the day, Ewoks descend from their high huts to hunt and forage on the forest floor. At night, they leave the forest to huge carnivores. Ewoks are curious and frequently get into trouble by being too nosy. They also love to hear and tell stories and are very musical, especially enjoying communal singing and dancing. And they are inventive, using natural materials to build everything from water-wheels to flying wings.

Jawas
Hooded scavengers of the Tatooine deserts

Intelligent but smelly scavengers of the desert, these rodent-like creatures are natives of Tatooine. About a meter tall and constantly jabbering in their own language, Jawas live in clans.

To protect themselves from the fierce double suns of their planet, they wear coarse, homespun cloaks with hoods; only their glowing eyes are visible.

 

Jawas travel and live in bands, using giant, treaded sandcrawlers for mobility and shelter. The crawlers can hold many dozens of Jawas as well as the droids and other machinery that they scavenge, repair and resell to Tatooine moisture farmers and others. Once each year before the storm season, Jawas make a trek to the great basin of the Dune Sea for a huge, secret rendezvous that becomes a great swap meet where they exchange news and salvaged items.

Jabba the Hutt
Grotesque and powerful criminal underlord

One of the galaxy’s top criminal underlords, Jabba the Hutt has been in charge of a major criminal empire since he was about 600 years old. He moved to Tatooine and established himself at a palace built around the ancient monastery of B’ommar monks. Its centerpiece is a huge throne room where Jabba constantly entertains and holds court from his high dais at one end of the room.

Jabba’s criminal empire knows no bounds. It includes smuggling, glitterstim spice dealing, slave trading, assassination, loan sharking, protection and piracy. One smuggler on his payroll is the Corellian Han Solo and his Wookiee first mate Chewbacca. But after Solo has to jettison a spice load to avoid Imperial entanglements, Jabba orders him brought in. It takes a few years, but bounty hunter Boba Fett eventually delivers Solo entombed in carbonite. Solo’s friends come to rescue him, and Luke Skywalker directly confronts the Hutt, who drops him into a pit to be eaten by Jabba’s pet rancor.

When Skywalker instead kills the rancor, an enraged Jabba orders all the Rebels to be taken to the desert and fed to the Sarlacc monster. But Jabba pays the supreme price for underestimating Skywalker, Princess Leia Organa and their friends.

Sand People
Savage nomads of the Tatooine wastes

 

A nomadic and often violent species, the Sand People of the planet Tatooine are as fierce and savage as their harsh desert environment. Also known as Tusken Raiders, even their appearance – born of necessity – lends them an air of menace. Wrapped in gauzy robes and strips of cloth from head to foot, their faces are concealed with breathing masks and goggles to protect their eyes. The frightening visage of a bandit Tusken Raider can terrorize as easily as their weapons.

The Sand People are easily intoxicated by sugar water and are most dangerous during their adolescent years, when they must survive rigorous rites of passage–such as hunting krayt dragons–to become adults. Since there is no written Tusken language, the storyteller-historian is the most respected member of Tusken communities. Many Tusken Raider clans of 20 to 30 individuals return annually to their traditional encampments in the Needles, a section of the Jundland Wastes, to wait out the dangerous sandstorm season.

The Sand People have an almost symbiotic relationship with their bantha mounts. A member who has lost his bantha is considered incomplete, and an outcast among his people. Likewise, when a Raider dies, his mount engages in a usually suicidal frenzy and is turned loose in the desert to survive or die on its own.

Tuskens live in an uneasy, and frequently shattered, peace with Tatooine moisture farmers. They attack settlements from time to time, using their traditional weapon, the gaderffii (or “gaffi”) stick, a kind of double-edged ax, or older projectile rifles. Targets of opportunity also include individuals or small parties roaming the desert, such as Jawa scavenging parties.

Wicket
A curious and resourceful young Ewok

 

This young Ewok helps the Rebel forces during the monumental Battle of Endor. Wicket W. Warrick is the youngest son of Ewoks Shodu and Deej. Wicket has always shown a greater-than-usual curiosity to explore the unknown.

When Imperials first come to Endor, the Ewoks are alarmed. Many want to declare war on them, but the Ewok leader, Chief Chirpa, reminds them that their spears couldn’t hurt the Imperial fortresses, and that the invaders have machines that can fly through the air or burn the forests. But one night, as the villagers gather around the fires, young Wicket recounts how he had witnessed an AT-ST “walker” stumble on the rocks, fall, and explode. So the Ewoks do have a way to fight back, and they start preparing for battle.

While on a foraging expedition, Wicket comes across an unconscious Princess Leia Organa, who has been thrown off a speeder bike during a chase with Biker Scouts. Although she initially spooks him, Wicket senses her innate goodness. He returns with her to the village, only to find that Leia’s companions have been captured in an Ewok hunting net.

Even though Wicket pleads their case to Chief Chirpa, it takes some Jedi tricks from Luke Skywalker to free the rebels. Wicket then is a major factor in convincing the tribe to help the Rebels try to blow up the shield generator protecting the second Death Star.

Yoda
Wise master of the Force and teacher of Jedi

A long-lived Jedi Master, Yoda is the conduit for the rebirth of the nearly-vanished Jedi Knights. For more than 800 years, the diminutive green being has trained Jedi Knights in the ways of the Force, but rarely has he faced such a challenge as the impetuous young Luke Skywalker.

By the time Luke encounters him in the bogs of Dagobah, Yoda is nearly 900 years old and walks stooped over with the help of a gimer stick. He subsists on things that nature offer him, eating plants and fruits and fungi, and building his home of mud, sticks and stones.

 

Yoda’s path to Jedi wisdom seems simple, yet profound. He makes his students unlearn what they had been taught, helping them to tune in to the subtle world around them to learn its truths. “A Jedi uses the Force for knowledge. Never for attack,” he tells them.

When Emperor Palpatine ordered his purge of the Jedi, Yoda went into hiding on Dagobah. He uses the Force and the planet’s own natural defenses to discourage visitors. But he has kept watch on Luke Skywalker and Leia Organa. After escaping almost certain death from a wampa ice creature on Hoth, Luke sees Ben Kenobi in a vision, telling him to go to the Dagobah system to continue his Jedi training with Yoda.

Yoda lectures young Skywalker about the Force while Luke performs rigorous physical and mental exercises. Yoda especially cautions him against the easy path of anger and the lure of the dark side of the Force.

When ordered to undertake a particularly daunting task, Luke says he’ll try. “No! Try not,” Yoda says. “Do. Or do not. There is no try.” Despite Yoda’s plea, Luke leaves before his training is complete when he senses that his friends are in danger. By the time Luke returns, Yoda is close to becoming one with the Force.

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-01-20 22:54:03.

Widescreen vs. Full Screen

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Widescreen vs. Full Screen

Choosing a Format

When it comes to filling out a home video library, today’s consumer has more options than just a few short years ago. The popularity of the DVD format has overflowed beyond a small niche of videophiles and A/V gearheads, and is now attracting the casual consumer who enjoys movies, but may not have his or her den lined with the latest bone-shaking sound system and crystal clear plasma screens.

As a result, the choice of purchasing a full screen edition versus a widescreen edition of a movie is sometimes filled with confusion or misinformation. Aspect ratios can get even the most avid movie buff momentarily confused when terms like “4 x 3,” “pan-and-scan,” “2.35” and “cropped” are casually thrown about.

Come November 12, Episode II Attack of the Clones will be available on DVD in both a full screen and widescreen edition, and on VHS in full screen. Starting November 1, Episode I will be reissued on DVD, this time in a new full screen format. For those Star Wars fans that aren’t completists, which version is the right one for you?

A widescreen edition of a movie presents the film frame as it was seen in the movie theater. Since a movie screen is a wide rectangle and a television screen is more like a square in shape, the movie image has to be sandwiched between two black bars to fill up the space, because you can’t fit a rectangle into a square and fill it. This is also referred to as the “letterbox” format.

A full screen edition of the movie does away with the black bars, and instead fills your television from top to bottom with image. However, since it’s impossible to cram a rectangle into a square, the sides of the film frame have to be chopped off (or “cropped”). You’re only seeing a portion of the entire image, but that image at least fills up your television screen. This is what the disclaimer “This film has been formatted to fit your TV” means. It is also known as “pan-and-scan” format for reasons explained later on.

Most film enthusiasts will point you towards the widescreen edition. This is the version that best preserves the filmmaker’s original intent. You get to see the entire frame as it was envisioned; nothing gets cut out. Considering how visually dense a Star Wars movie is, scenes like the Geonosian arena, the Clone War ground battle or the Coruscant speeder chase are jam-packed with characters and action, so cropping the image invariably results in losing some intricately-designed detail. Easter egg-hunting viewers won’t be able to find the X-wing and TIE fighters in the full screen Episode II DVD, for example; they were cropped out of frame in order to fit the more important action on the screen.

But widescreen takes up valuable screen real estate with those black bars, and that annoys some. A viewer with a small television screen would be able to see the whole film frame, but at the cost of image size. With full screen, what’s visible is bigger and in a higher resolution. Sure, you see less of the total image, but you are “closer” to what you do see. Some viewers think full screen provides a more engaging experience, especially in dialogue scenes, since the characters are bigger in frame, and you can more closely study their performances.

The disparity between screen sizes is the result of a battle for viewers that has been waged between the big screen of cinema and the small screen of television. Many wonder why the TV was designed as a square since most movies are rectangular in shape.

It didn’t used to be that way. When televisions began to spread in 1950s, the square image area of the small screen was proportional to what you’d find in your local cinema as well. So, don’t bother trying to hunt down that elusive widescreen edition of Citizen Kane — movies of that vintage just weren’t as rectangular. Their then-standard size determined the aspect ratio used in the manufacturing of televisions.

History of Aspect Ratios

The term “aspect ratio” refers to the ratio of the width of the screen compared to its height. A standard television’s aspect ratio is 1.33:1. That means it’s 1.33 times as wide as it is tall. This is also sometimes referred to as “4 x 3,” because mathematically, for every four inches across, your image is also three inches high.

Movies started to get wider and wider in order to attract television viewers back to the theater by delivering a truly unique experience. It was 20th Century Fox that developed the CinemaScope format, which became a standard in the ’50s and ’60s. Star Wars fans are very familiar with the rolling snare drum and horns that signify the start of a Star Wars movie. That extra flourish added to the end of the Fox Fanfare, which accompanies the Lucasfilm logo appearance on the screen, was originally used to denote movies shot in the CinemaScope format.

The term CinemaScope isn’t used much anymore, as the Panavision process gave its name to that particular aspect ratio. Though other aspect ratios exist, most movies are either 1.85:1 (called Academy Flat) or 2.35:1 (called Anamorphic Scope, Panavision or CinemaScope).

All Star Wars movies are shot in Anamorphic Scope, the wider of the two ratios. Transferring them to the television screen requires plenty of black-bar space in widescreen format, or plenty of cropping in the full screen format. Anamorphic Scope is so wide that even the newer widescreen televisions still need to put some black-bar space in order to fit it all in.

It was only until recently that video consumers began demanding a choice. Full screen was the standard for years for videocassette editions and television broadcasts of feature films. As a result, most of the Star Wars generation that grew up with the saga on video in the early ’80s were very used to the cropped editions of the film. So much so that when the films were re-issued theatrically in 1997, many presumed new elements were added to the film that were in fact always there. For example, in The Empire Strikes Back, as Imperial captains report to Lord Vader from the Hoth asteroid field, a Star Destroyer is severely damaged. That holographic captain flinches and suddenly vanishes mid-transmission. Many thought that was a new addition to the Special Edition, but it had been part of the film since 1980. It had been cropped out of previous video releases.

In cropping the widescreen image to fit a full screen frame, the focus of a scene is sometimes repositioned, so that something that was on the far left of the screen, for example, is now more centered. Sometimes, the action is on both sides — like two characters having a conversation from either end of the screen. To feature both characters in a full screen format, sometimes the scene will cut from character to character, introducing cuts that never existed in the theatrical edition. Other times, the image artificially pans from one side to another, even though the original widescreen shot had no camera movement. This is the source of the “pan-and-scan” nickname.

As home videocassette libraries grew, film buffs grew dissatisfied with the limitations of videotape and its default full screen format. Even on high-end systems, the muddiness of the picture quality and constant wear and tear on the tape would interfere with the presentation. Laser discs became the film aficionado’s first choice, and widescreen Star Wars movies found a natural home in that short-lived format. It wasn’t until 1991 that Star Wars came to VHS in widescreen.

When the DVD format first appeared, it was eagerly adopted by movie buffs, but it took a while for the casual home video viewer to switch from VHS to DVD. Now, the DVD audience is growing, and it’s no longer just for big-screen home theaters. For these new consumers, the familiar full screen option is there, though widescreen VHS has pretty much vanished as a choice. Consumers that are concerned about preserving the widescreen aspect ratio have already switched to DVD as their preferred format.

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-09-08 02:03:28.

The Circle is Now Complete: Classic Marvel Talents

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

The Circle is Now Complete: Classic Marvel Talents

Walter Simonson

Back in the late seventies and early eighties, when the classic Star Wars trilogy was still young and the label “expanded universe” did not even exist, the base of material that extended beyond the films was relatively small. There were the novelizations, six 100+ page books focusing on the pasts of Han Solo and Lando Calrissian, and a handful of children’s books, but the meat of what came to be known as the expanded universe belonged to the visual realm of comics.

In those early years, Star Wars comics could be found in two different forms: the newspaper, predominantly shaped by the hands of Russ Manning, Archie Goodwin and Al Williamson, and those published in the traditional comic book format by Marvel Comics. In the mid-1990s, Dark Horse Comics reprinted the newspaper strips. This month, Dark Horse continues its trip back in time with Classic Star Wars: A Long Time Ago. The first installment reprints the initial 20 issues of Marvel’s regular Star Wars run, and is the first of seven volumes bursting at the seams with 336 pages of stories, the majority of which haven’t been seen for 25 years.

Two of the artists who contributed considerably to Marvel’s Star Wars series were Walter Simonson, who worked on the series after the release of The Empire Strikes Back, and Cynthia Martin, who contributed after Return of the Jedi.

Simonson is a veteran of the comic book industry, working on such projects as Thor, Fantastic Four, Orion of the New Gods, and is presently working on The Path. He has also worked on a licensed product for Dark Horse before, in the form of Robocop vs. Terminator. Simonson had already been in comics for nine years when he was asked to take the reigns of Marvel’s Star Wars monthly from artist Carmine Infantino.

“I was offered the opportunity to pencil the book by the editor and I liked the characters,” Simonson says. “I thought it would be fun to do, so I accepted.”

Simonson co-plotted most of the issues he worked on with writer David Michelinie. “[We] did run into a few unexpected problems,” Simonson says. “When I was working on the comic book, it was right after the second film had been released, so our continuity had to match the state of things at the conclusion of The Empire Strikes Back. This had some implications. For example, we couldn’t use Han Solo. But it gave us some room to work in that probably wouldn’t be available these days.”

Marvel’s series was inarguably a bold enterprise in terms of continuity. Unlike the current ongoing series, the early monthly series had the freedom to build its stories directly around the exploits of the classic trilogy’s main characters while the trilogy was still in progress. However, this understandably led to some difficulties.

“We did run into an immediate story snag,” Simonson says. “David’s first idea was extremely logical. It was to do a story about the Empire building a new Death Star and putting chicken wire over the exhaust ports — not really chicken wire but you catch my drift — and we were told we couldn’t. We weren’t told why not, but it was instantly obvious to us that that was going to be the thrust of the third film.

“In addition — and this is absolutely true — we had an idea for some sort of storyline involving small creatures and hang gliders. However, we were told we couldn’t do it, again without explanation. I have to say, that did puzzle us. We’re walking around thinking, ‘So, the third movie has some sort of hang gliding creatures versus the Death Star!?’ It was pretty funny.”

Eventually, after the release of Return of the Jedi, Marvel published a Star Wars comic with elements similar those described by Simonson — #73 “Lashbane,” though the issue was written and illustrated by the team of Jo Duffy and Ron Frenz.

Simonson also elaborates on a thematic problem after Empire. “Other restrictions became apparent as David and I went along, but they were generally more about characters than plots. We were told we couldn’t have anything romantic develop between Luke and Leia although we were not told why. We also found that we couldn’t have Darth Vader actually meet Luke face to face. That was a bit of a crimp, actually. Here we’re doing a comic in which one of the principal heroes couldn’t actually confront the principal villain, the other principal hero [Han] wasn’t available at all, and the heroine couldn’t become involved with the hero we did have access to.”

Despite the restrictions, Simonson says that the experience was a positive one. “I really enjoyed working on the characters and the situations back then, and I thought David and I did creditable work with the material. I’m very pleased that some of the stories are apparently remembered fondly by fans.”

Cynthia Martin

In contrast to her predecessor, Cynthia Martin had very little experience when she was asked to illustrate the Star Wars series after Jedi. “I had penciled exactly one book, a double-sized issue of Ms. Victory for an independent publisher. I was never paid, so strictly speaking, Star Wars was my first pro job. I leapt at it.”

Excitement was Martin’s initial reaction to the assignment, the illustrator says, though that quickly changed to dread. “I had been an enthusiastic fan since the summer A New Hope opened in theaters. Once the joyous delirium wore off, though, I realized that I had no experience drawing a monthly book. I was scared stiff.”

Martin got over her fear, however, in part due to her partner on the series, writer Jo Duffy. “I had the great fortune to work with Jo Duffy, a writer of exceptional imagination and talent. She was a tireless source of funny, clever ideas, and provided mountains of reference for the visuals she wanted to pursue.”

Like Simonson, Martin says there were things she was not allowed to do. “At one point, we had finished a cover that portrayed a victorious Ewok wearing a stormtrooper helmet, and it was pulled with the directive to redraw it immediately — it made the Ewok look too ferocious, or something.”

Martin, along with Duffy, was responsible for creating the Nagai, a race of slender and pale post-Jedi intergalactic invaders, anticipating the Yuuzhan Vong from Del Rey’s New Jedi Order series. Described in the expanded universe as looking like “emaciated specters” and flaunting eighties-style punk hair, Martin explains how she came up with their visual design.

“Jo Duffy suggested that I look at anime for inspiration for the Nagai,” Martin says. “This was back when anime was scarcely known in the mainstream; Jo was really ahead of her time. She showed me a Japanese comic about a tragic vampire that had a strong influence on my concept drawings.

“Jo’s main baddie, Den, was a rather conflicted dude, despite his propensity for cruelty, and I made him as thin as I could to imply that he had certain vulnerabilities. I retain a great affection for that look…and that hair.”

Along with Duffy, Martin worked on the very last issue of the series, #107 “All Together Now,” which they did not realize was going to be the last issue until the last minute. “To my recollection, that last three-fourths of an issue never saw print. Jo and I got our kill fee and it went into the bin, and I believe we scrambled to get another issue together that would tie up a few plot threads. I felt pretty bad about the cancellation, as I had just hit a kind of stride with the [series] and was starting to feel like I could produce some exceptional work. But that’s the way it goes.”

Martin states that she would love to work on Star Wars again. She especially feels an affinity for the work of young adult novelist, Jude Watson. “I would give a lot to work on a comic based on Jude Watson’s Jedi Apprentice books. I think it’s a natural. Or a limited ‘prequel baddies’ series, starring [Watson’s] Xanatos, of course.

“I’m still an enthusiastic fan of Star Wars in all its forms: the movies, the EU books, the comics,” Martin says. “It’s been a source of enjoyment for many years, and I’m always astonished at what a fertile source of inspiration it is for so many gifted people. I really enjoyed being a part of that.”

Randy Stradley & Jan Duursema

There are a select few creators that worked on the Marvel Star Wars series that have been chosen to return to the galaxy far, far away under the Dark Horse banner. One, Al Williamson, was already a veteran when he did work on Marvel Star Wars, helming the artists’ side of the adaptations for both The Empire Strikes Back and Return of the Jedi. But for the most part, Williamson only did Star Wars covers for Dark Horse, though he inked the adaptation of the A New Hope Special Edition. With Episode II, the reigns have been passed down from one Marvelite to another. Jan Duursema and Randy Stradley may have started out at Marvel as Padawans, but now they’re taking over Star Wars movie adaptation and editing chores, respectively.

“Issue #86 [‘The Alderaan Factor’] of the Marvel Star Wars comic was my very first comics job, right out of the gate,” says Stradley, who recently became Dark Horse’s new Star Wars editor. “I had been working with both Chris Warner and Mike Badger on comics stories for APA-5 (an Amateur Press Association publication) that we shelved when we both started getting professional work, so I had some experience in writing comics scripts. However, the Marvel job required me to write ‘plot-style,’ which was a new experience.” (For trivia hounds, Stradley was able to sneak an APA reference somewhere into “The Alderaan Factor.”)

Duursema, who illustrated the comics adaptation of Attack of the Clones this year, was also relatively green in the business when she worked on issue #92 “The Dream,” having done work on Arion Lord of Atlantis and Warlord. “I had only been in the [comics] industry for a few years before working on Star Wars at Marvel. Being such a big fan, I could not have passed up the opportunity to work on Star Wars when it was offered! I was working on another project at the time, but worked overtime to be able to draw the Star Wars issue as well. I figured I would never get another chance.”

That chance, and the motivation, came back to Duursema in 1999. “I returned to Star Wars because of The Phantom Menace. When I went into the theater to see that film, I was not sure if I wanted to draw comics anymore. After seeing the story of Obi-Wan, Qui-Gon and the Jedi of the Episode I era, after seeing the final battle with Darth Maul — I knew I had to draw Star Wars comics again.”

Duursema says that she was hesitant to ask for more Star Wars work during the Marvel days because she was so new to the industry, but Stradley reveals that he tried submitting a number of other stories… without much success. “Then-editor Ann Nocenti asked me to write more Star Wars stories, but she wanted all of the stories to include Hoojibs — those little, telepathic bunny-rabbit aliens,” Stradley says. “I tried coming up with stories to include hoojibs, but since about all they could do was ride around on Luke’s shoulder, I could never satisfy myself that they needed to be in the stories. Consequently, I’m sure most of my submissions that included them sucked.”

“Alderaan Factor,” however, has always been a favorite among fans. The hard-hitting story deals with a stormtrooper who struggles to reconcile his Alderaanian background with his service to the Empire.

“I wanted to give the stormtroopers a face,” Stradley says. “It seemed so strange that we never saw any of them without their helmets in the films. It’s easy to hate and kill a faceless enemy. It’s harder when you see how human they are.”

Besides these stories, Stradley says that he also submitted a Han and Chewie story that was rejected because it was deemed “too dramatic,” as well as a story involving the remnant of the Emperor’s Royal Guard. “I was told that Luacsfilm had, at that time, put [the Royal Guards] off-limits. Luckily, twelve or so years later, I got to use them in Crimson Empire.”

Crimson Empire is only one of several Star Wars comics that Stradley has penned for Dark Horse, including its sequel Crimson Empire II: Council of Blood and the Jedi Council mini-series, Acts of War.

Stradley said that while the Star Wars films concentrate on epic themes, he likes to scale the action down a bit. “I always like the smaller, more personal stories best. Because the movies contain so much big action and so many galactic threats, a lot of writers want to replicate that in the comics and fiction. Unfortunately, because the stories are almost all considered ‘canon,’ it means that the Star Wars galaxy is subjected to a constant stream of dire threats. To me, it strains credibility.

“I’d much rather see a smaller story, the events of which are important to just one or two characters. I say, leave the big stuff to the films. I guess my favorite would have to be the good parts of ‘The Alderaan Factor,’ and the Kir Kanos solo story, [Bounty Hunters #3] ‘How the Mighty are Fallen.'”

While Stradley’s Star Wars work has tended to favor masked characters — stormtroopers, Royal Guards, and bounty hunters — Duursema seems to have a thing for Sith Lords, illustrating Darth Maul for that title series and both Anakin and Count Dooku for the Clones adaptation. But Duursema’s first dark side villain was the character Flint for “The Dream.”

“Flint’s character was sort of an analogy for Luke… sort of a, ‘What if Luke had gone to the dark side?’ kind of story,” Duursema says. “Flint was a cool character to design. [Writer] Jo Duffy and I both liked the samurai influences on Vader’s costume, and wanted to hint at that, but we both really wanted to pull in something stylistically unique to Flint. So I researched Far Eastern armor, as well as medieval armor, and tried to come up with a blend for Flint’s costume. Lucasfilm was really open to interpretation of design for this character.”

Currently, Stradley is working on a story for Star Wars Tales. Don’t look for his name in the credits, though — the story will be written under a pseudonym. As for Duursema, she is currently working on a story arc titled “Rite of Passage” for Dark Horse’s monthly Star Wars series, which highlights Aayla Secura — an expanded universe character that makes an appearance in the film version of Clones.

Bob Layton

Bob Layton is a giant in the comic book industry. Besides working on a number of comics titles, including Iron Man with his friend and fellow Star Wars scribe David Michelinie, Layton is the founder of two comic books companies, Valiant Comics and the Future Comics, the latter along with Michelinie.
While Layton only worked on one Star Wars comic for Marvel, it was a biggie. Layton co-scripted and illustrated #78 “Hoth Stuff!” the first time the expanded universe every shined the spotlight on the beloved working man of the classic trilogy, Wedge Antilles.

Layton says that several factors contributed to his decision to create a story around Wedge. “Mr. Lucas felt that Wedge was important enough to include him in every feature film. So [I thought], why not? I got the impression that Wedge represented the ‘everyman’ in the Star Wars epic. Also, we didn’t have to worry about continuity or stepping on anyone’s toes at Lucasfilm with a Wedge story. It just made sense at the time.”

In “Hoth Stuff!” Wedge, is stranded on the frozen planet with his gunner Janson after the events of The Empire Strikes Back, and the soldiers have to survive the elements, the native fauna, and scrupulous scavengers until help can arrive.

“[Wedge] seems to be a survivor of horrendous events, the guy that was there to see the ‘Big Battle,’ but not of consequence to the major players in the struggle,” Layton says. “Since he was always near the action, it seemed appropriate to focus on him in our story.”

Layton says that he and Michelinie did pitch some ideas for new Star Wars comics, but nothing ever came of them. “They were very good springboards that dealt with aspects of the Jedi that haven’t been explored to this day.”

guest-written by Abel G. Peña

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-09-10 02:44:33.

Holiday Special: Lumpy Speaks

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Holiday Special: Lumpy Speaks

Patty Maloney, Lumpawarrump (“Lumpy”)

Patty Maloney is the only member of the Wookiee family still involved with acting [Peter Mayhew has since recounted his role as Chewbacca in Episode III after this interview was conducted]: Mickey Morton, who played Chewbacca’s wife Mallatobuck (a.k.a. Malla), passed away in early 1998. “He was the sweetest man,” remembers make-up effects artist Stan Winston. “He had a good sense of humor” [read more from Stan Winston below]. Paul Gale as Attichitcuk (“Itchy”), Lumpy’s

350-plus-year-old grandfather, has retired from acting. “He was just like being with family,” recalls Patty Maloney. “He was so much fun to work with. Paul had worked for Sid & Marty Kroft. That’s were I first met him. He played Hoo Doo on the road show that we did of Pufnstuf and was in Sigmund and the Sea Monsters.”

Maloney has been obsessed with acting since a very young age. “When I was about four years old my mother put me into dancing school and, the minute I walked out onto that floor and looked into the mirror, I went ‘(gasp!) This is it! This is what I want to do!’ I was really, really tiny and I even didn’t know that I was never going to grow any taller, so my dream was that I was going to be a chorus girl on Broadway. I studied dance from then on. That was my life. I would go right from school to dance classes. When the last class was over I went home and slept and got up the next day and did it all over again. I did this five days a week, and on Saturdays I was in dance class all day long. I loved it.”

She has had an extremely fruitful career, having worked on countless ’70s sitcoms and shows such as Charlie’s  Angels and the original Love Boat. “When I came to Cailfornia in 1972 with $500 in my pocket, I figured ‘When that’s gone, I’ll return home to Orlando, Florida. I never left because I never stopped working.” Maloney has played many costumed characters besides Lumpy, including McDonald’s Early Bird, Goofy Gopher, and Bonita Bizarre for a travelling Sid & Marty Krofft show, and Piglet on Disney’s Welcome to Pooh Corner. More recently [in 1998], Maloney was in an episode of Star Trek: Voyager. “I had a great time in that. It was an episode called ‘The Thaw’. There wasn’t a mask on my face. It was all done with make-up. We were aliens that invaded the crews’ minds.” When she reflects on her career, Maloney cannot single out a favorite project. “I can’t think of anything that I haven’t liked doing.”

FAX: Do you remember auditioning for the role of Lumpy?

MALONEY: Oh, I sure do. I probably auditioned with ten other people, I was the only female that I’m aware of that auditioned for the part. I was surprised, being a female, that I got it but I was thrilled with it. I just loved doing Lumpy.

FAX: What was it like working with the cast of Star Wars?

MALONEY: I thought it was great! It was like icing on a cake to be able to work with those people. Harrison Ford was just the most wonderful person to work with. He was so nice to me. While we were shooting the scene where Han and Chewie arrive at the Wookiee planet, he had a line were he had to say “My he’s grown, hasn’t he?” and he’dsay. “My she’s grown, hasn’t she?” (laughter) And they say, “Cut! Harrison, Lumpy’s a boy,” and he would say, “Oh yeah, that’s right. Let’s do that again.” And in the next take he said “My she’s grown, hasn’t she?” They would go “Cut! Harrison!” He would go “Oh, I know, but I can’t look at her when she doesn’t have this mask on, and think of her as a boy when she gets into this thing.” He was wonderful, and everyone else was great.

We had Ben Burtt, the man who does the sound effects for Star Wars. He came into the dressing room one day and he had me do a tape of my voice, and then he engineered it to all different sounds: high, low, fast, and slow. He sent me a tape that was incredible, just so that I could hear what you could do, engineering voices. He was so fascinated with my voice that he wanted it just for his own.

FAX: How would you describe Lumpy?

MALONEY: Lumpy was like an impish little boy that was rebellious. Very active and curious about everything. If his mother said “Take out the garbage” he would reply “I don’t want to do that now! I’m too busy doing something else.” He loved his grandfather and adored his father, which was obvious when Chewbacca came home. He was just an inquisitive, active, and happy Wookiee. He was not really afraid of the stormtroopers, but a little timid of them when they would get upset with him.

FAX: You obviously had to convey a lot of information with mime, since the first half-hour of the show involved the Wookiees who don’t speak English.

MALONEY: Exactly. Well they had a Wookiee language, and we even went to a class to listen to it on tapes to educate us on what their language was like, and if we heard a particular sound, we knew what it meant to us. But it was basically doing mime. The feelings had to come from the whole body in order to get across sorrow and happiness. It was just a wonderful experience.

A lot of the scenes — such as where I’m at the holographic chess table watching alien acrobats — were done where I couldn’t see any of it. It wasn’t there in front of me at all. The director would say, “They’re swinging up to your right,” and I would look up, or he would say, “They’re finished so you can applaud” and I would clap. It was all done by being spoken to, not by any visual references, which was really interesting to do because it’s hard to do that. When I saw it all put together I went “Whew! That’s amazing!”

FAX: Lumpy, Malla and Itchy’s faces were more expressive than Chewbacca’s. Also, Lumpy’s eyes conveyed a lot of expressions.

MALONEY: Yes. The only part of me that you saw were my eyes, and the area around them was painted black. So the expression that I had to give came out of my eyes. It was a new experience because they had just started doing electronic faces. Stan Winston had made the mask for me. I had wires that went down my arms with little rings on my fingers that I could pull and make the nose twitch, make the lips curl up and smile a little bit and open up the mouth alittle bit so the teeth would show. Chewbacca, on the other hand, was more solid. I don’t think he had that kind of movement in his face. It was really fascinating to do it. When they wanted to do a tight close-up. and I had to use my hands to pick up props or something, Stan Winston would sit behind me and work the strings for me.

There were so many things to be done simultaneously in the close-ups. In the long shots, I had to control the cables myself because he couldn’t follow me around.

FAX: It must have been difficult operating your facial expressions with your hands, and doing body gestures simultaneously.

MALONEY: Yes, but it was just a matter of coordination. I thought of it as a dance routine: you get a rhythm going and you almost count it. I almost felt the music without the music being there.

FAX: What were your favorite sets?

MALONEY: I particularly liked Lumpy’s bedroom, which was supposed to be upstairs. It was like going up into a tree. I loved all the toys that they put in there for Lumpy. The scene that I liked the most was when Lumpy went upstairs and found that the troopers had destroyed his toys and pulled the head off the Bantha and how sad it was that his favorite toy had been destroyed.

FAX: How long did the filming last?

MALONEY: I think it was about ten days. We worked very hard and we worked very long hours. Sometimes we would work until two or three in the morning but we just laughed and had fun. It was hot being in that costume but everybody was so wonderful to work with that I forgot about it. One of the most wonderful things was that when I finished the show they sent me a bonus, which you hardly ever get in this business. They also had a director’s chair delivered to my house with the name Lumpy on one side and my name on the other. Smith-Hemion, the producers, did the Emmy Awards for a long time and they’re a wonderful production company.

Read on for some comments by make-up effects artist Stan Winston…

Stan Winston, Wookiee Make-up

By Ross Plesset

One of the most impressive achievements in The “Star Wars Holiday Special” was the creature make-up. Stan Winston created Chewbacca’s family using leading-edge technology. (Winston was not involved in all of the special effects make-up for the show. According to Miki Herman, Don Post Chewbacca masks were used for the Wookiee crowd scene at the climax. For the recreation of the famous Star Wars cantina, Lucasfilm provided the original masks while Rick Baker and crew provided some new characters).

Several people had input into the Wookiee’s design. Many of their characteristics can be attributed to Ralph McQuarrie. “I drew an old Wookiee getting up out of his chair and several females and children,” he says. Stan Winston and his colleagues also contributed to the designs. Recalls Tom Burman: “I helped [Stan] with some ideas for the hair on the Wookiees’ bodies and my brother Ellis Burman worked with him on the mechanical faces.”

Winston describes his work on the show, which he considers a pivotal point in his career:

“It was quite an opportunity for me. I was able to use a Stuart Freeborn concept, which was very in inspirational to me and my whole career, as a spring board to advance the technology in the direction of where we are today. Stuart had developed the lip articulation for the apes in 2001 and then had created Chewbacca for Star Wars. For the “Holiday Special” they had to have this family of Wookiees and, to my good fortune, Stuart wasn’t available. I had done some lip articulation on The Wiz with the flying monkeys, and this was a chance to take it a step further. The production company sent me the original Chewbacca head so I was able to look at it and see how Stuart had originally done it. I used that as my inspiration to take it to another level, where I could put some expressions into the faces besides having the mouths open and pull back. It allowed me to move into the animatronic face phase of my career.”

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-10-10 16:00:31.

Drawing a Tauntaun

Welcome to a look inside The Holocron – draw STar waRS. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Drawing a Tauntaun

Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.

Creator of the comic Mouse Guard, artist David Petersen explains with these easy-to-follow steps how to draw a tauntaun.

For his drawing, David Petersen used:

  • a 0.5 mechanical pencil with HB lead
  • a variety of erasers (white, kneaded, and click)
  • a SAKURA Pigma Sensei ink pen
  • Strathmore Bristol

“However, as an artist, you should always find the materials you enjoy and feel most comfortable with,” Petersen says. “You can do just as nice of a drawing with a traditional wooden pencil or a ballpoint pen as you can with expensive art supplies.”

Steps 1-4 are drawn lightly with pencil. No pen, no dark lines. Finished lines and details will come at the end.

Step One:
Start with the tauntaun’s spine line. I started with this rough “S” shape so that I know my drawing is going to fit on my paper.

Step Two:
By using rough and simple shapes like these ovals and circles, I can start filling out the body, head and snout of the tauntaun.

Step Three:
Make a line across where the shoulders will be and add little circles for where the shoulder joint will go. Another oval shape gets added for the start tauntaun’s big leg.

Step Four:
Tauntauns have little T-Rex like arms, so starting at the shoulder joint, add lines to show where the arms and hands go. Add the bottom of the leg facing you. Don’t worry about the back leg yet, we will get to that later. Tauntaun legs have a knee joint that bends backward from what we humans have.

Step Five:
Now it’s time to start filling out the body shape. Add the lines for the tauntaun’s outer neck, belly, leg and tail. Don’t forget the little spade shape on the end of the tail.

Step Six:
The same way we filled out the body in Step 5, we do the same for the arms in Step 6. Three little ball shapes at the bottom of the foot will form the toes. On the head, add two little ovals for the ears, draw in the line for the mouth, and add the horns. The horns are a little tricky, but they are basically shaped like a crescent moon that lost its tip.

Step Seven:
Using circle shapes, make guides for where the nostrils will go (tauntauns have two pair) and where the brow ridges are. There are a lot of steps here about placing where things go. If you jumped right in to drawing features, you might find that one eye is higher than the other is or they are spread too far apart. That is why these simple shapes help you see if the placement is right. If you don’t think you have it right, just give a quick rub of the eraser and try again!

Step Eight:
Add the first set of nostrils and make two almond-shaped circles where the eyes will go. Tauntauns have some little horn bumps that protrude from their skin. I added little nubby shapes where I want mine to go on the forehead and cheek.

Step Nine:
The second set of nostrils gets added under the first set. Start working on details like the ridges on the horns, the fold around the nose and cheeks and the mouth. Add furry lines on the body (something that I’ll do a lot more of when it’s time to ink the drawing.)

Step Ten:
This step is just more of going over the lines you like to bring out the forms of the nose, eyes, hands (three fingers each) and add fur.

Step Eleven:
This is the last pencil step. We finally get that back leg! Because we wouldn’t see much of it, I waited until I had the shape of the front leg all drawn. Work on the eyes by adding lids and pupils. The bottom of a tauntaun’s take is kind of scaly, like the belly of a dragon, and the spade shape at the end of the tail had some similar ridges on it.

Step Twelve:
Using my ink pen, I go over the lines I like to finish the drawing. A lot of the details of my finished artwork is all done in the inking step. I focus on textures: lines that taper together or are all in the same direction for fur. Tauntauns are rather furry, they have to have it to live on ice cold Hoth!

Dots can be added to make snow textures on the ground. Smooth circles can look like falling snow. I find that when I ink it’s fun to make noises like the thing you are drawing. It helps get you to think more about what that think is like, how it moves or would feel like to touch, perhaps even how it would smell — bad on the outside, worse on the inside!

Step Thirteen:
Here is the final inked piece. Normally, I would erase the pencil lines using my softer kneaded eraser, but I left them in to show you that all those silly lines and shapes really went into making this final tauntaun drawing.

Step Fourteen:
You can take this farther and color the drawing with color pencils or markers or watercolors. If you are worried about messing up and ruining your drawing, it’s possible to photocopy the drawing and work on the copy.

Hope you enjoyed our trip to the Hoth zoo. Keep practicing drawing!

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-12-08 15:30:42.

Drawing Boba Fett

Welcome to a look inside The Holocron – draw STar waRS. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Drawing Boba Fett

Ever wanted to draw Star Wars characters just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved and memorable characters in the saga. So get your pencils and paper ready!

To show you how to draw one of the galaxy’s most-feared bounty hunters — Boba Fett, Star Wars illustrator Joe Corroney explains his easy drawing steps with examples below.

Steps 1-7 are to be drawn lightly with a pencil. No pen, no dark lines. Finished lines and details will come at the end.

**Missing**
Step One:
Draw a simple circle with a vertical line down the center and another horizontal line just below the halfway point through the middle of the shape. Use the top or bottom of a small cup to draw your circle if you like since they can be tricky to draw freehand. Remember that these lines are just temporary so if you sketch them lightly they’ll be easy to erase later.
Step Two:
Draw four more connecting lines below the circle to represent the lower shape of Boba’s helmet. You’ll be using the upper half of the circle as part of your final shape.
Step Three:
Using the first two lines you drew as our guides, draw the T-shaped visor for the helmet.
Step Four:
Add these ellipses and curve lines below the visor on both sides to finish giving the helmet its shape. If you mess up it’s okay, just erase your sketch lines and try again!
Step Five:
Now you can draw the side panels and the antenna scope for his helmet at the sides of your circle. You’ll notice this is where our drawing of Boba Fett finally starts to come together.
Step Six:
Now you should start erasing your guide lines and doing some general clean-up on your line work. You can tighten up your drawing by making the lines you want to keep a little darker with your pencil. Begin shading in the visor and other parts of the helmet like the inside curves. This gives your drawing a sense of lighting and makes it feel three dimensional. To add some reflections inside the visor leave some white areas when you shade it or just use your eraser make them.
Step Seven:
Almost there… now we just need to start adding the necessary details to take your art to the next level. Add little arrows above the top-middle of the visor and a well placed dent (or two) in the helmet along with the rectangular markings on the right side. Add more shading and little cracks, scratches and scuffs in the helmet to make it feel used and weathered. This is my favorite part of drawing Boba Fett! Have fun drawing at this stage since it’s the all of the little details that set him apart from other bounty hunters and makes him look so cool to begin with.
Step Eight:
You just drew Boba Fett! Be sure to sign your name on your artwork, hang it on a carbonite block (or your refrigerator even) and proudly display it for your friends and family!
Step Nine:
Once you’ve got Boba down, try your hand at illustrating his bounty hunting dad, Jango Fett. To begin, simply follow Steps One through Six. Now add those same little arrow details along with thin pin stripes across the helmet just above the visor. Jango’s helmet is more polished since it’s not as beat up as Boba’s so instead of adding lots of dents and scratches experiment with different shading on the helmet and reflections in the visor. If you really want to impress your friends make up new markings and details on your helmet to create your own Mandalorian super-commando!

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-10-21 15:51:53.

The Clone Wars Episode Guide: Bounty Hunters

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(*Archived here with Permission utilising The Internet Archive Wayback Machine)

The Clone Wars Episode Guide: Bounty Hunters

Episode No.: 39 (Season 2, Episode 17)
Original Air Date: April 2nd, 2010
Production No.: 219 (Season 2, Episode 19)

Written by Carl Ellsworth
Supervising Writer: Drew Z. Greenberg
Directed by Steward Lee
In memory of Akira Kurosawa

Key Characters: Anakin Skywalker, Obi-Wan Kenobi, Ahsoka Tano, Sugi, Embo, Rumi Paramita, Seripas, Casiss, Dilanni, Hondo Ohnaka
Key Locales: Felucia

Cast:
James Arnold Taylor as Obi-Wan Kenobi and pirate trooper
Matt Lanter as Anakin Skywalker and Muk Muk monkey
Anna Graves as Sugi and Rumi
Ashley Eckstein as Ahsoka Tano and village child
Jim Cummings as Hondo Ohnaka
Greg Baldwin as Casiss, Seripas and Gwarm
Stephen Stanton as Dilanni and pirate scout
Dave Filoni as Embo
Tom Kane as narrator


Full Synopsis:
“Courage makes heroes, but trust builds friendship.”

Newsreel:
The death toll rises! As the battles intensify, and threaten a growing number of Republic worlds, planets are left to survive on their own. While the Jedi struggle to fight a war
on many fronts, a series of medical stations have been established as a lifeline for those in need, but the facilities are easy prey for Separatist attacks. After losing contact with
the medical station orbiting Felucia,
Obi-Wan Kenobi, Anakin Skywalker and Ahsoka Tano are sent to investigate….

ACT I

A Jedi shuttle pops out of hyperspace high above the florid world of Felucia, and immediately stumbles upon an automated vulture droid deployment station. The orbiting holder blossoms, revealing six vulture droids that immediately scramble and pursue the Jedi craft. Aboard, Anakin Skywalker jinks and jukes the vessel to avoid enemy fire, but a lucky blast cripples the shuttle. It plunges through the atmosphere, and its crew is forced to eject. Their spheroid survival capsules bounce through the Felucian wilderness, coming to rest in the thick of the alien jungle.

Avoiding a herd of jungle rancors, the three Jedi set aside their bickering and wander to a nearby spice farming village. It appears abandoned, until a closer look reveals that is valuable nysillin crop is ready to be harvested and all the supplies are still present. Anakin snoops in the barn, finding a rugged starship that seems out of place. Investigating one of the homes, Ahsoka and Anakin find Felucians cowering in the cellar. The Jedi are soon surrounded by heavily armed bounty hunters.

The hunters are lead by a lithe Zabrak female named Sugi, who orders the Jedi to drop their weapons. Accompanying her is the fearsome Embo, a Kyuzo with a heavy bowcaster, a rifle-toting female Frenk named Rumi Paramita, and a silent, armored hulk named Seripas. When Obi-Wan enters, blade extended, it turns into a more even standoff, which is interrupted by the pleas of Casiss, the Felucian village elder.

The Jedi discover that the Felucians have hired these bounty hunters as protection against pirates. The brigands routinely raid the village, demanding tribute. Defenseless, the Felucians have turned to mercenary protection. Cassis hopes with the Jedi bolstering their ranks, they can drive off the pirates for good.

Kenobi’s first priority is securing transport off Felucia and reporting to the Republic the status of the missing Felucian medical station. He fears if the Jedi linger here, they may draw the attention of the Separatists, bringing far more worse trouble down upon the heads of the farmers.

The pirates suddenly arrive and confront the villagers. Obi-Wan and Anakin are surprised to see a familiar face: these are the Weequay pirates they previously faced on Florrum, led by the oily Hondo Ohnaka.

ACT II

Hondo acts all chummy with the Jedi, but he’s here to collect the nysillin. He offers to buy off the bounty hunters if they step aside, but Sugi will not renege on her deal. Kenobi tries to buy transit off Felucia from Hondo, but the Weequay has no interest in Republic credits. He makes his demands clear, ordering Cassis to harvest the crop so he can collect it the next day. The Weequay pirates then leave the village.

Kenobi and the Jedi begin studying the tactical layout of the village, advising the Felucians and their bounty-hunter protectors. One particularly pessimistic farmer, Dilanni, frets that four hunters will not be enough. Anakin realizes the best option is to train the villagers to defend themselves.

The next morning, the Felucians harvest the nysillin and place the bushels in the barn, while Anakin instructs a group of villagers in the use of improvised pole-arms. Ahsoka helps others master the slingshot. It’s a long process — the villagers have much to learn. Meanwhile, Obi-Wan and Sugi discuss tactics, and the use of the barn as a fallback position.

The well-armored Serapis clears some vegetation, but is suddenly pinned by a falling tree. Ahsoka rushes to his aid to discover that Seripas in truth a tiny, frail alien piloting an armored suit.

ACT III

With practice, the villagers get better. A pirate scout spots this activity. Sugi sees the spy, and dispatches Embo. The hunter destroys the pirate’s speeder bike, avoids enemy fire, and kills the Weequay. Kenobi realizes that when the scout fails to report to Hondo, the pirates will return in force. The farmers get into position while the Jedi activate an energy fence around the village.

Hondo’s pirates show up riding speeder bikes, while Hondo himself is aboard an armored repulsortank. The battle erupts, first as the bikers strafe the village. Embo leaps atop one of the bikes, commandeering it. Felucians riding atop tee-muss beasts charge the bikers, knocking them off their mounts with their polearms. Felucians use their tractors to push over weakened trees atop other bikers.

Serapis’s armored suit is blasted by an incoming pirate, forcing the tiny alien to abandon it. Even still, Serapis leaps atop a speeding bike and batters a Weequay pirate, tripping the bike’s brakes and sending the pirate tumbling away.

From atop the bluff, Hondo opens fire with the repulsortank. The explosive blasts knocks out Embo, the hunters’ most formidable warrior. With heavy fire raining down on them, the Jedi, hunters and villagers retreat to the barn. Anakin Force-leaps atop the bluff and lands on the tank. Hondo holds him off with an electro-staff, while the pirate chief’s monkey lizard distracts the Jedi. Skywalker kicks Hondo off the cliff, but the tenacious Weequay clings to the ledge. The other pirates see their leader in trouble and retreat.

Hondo pleads for help. Anakin pulls Hondo up, but the treacherous Weequay shoves the Jedi into the path of the tank’s heavy cannon. Hondo’s loyal monkey lizard opens fire, forcing Anakin to leap to safety. This gives Hondo the time he needs to escape. His pirate forces pick him up aboard their retreating flying saucer.

With the pirates gone, Casiss thanks the Jedi for their efforts. Anakin deflects the praise, telling the Felucians that they have saved themselves. Sugi offers Kenobi and his companions a ride off Felucia.


Trivia & Details

  • In the script, some of Embo’s dialogue was presented as English. His first words to Anakin were “You’re outmanned, laserblade.” This prompts Anakin’s reply, “It’s not always about the numbers.”
  • The episode begins with an unusual title card, specifically mentioning Akira Kurosawa, an influential film director greatly admired by George Lucas. The original Star Wars was very much inspired by the works of Kurosawa, particularly the 1958 movie The Hidden Fortress . Another Clone Wars episode, “Lightsaber Lost,” is a nod to Kurosawa’s work — the 1949 film, Stray Dog. “Bounty Hunters” is the clearest tribute yet to Kurosawa, and his legendary movie The Seven Samurai. Its tale of a beleaguered village hiring mercenaries for protection against brigands has inspired a host of movies — most famously the American remake, The Magnificent Seven, as well as comedies like ¡Three Amigos! and A Bug’s Life. An early storyline in the Star Wars Marvel Comics series in 1978-1979 has a similar story, with Han Solo leading a group of hired guns to protect a village threatened by bandits.
  • The Aurebesh text on the escape capsule reads: “CAUTION – Explosive Extrusion”
  • If Sugi’s blaster pistol looks familiar, it’s no accident. It’s the same type of weapon brandished by Boba Fett in Star Wars: Episode VI Return of the Jedi.


Memorable Quotes

  • “Why do you even ask for my opinion? We never do things my way.”
  • “We crashed the ship your way.” — Anakin Skywalker and Obi-Wan Kenobi

“Well there’s one thing I learned where I grew up: if you want to know what a farmer’s up to, look in the barn.” — Anakin Skywalker

“Don’t look! I’m — I’m having a… a suit malfunction!” — Seripas

“You know what I always say… speak softly, and drive a big tank.” — Hondo Ohnaka

“This effort… is no longer… profitable!” — Hondo Ohnaka, retreating with dignity

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-06-17 12:00:10.

The Clone Wars Episode Guide: Wookiee Hunt

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The Clone Wars Episode Guide: Wookiee Hunt

Episode No.: 66 (Season 3, Episode 22)
Production No.: 318 (Season 3, Episode 18)
Original Air Date: April 1, 2011

“A great student is what the teacher hopes to be.”

Written by Bonnie Mark
Directed by Dave Filoni

Cast:
Ashley Eckstein as Ahsoka Tano
Sunil Malhotra as Jinx
Matt Lanter as Anakin Skywalker | Clutch
Cam Clarke as O-Mer
Jeff Anderson as Smug
Zach Hanks as Garnac
Dee Bradley Baker as Sochek | Goron
James Arnold Taylor as Lagon | Plo Koon
Richard Green as Lo-Taren | Krix
Tom Kane as the narrator | Yoda
Anna Graves as Sugi
Chewbacca as Himself
Special thanks to Peter Mayhew for being the heart and soul of Chewbacca


Synopsis: As Ahsoka and her youngling allies struggle to evade the Trandoshan hunters, their efforts receive an unexpected boost when a new captive — Chewbacca the Wookiee — arrives. Chewie scrounges parts from a wrecked Trandoshan slave ship, assembling a communicator to send out a distress signal. Help arrives in the towering, shaggy form of Wookiee warriors led by General Tarfful. Freed from captivity, Ahsoka returns to the Jedi Temple and is reunited with Anakin Skywalker.

New Characters: Chewbacca, Tarfful

Returning Characters: Ahsoka Tano, Jinx, O-Mer, Garnac, Lo-Taren, Anakin Skywalker, Plo Koon, Sugi, Seripas, Yoda

Worlds Visited: Wasskah, Coruscant

Secrets Revealed

  • Rather than a beach, the original script described new prey being dropped off within a canyon.
  • The Trandoshan slave ship pilot carries a shotgun, a rare example of a projectile weapon in Star Wars seen in the Republic Commando video game.
  • When Chewbacca says his home world is very close, he’s not kidding. According to the Expanded Universe, Kashyyyk and Trandosha are in the same star system.
  • The critter that attempts to pounce on the birds (convorees) outside of the youngling camp is a momong, a Trandoshan monkey.
  • The side of the Halo has a painting of a rather demented looking Tooka doll holding a knife with aurebesh text that reads: “Nice Playing With Ya”
  • Many of the background Trandoshan characters have interesting sources for their (usually) unspoken names: Gilas is named after the Godzilla Monster, Angilas. Ratter is named after a rattlesnake. Some are named after famous fictional reptiles: Goron is named after the Gorn from Star Trek, Lagon after The Creature from the Black Lagoon and Smug after Smaug, the dragon from The Hobbit. Ramy is named after Mary Franklin, known to Star Wars fans as the editor of Bantha Tracks and a huge fan of Trandoshans.
  • Among the trophies in the Trandoshan hunting lodge are wampa and Wookiee pelts; stuffed and mounted heads of an Ithorian, a Gungan, a Gran, a Skrilling, a reek, a rancor, a dragonsnake; an ancient Mandalorian Neo-Crusader helmet; teeth that may or may not belong to a Zillo beast, a fully mounted gundark and narglatch; and a suspiciously familiar-looking crystal skull.

And that’s all folks for this incarnation of The Clone Wars Episode Guides.  After this, the format changed.  I will be doing a couple of Video Galleries covering the Episode Guides up to and including the final season, so expect them very soon.

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-07-18 12:00:47.

Mondo Star Wars Prints by Olly Moss

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Mondo Star Wars Prints by Olly Moss

“Return of the Jedi” print by Olly MossCollectors and fans who’d like to add something a little different to their Star Wars art collection should check out this new series of art prints from Mondo.

Mondo is the Alamo Drafthouse’s collectible art boutique, featuring designs from world famous artists based on licenses for popular TV and movie properties including Star WarsStar Trek and Universal Monsters.

These prints are VERY limited in run and are snatched up by collectors quickly, selling out in mere minutes. So if you want to know which prints are on sale and when, follow MondoNews on Twitter!

Here’s the most recent print Original Trilogy Prints by Olly Moss — 24″x36″ screen print. Hand numbered. Printed by D&L Screen Printing. Each has an edition of 400. These prints go on sale Monday, Dec. 20, 2010.

Olly Moss tells Wired:

“It was so intimidating! There is such a wealth of great Star Wars art out there already, from paid professionals and from enthusiastic fans. I suppose my main aim was to make a set of Star Wars posters that were a little different from what people are used to seeing from the franchise, but still retained that essential Star Wars feel. I started by re-watching the original movies with a sketchbook on my lap, and just sort of went from there.”

“Star Wars” print by Olly Moss

“The Empire Strikes Back” print by Olly MossMore Mondo Prints:

“Ten Banthas” by Jay Ryan.

“Sanctuary Moon” by Daniel Danger.

“Han Shot First” by Florian Bertmer.

“A Linch Pin Droid” by Kevin Tong

“A Wretched Hive” by Martin Ansin

“Attack Position” by Rich Kelly

“Luke’s Destiny” by Frank Stockton

“Palace” by Tom Whalen

“Salacious Crumb” by Rhys Cooper

“Bounty Hunters – Wave 1″ by Ken Taylor

“Bounty Hunters – Wave 2″ by Ken Taylor

“Dawn of Tatooine” by Shan Jiang

“Great Warrior” by artist Todd Slater

“Father: Encounter on Dagobah” by artist Tomer Hanuka

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-09-19 18:33:22.

The Clone Wars Episode Guide: Season Five – Part 4

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The Clone Wars Episode Guide: Season Five – Part 4

As I said in the previous post, the format changed for the Episode Guides, so I have created two Featurettes covering clips and interviews from The Clone Wars – Season 5 so I hope you enjoy them.

Expect the same for the rest of the Seasons and expect Season 6 soon.


The Clone Wars Episode Guide: Season Five – Part 4

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-08-03 13:45:17.

Drawing a Holiday Wampa

Welcome to a look inside The Holocron – draw STar waRS. A collection of articles from the archives of *starwars.com no longer directly available.

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Drawing a Holiday Wampa

Ever wanted to draw Star Wars characters and vehicles just like the professional comic book artists? In this step-by-step series, Star Wars artists and illustrators show you how to draw some of the most beloved characters in the saga.

Star Wars illustrator Nicole Falk explains with these easy-to-follow steps on how to draw a wampa family trimming the tree during the holiday season.

Step One:
Draw lightly with pencil all the basic shapes that make up an adult wampa, a Christmas tree, a little wampa and a misfit C-3PO in the box. Draw ovals, circles, rectangles, and connecting lines. This will help place where the body, arms, head and everything else will go. This is also where you decide the outline for your pose.

Step Two:
Next sketch in the shapes of the wampa, and everyone else on top of your original outline. Draw a rounder, teddy bear-like shape for the wampa. Add in his tusks, same with the little wampa. Make a shapelier Christmas tree. Start to draw in a body shape for the C-3PO in the box, give him a Santa hat and an elf collar! For his arms, since he is a droid, there are some nice easy lines to follow like more straight lines and rectangles.

Step Three:
Here you can start adding in the lines that create a more detailed and 3-D look. For starters, draw in a slightly curved line behind the entire drawing, about 2/3 down on the page. This is to separate your wall from your ground. Now your characters look like they are in an environment, and not just floating in space. For the big wampa, add in his little hair on top and make his tusks bumpier on the edges. Later when we add lines through them it will make sort of a ring pattern on each tusk. Make his body softer by rounding those lines and shaping a body form, add in his chubby fingers. Do these steps to the little wampa as well. The C-3PO in the box will need his face drawn out. Follow the lines to create his eyes, nose and mouth, the extra lines on the side of his head and under his chin to create depth. Make his arms appear more droid like and less human by sectioning them at different points. The body is the shape of a bouncy coil, so just zigzag some lines over the curved lines you had before. The Christmas tree could use some more form to it! Try giving it some more detail on the edges, you can design your tree however you like! Add some presents underneath as well, some in front and some in back.

Step Four:
Here is where you can add in a lot of the detail. On the wampas, add in some hair lines to give them a fuzzier and furrier hairdo and draw in their faces with eyes, eyebrows, nose and mouths. Give them whatever expression you want, the example here shows the big wampa being surprised by how lovely the star he just put on top of the tree looks in all its shining glory! Add in those tusk lines, and make the fingers and toes more detailed. C-3PO needs some eyes and add in some lines to that zigzag body too. This will make C-3PO look like he just popped out of the box. Turn the box into an R2-D2 by adding in some of his details, this is done with just some more rectangles and circles. The Christmas tree can be trimmed now, add in some lights and fun ornaments. Also to make the presents look wrapped draw some ribbon around them going horizontal and vertical on each package and shape. Next draw a wallpaper design. I did a striped background for this piece. And lastly, some shading will help put those characters on the floor better. Since the adult wampa is reaching, one foot is lifted, so the shading shouldn’t touch that raised foot. Same thing for the C-3PO in a box, he just sprung out so he is high in the air so place the shading further away from him. Anything else that is directly on the floor can have shading placed right underneath them, like the presents and the little wampa. Also have him playing with some cool action figures!

**Missing**

Step Five:
Next go over the pencil with some dark pencil or ink. Use a pen, a dark-colored pencil or a fine tip marker. Be careful, stay on those lines, after all your hard work, keep this part clean!

Step Six:
Now you can color your wampa Christmas anyway you want. Use colored pencils, crayons, watercolors or markers. You can even color it on the computer. It’s completely up to you. Don’t forget things that are shaded should always be a little darker, like under the tree and under the presents and wampas. This step I did all the base colors and will add highlights (and fur) in the next step.

Step Seven:
Here I used white pen to make all the wampa fur and add some highlights. I hope you enjoyed my wampa Christmas drawing, have a happy holiday!

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-11-02 15:45:58.

Caught on the Cam: Justin Dix

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Caught on the Cam: Justin Dix

If polishing C-3PO’s golden suit sounds like your idea of a dream job, then you have plenty in common with Droid Technician Justin Dix. Fans watching the webcam closely during the filming of Episode III in Sydney, Australia, may have found themselves staring at him as he tirelessly worked on C-3PO’s suit and helped actor Anthony Daniels get into the complicated costume on the set.

“My job on Revenge of the Sith as the Droid Technician was to oversee the aesthetic look of the droids, basically making up new action figures, also looking after the needs of Anthony Daniels on and off screen, which keeps the whole droid crew busy,” Dix explains with a smile.

Growing up in Melbourne, Australia, Dix was a Star Wars fan as a child. “I have always been a fan for as long as I can remember,” Dix says. “Though I never in my wildest imagination thought I would ever work on one of the film. Like all kids, when I first saw Star Wars, I believed this space adventure was real with all the creatures that populated the strange worlds in which these films allowed us to visit.”

Before his work on Revenge of the Sith, he also was part of the crew for Attack of the Clones.

“Actually Episode II was my first feature film I worked on,” Dix admits. “I was offered a job on Lord of the Rings at the same time, but come on, this is Star Wars! Before that I was making independent films for about 10 years.”

In a typical day, fans watching Dix on the webcam could see him polishing or fixing C-3PO’s metal costume, helping Anthony Daniels put on and take off the costume during production and assist Industrial Light & Magic modelmaker Don Bies with the other droids.

As Dix worked on the droids with Bies, Dix also came up with the idea of approaching Lynne Hale (Lucasfilm Director of Publicity) if they could create a contest to let the fans pick a droid design to be featured in Episode III. The Droid Department created a variety of designs. Bies and Dix presented George Lucas with the options, which resulted in four final choices that were put before members of Hyperspace, who chose #4 — the bronze and copper droid that would become Obi-Wan Kenobi’s droid R4-G9.

Speaking of Obi-Wan Kenobi, actor Ewan McGregor was a frequent visitor to the Droid Shop. In fact, webcam fans caught McGregor acting rather mischievous one day in the shop.

“Ewan would often come in and visit the Artoo unit, sometimes by himself and sometimes bringing friends or family,” Dix says. “I think he has a soft spot for the little guy. The day he was captured on the webcam at my desk, we were talking about something, probably the Threepio suit now being gold. I mentioned to him that the webcam was there so he started hamming it up, putting on the Threepio head, making gestures. The scary thing was a few minutes later a picture message came through on my phone. A friend of mine looking at webcam footage in Queensland, grabbed a shot of Ewan and me and sent it straight to my phone. I showed it to Ewan, we all looked at the webcam in shock. Big Brother is watching!”

While Dix was on the Revenge of the Sith set, he became part of history and none other than famed photographer Annie Leibovitz was there to capture the moment.

“I couldn’t believe it when Annie Leibovitz showed up to photograph the entire cast with the new and classic characters together for Vanity Fair,” Dix remembers. “It was so cool to have Annie suggest that the Droid Department jump in for a shot for the article too.”

But not all of Dix’s most memorable moments were related to Revenge of the Sith. In fact, probably the most important event that happened on set for Dix had something to so with the always helpful duo of R2-D2 and C-3PO and a special ring.

“While my girlfriend was visiting me as we were working on the Jedi Temple set, I had Artoo deliver her an engagement ring,” Dix says. “I wrote a little script for Threepio for him to say, ‘Master Justin, Miss Kimberly so good to see you fully functional, Artoo has a gift for you. A gift , what gift?’ The whole thing was filmed by the documentary team, so you never know — it could end up being a webdoc!”

If fans watched the webcam long enough, they may have spotted Dix looking up at the webcam and waving to fans watching across the globe.

“It was really fun having the webcam there,” Dix recalls. “I used to be one of those fans, still am. I know that some fans would watch every little thing just for a clue, out of focus or not, as to what is in store. It was also a great feeling to get to be the one showing the world that C-3PO is going to be gold by pulling the metal out of a case and working on it.”

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-09-27 16:35:57.

The Evil of the Empire

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The Evil of the Empire

I knew these imps were ruthless!

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-11-25 22:00:04.

Designs of Ep II: Supreme Office Space

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Designs of Ep II: Supreme Office Space

October 01, 2001 – Ruling the galaxy requires elbowroom, a neatly organized work environment, and a heck of a view. Audiences got a glimpse of Senator Palpatine’s decorative tastes in his crimson-hued apartment in The Phantom Menace. In Attack of the Clones, Palpatine returns ten years later, as Supreme Chancellor, with surroundings that match his elevated political position.

“Doug Chiang asked me to give Palpatine’s headquarters an all-seeing view onto Coruscant,” recalls Concept Artist Jay Shuster, “It was an ideal theme in that it embodied who and what this man is all about.”

“People’s first impressions of the space may range from ‘Hey, this guy’s loaded,’ to ‘Nice view… that view could be corrupting,'” says Shuster. “Both reactions are valid: the design of Palpatine’s headquarters lends him an air of ‘Big Brother- hood’…as in Orwell’s 1984. Where does an ego like Palpatine’s go after he has an office space like this?”

Construction

Upon receiving Shuster’s illustrations, Production Designer Gavin Bocquet and his crew began examining the set in three-dimensions through detailed foam-core and whiteboard models.

“There’s a lot of stuff that goes on in there,” says Bocquet. This set was almost entirely built, as opposed to some of the other environments that consisted largely of bluescreen. “We basically worked almost 360-degrees. George [Lucas] wanted us to leave maybe 10 percent of the wall out on the right as you come in. That did give us an opportunity to move the camera crane in and out through the gap.”

The set, built in Fox Studios Australia, was finished in about seven weeks. “There were a lot of finishes to be done,” explains Bocquet.

The finished textures and details required even more effort than usual thanks to the incredible resolution of the new digital cameras. “It really does pick up a lot of your middle and background detail. It’s much more unforgiving in certain instances than celluloid is. In the film world, we’re always doing things theatrically, in a way that works for the cameras. But if you’re standing there, it might not look right. With the digital camera, we had to be a more careful since things that were in the middle distance were actually showing up more as scenic work than actual finishes. We had to take our finishes a bit further than we did before.”

Several stylized statues stand as sentinels in Palpatine’s quarters. What started off as tiny elements in Jay Shuster’s drawings were transformed into full pieces by Bocquet’s crew.

“We produced about five or six little maquettes of military figures, inspired by medieval Japanese or Chinese ones in that stately position,” says Bocquet. The assortment of six and 12-inch tall maquettes were brought to George Lucas, who selected two of them.

The finished statues were carved out of polystyrene with plastic coverings, topped with a bronzen paint finish.

There are numerous visual cues in the office revealing the evolution of the galaxy and its politics. During tense meetings of enormous importance, Palpatine sits in a very distinctive looking chair. “If anybody’s got any sort of Star Wars history in their head, they’ll notice that there’s something pretty familiar about it,” says Bocquet.
“I honestly couldn’t say whose suggestion that was,” says Bocquet. “We didn’t have the original chair. We had the drawings from Return of the Jedi, so we had to sculpt and model from that. It was quite difficult, because it was quite a sculpted, funny shape.”

The colors of Palpatine’s quarters are also an evolutionary element. It was Bocquet’s crew that came up with the red colors of Palpatine’s apartment in Episode I; they were originally going to be pastel-hued, much like Bespin’s Cloud City. “Yes, we were quite bullish in Phantom Menace to suggest to George that the room should be that crimson, blood-red color,” says Bocquet. “It was almost meant to be sort of a cocoon womb-like environment for Palpatine in there.”

The colors of Attack of the Clones visually bridges the prequel and original trilogies. “The color scheme in Empire and Jedi were very much in the monotone grays, graphites and blacks. We suggested to George that we should introduce part of that color scheme to this predominantly red environment. If you look at it, you’ll see that it’s sixty percent in the red range, and forty percent in the graphites and silvers. If this set’s required for Episode III, then probably by that time, Palpatine’s environment will move predominatly to the graphites and grays.”

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-08-26 13:36:22.

The Clone Wars Episode Guide: Overlords

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The Clone Wars Episode Guide: Overlords

Episode No.: 59 (Season 3, Episode 15)
Production No.: 309 (Season 3, Episode 9)
Original Air Date: January 28, 2011

“Balance is found in the one who faces his guilt.”

Written by Christian Taylor
Directed by Steward Lee

Cast:
Matt Lanter as Anakin Skywalker
James Arnold Taylor as Obi-Wan Kenobi
Ashley Eckstein as Ahsoka Tano
Lloyd Sherr as Father
Adrienne Wilkinson as Daughter
Sam Witwer as Son
Liam Neeson as Qui-Gon Jinn
Pernilla August as Shmi
Dee Bradley Baker as Rex
Tom Kane as the narrator


Synopsis: A mysterious force draws Anakin, Obi-Wan and Ahsoka to a distant planet, and its inhabitants — a family of exceptionally powerful Force-wielders — in an attempt to determine whether Anakin is truly the Chosen One. The patriarch of this family, known only as the Father, has spent ages maintaining the balance between his Daughter, who is strong with the light side of the Force, and his Son, who aligns with the dark. The Father reveals his days are numbered, and he seeks Anakin to take his place as the fulcrum of this balance. A series of tests proves that Anakin is capable of controlling both offspring, as the Father does, but Skywalker refuses to take the Father’s place.

Returning Characters: Anakin Skywalker; Obi-Wan Kenobi; Ahsoka Tano; Clone Captain Rex

New Characters: Father; Son; Daughter; Shmi Skywalker; Qui-Gon Jinn; Admiral Tenant

Worlds Visited: Mortis


Secrets Revealed

  • This trilogy of episodes dives into concepts of the Force and ancient Jedi prophecy like never before, and represent an unusually deep exploration direct from George Lucas of some of the saga’s biggest concepts. While there will undoubtedly be questions about how much that is experienced in the Mortis realm can be defined as “real,” the answers will surely depend on your own point of view.
  • The Mortis monolith seen at the start of the episode is over five kilometers tall, wide and deep.
  • As the keeper of the balance, the Father quite literally sits at the center of a scale-like statue, with gong-like discs emblazoned with icons representing the daughter (to his right) and the son (to his left). Flanking this are statues of their beast forms: the griffin and the gargoyle.
  • In addition to notable guest appearances by Liam Neeson and Pernilla August, this episode also stars veterans of Star Wars: The Force Unleashed in key roles. Sam Witwer, who played Starkiller, plays the Son, while Adrienne Wilkinson, who played Maris Brood, plays the Daughter.
  • The Father describes his family as anchorites. Lest anyone think this is a proper term for a species or culture, it isn’t. This uncommon word, never before spoken in Star Wars, an anchorite is someone who has withdrawn from society to become somewhat of a religious hermit. The only term that so far describes the Mortis beings are “Force-wielders”.
  • Although the Force-wielders are intentionally depicted as vague and mysterious, their animation models nonetheless have the following definitions: The Father is 2.48 meters tall, the Daughter is 2.13 meters tall, and the Son is 2.2 meters. The Daughter’s griffin form stands 2.58 meters tall, while the Son’s gargoyle form is 4.79 meters tall. They both have wingspans over 11 meters.
  • Slight refrains of John Williams’ Episode I score can be heard during Qui-Gon’s appearance, as well as the Force theme when Obi-Wan speaks of Anakin
  • The Republic fleet officer seen during the newsreel is not named in the episode. He is Admiral Tenant.


Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-07-11 12:00:31.

Snagging a Piece of Special Effects History

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Snagging a Piece of Special Effects History

By Pete Vilmur

Ever since 1980, when the second issue of an industry magazine called Cinefex gave extensive coverage to the making of The Empire Strikes Back’s special effects, I’ve pretty much been an fx geek. Setting up models against a blue screen — state of the art for the special effects industry in the ’70s and ’80s — the artists at Industrial Light & Magic would create the X-wing run down the Death Star trench, the snowspeeder attack against the AT-ATs, and the speederbike chase through the Endor forest, to name a few. These set-ups would include the models, the pylons propping them up, stage lights, the blue screen, and of course the camera — items that recently became available in an auction staged out of the old ILM facility in San Rafael, California.

Naturally, as an effects junkie and a resident of the Bay Area, this was destined to be a red-letter day.

Large crate from the ILM stage containing blue screen material

Because ILM has gone almost exclusively digital in the last decade or so, it shed off its modeling division a few years ago, with the new owners inheriting much of the old studio supplies that had served ILM for so long. But with the new studio recently disbanding, all the old lights, cameras, editing tables and booms — not to mention tables, desks, and even the contents of their drawers — were going to the auction block. With hundreds of lots available — several of which were literally room-fuls of stuff — there was a lot to scrutinize.

Pouring over scores of photos depicting the tools that created some of the most memorable effects shots in history, I’d marked about ten items of interest, two of which I and a colleague were ultimately able to win. I didn’t get everything I’d hoped to, but was glad to be able to take home a little piece of history in the end.

Below is a selection of some of the more interesting pieces of last week’s auction, at least interesting to those with a bent for analog-era special effects (Note: the photos below are a combination of our on-site photos and those posted by the auction house).

The “Vista Cruiser” motion control head used for Return of the Jedi

Stage lights and stands

An old ILM label affixed to a light stand

ILM stage blocks

A label indicating this piece was once owned by the Maker himselfThe “Nikon-flex” camera used to shoot the mine car chase in Temple of Doom

Large lights marked “ILM”

An editing table allegedly once owned by George LucasDirector’s chair allegedly once used by ex-ILM alum and Mythbuster Adam Savage

A trio of model pylons for shooting against blue screen

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-11-04 16:32:17.

Ian McDiarmid: Dark Force Rising

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Ian McDiarmid: Dark Force Rising

January 24, 2002

The Man of Mystery

He was Senator Palpatine in The Phantom Menace and the Emperor in Return of the Jedi. Now, in an exclusive Insider interview, Ian McDiarmid talks about bridging the gap as Supreme Chancellor Palpatine in Episodes II and III of the Star Wars saga.
When Darth Vader first burst on the scene in 1977, storming into the Rebel Blockade Runner amid smoke, stormtroopers, and blaster fire, it was impossible to think of him as anything but the ultimate villain of Star Wars. It seemed there could be no soul darker, no mind more evil, no heart more cold.

That was before we met the Emperor.

As Darth Vader himself put it, “The Emperor is not as forgiving as I am.”

Sure enough, in Return of the Jedi, we learned quickly that Vader was but a pawn in his master’s dark game of galactic domination. The Emperor, from the moment he first touched down on Death Star II, made it clear that it was he who was in charge all along. By the end, we saw that Vader could actually be a hero, and that the ultimate villain of the Star Wars saga was a hunched-over old man with piercing yellow eyes, black robes, and a distinctively chilling voice.

To pull off the crucial role of the Emperor (who first appeared briefly as a hologram voiced by Clive Revill in The Empire Strikes Back), George Lucas and Jedi director Richard Marquand turned to Ian McDiarmid, a charismatic British stage actor then in his mid-30s. McDiarmid sunk his teeth into his first major film role, emerging from marathon make-up sessions to create a modern day icon of cinematic evil.

No wonder that 16 years later, Lucas again enlisted McDiarmid to play a young Senator Palpatine in Star Wars: Episode I The Phantom Menace, making him one of the few performers from the classic trilogy to reprise his character in the prequels.

Once again drawing on a tremendous reservoir of experience in the theatre, McDiarmid (who in the meantime had also appeared in the Frank Oz-directed comedy Dirty Rotten Scoundrels and the Oscar-nominated Restoration) played Palpatine as a smooth charmer who manages to maneuver Chancellor Valorum out of office’ and himself in’ even as his home planet of Naboo is under siege, and all with a smile on his face and a spring in his step.

Naturally, McDiarmid returns for Episode II, luxuriating in his character’s new position as Supreme Chancellor and looking forward to continuing his rise in Episode III. No longer the new kid on the block, McDiarmid is now a Star Wars vet and fan favorite from both the classic and prequel eras.

In between filming Episodes I and II, the Scottish-born actor, an early drama school classmate of Denis Lawson (Wedge), took a role in Tim Burton’s blockbuster Sleepy Hollow (with Star Wars actors Christopher Lee and Ray Park) and continued to focus on running the Almeida Theatre, the thriving and popular North London playhouse where he serves as joint artistic director with Jonathan Kent.

The duo were awarded the Theatrical Achievement of the Year award by London’s Evening Standard in 1998 for their work transforming the once-obscure playhouse into one of the region’s most acclaimed theatres.

McDiarmid was starring at the Almeida as Prospero in Shakespeare’s The Tempest when the Insider caught up with him. The production was the last at the theatre before a 14-month renovation project, during which time the Almeida will continue to produce plays at a converted bus station across town.

The last time we interviewed McDiarmid (Insider #37), Episode I hadn’t come out yet, and we had tons of questions about Return of the Jedi. But this time, the first thing we wanted to talk about was Episode II — even though so much about the story is still top secret.

Let’s get this out of the way right off the bat. There is a lot about your work in the prequels that we can’t talk about yet. Why is it necessary to keep so much about Palpatine a mystery?

The principal answer to that, of course, is that he is a man of mystery. That is how he exercises, maintains, and increases his power — by choosing what he’s public about. He’s the great political manipulator of all time.

I found it interesting in Episode I to watch the wheels turning in Senator Palpatine’s mind. We sense he’s up to no good, yet we never see him actually do anything sinister.

Yes, that’s probably the most interesting aspect of the part for me. Palpatine appears to be a hard-working politician — and when you say the word politician, immediately you think about equivocation, which is the nature of the job. But at the same time, I know that underneath all that is an evil soul. The undercurrents are always there in his mind and in his gut.

Everything he does is an act of pure hypocrisy, and that’s interesting to play. I suppose it’s rather like playing Iago. All the characters in the play — including Othello until the end — think that “Honest Iago” is a decent guy doing his job, and he’s quite liked. But at the same time there’s a tremendous evil subconscious in operation.

The Exercise of Power

How do you as an actor convey trustworthiness to the characters around Palpatine while simultaneously signaling to the audience not to trust him?

I suppose that, in a sense, he is hyper-sincere — defensively sincere. He is a supreme actor. He has to be even more convincing than somebody who isn’t behaving in a schizophrenic fashion, so he’s extra charming, or extra professional — and for those who are looking for clues, that’s almost where you can see them. He’s super-sincere.
There’s a moment in one scene of the new film where tears almost appear in his eye. These are crocodile tears, but for all those in the movie, and perhaps watching the movie itself, they’ll see he is apparently moved — and of course, he is. He can just do it. He can, as it were, turn it on. And I suppose for him, it’s also a bit of a turn-on — the pure exercise of power is what he’s all about. That’s the only thing he’s interested in and the only thing that can satisfy him — which makes him completely fascinating to play, because it is an evil soul. He is more evil than the devil. At least Satan fell — he has a history, and it’s one of revenge.

But the Emperor — well, I don’t know all the details, but who does of the Sith? — is an independent agent who just lives for the exercise of power. He doesn’t know what scruples are, let alone have any. The only emotion that manifests itself truly is the one seen just before he meets his end, if that’s what he meets, in Jedi — and then that’s pure anger, when he realizes that he hasn’t succeeded in manipulating young Skywalker. So he has to kill him, and he tries to do that with unadulterated fury.

He has no sorrow about his mistakes, just pure anger?

Just anger. And his great strength is that he’s not fearful, which of course is also young Skywalker’s great strength, and ultimately Vader’s too. It’s understanding both sides of fear — how it’s important not to be fearful in order to not stop yourself from doing things you believe and know to be right. At the same time, it’s on the dark side — terror is what he specializes in. It’s what motivates him and governs his every action — his understanding of the nature of terror. He believes that everybody can be terrorized, or seduced by one thing or another.

But he’s ultimately proven wrong.

Yes, he is, but not until the end of the movie, at the very critical moment — as he succeeded with the father, will he succeed with the son? And he doesn’t, because the father refuses to let him succeed with the son — which is what makes it fascinating.

Did you ever sit down and discuss Palpatine’s backstory with George Lucas?

No, not really. But it’s what I feel to be true about the part — and by and large, I think it’s the same instinct that George has responded to.

But as George says, the fans always know what’s going on because they’ve absorbed the story in all its detail. You can sort of work it out. The story hasn’t changed. It’s a story George set out to tell when he made Episode IV all those years ago, and now he’s just telling it.

Do you know for sure whether you’re doing Episode III?

Yes, I will be doing Episode III, and that is now a fact.

Has he given you a specific idea about how Palpatine will evolve in Episode III?

He’s always said that Episode III will be the darkest. George feels people won’t necessarily like it because of that, but my feeling is the reverse. I think they’ll like it even more, because I think people are fascinated by the whole dark side of the saga. That’s why Vader is so interesting. He’s complicated, as we later find out. It’s that apparently seductive darkness that fascinates people. They want to know more about it. They’re not attracted by evil, but they’re attracted by the nature of it. It’s a very interesting thing to observe.

Why do you think people are so intrigued by evil characters?

I don’t know, but I think it might go back to your initial question — because it’s mysterious. It’s underneath. Milton, when he created Satan in Paradise Lost, which is one of the greatest creations in all of literature, made Satan as evil as Satan should be. But at the same time, Milton found him sympathetic as a soul in torment — his best poetic writing is for that character.

But that’s not the case with the Emperor, which makes it so interesting. He doesn’t have any of those potentially redemptive qualities. He hasn’t fallen. I imagine he’s evil from birth, which is a terrible thing to imagine. He’s not human.

So he has no awareness of how different he is from other people?

No — no conscience, none of these things. He’s untrammeled by humanity, by any feelings of guilt or responsibility or any of these things that bother all of us to a degree. And that’s why, up to a point, he’s entirely able to exercise his will. Of course, he’s immensely clever, too.

When you were shooting Episode II, were you thinking about how you were going to evolve the character from film to film?

I don’t really think about this. I play the lines, in the hope that something will emerge that’ll be interesting and useful to the movie. That’s what you do between action and cut, in these short bursts that are called scenes. But that’s what acting is — it’s about responding to the moment. And then you abandon it to George — but that’s one of the things I like about film. It’s the opposite from the theatre. You surrender your performance for other people to choose bits from, whereas in the theatre, you’re in control of the whole part, every evening, and the director moves to one side. It’s neither better nor worse — they’re just different experiences, and I find them equally fascinating.

A Return in Episode II

How has Palpatine — now the Supreme Chancellor — changed between Episode I and Episode II?

Well, we’re about 10 years on from Episode I, so he’s had a chance to get on with it. Of course, his status has obviously gone up, because his office is better. The power has now manifested itself. His office — through the windows, there will be lots of stuff added later on — was a big set, a real power base.
The costumes, too, have got much more edge to them, I think, than the mere Senator had. So we see the trappings of power. And I’m also slightly aged. In the last film, I had a fairly standard make-up on, but now, they’re starting to crinkle my face.

I’m sure it was still easier than the make-up you were under for Return of the Jedi.

Yes — that was a four-hour job, initially, although we got it down to about two-and-a-half in the end. But this was just a little bit of latex here and there, a little bit of skin-scrunching.

The last time we spoke (Insider #37), we talked a lot about Return of the Jedi. So this time, I’m just wondering, nearly 20 years later, what sticks out most in your mind about your first Star Wars experience?

Actually, I looked at it again the other day, because I was watching the re-issue of the three videos, and I thought, “Oh God, there’s such a young person underneath all that.” I have nothing but happy memories, because, as you know, it just happened out of the blue. I met George and I didn’t know what the part was or what I’d be required to do, because it was very secretive in those days. I just knew that he was called the Emperor, which didn’t sound bad. And I was right. I also remember I liked that chair.

What can you tell us about your latest Star Wars experience on Episode II? I understand you were in the first scene shot.

Well, the script came to us quite late, but I knew I was going to be in the first scenes because of the nature of the scheduling. I wondered if it might be because I was in the first scene shot for Episode I, or if it was coincidence, but indeed I was in the first filmed scene of Episode II.

There I was, with this new but absolutely committed and fantastic Australian crew, on that first day. Of course, everyone was properly nervous. I, at least, knew what it was like to stand on a pod against blue screen because I’d done that in Leavesden [for Episode I]. But I didn’t know what it was like to stand in the Supreme Chancellor’s pod, because that belonged to Terence Stamp in the last movie — so that was new.

We had a whole 12-hour day of filming, two scenes, on me, with a lot of speeches to do. So I had a bit of an opportunity to re-familiarize myself with [the character], in a highly pressured context because it was the first day, with a completely new crew. It was scary, but it was also exciting. Quite often, when the atmosphere is like that, when a lot is demanded of you, you sometimes find you have a little more in yourself than you thought you had. I hope that was true of me on the first day.

You had to rise to that occasion.

Yes — quite literally, because I was so many feet up in the air!

What was the mood like on that first day of shooting Episode II?

Well, it was very good, but I had the supreme advantage of being familiar with the set and knowing George and Rick and most of the team. But like everyone else, I didn’t know the Australian crew, and they of course didn’t know George because he had not long arrived. So they didn’t really know what to expect, and they were, as usual, thinking, “Oh my God, it’s Star Wars,” as everybody does.

But it was a great, practical day, and we got everything done that we needed to do. They work very hard — that’s the way Rick runs it and the way George likes to work, and I don’t think it’s a bad thing. You really do pump it out over a short period. The pressure is there all the time. But I like that — I always work better under that kind of pressure.

It seemed like, despite the pressure, everybody on the set was very friendly.

Oh, yes. The atmosphere was great, and it was terrific being in Australia. I’d never been to Australia before. It was a big difference from being down the road in London, but Star Wars and Australia go together very well. There’s something about the whole atmosphere there. The people are terrific — they’re so full of life, and they have a highly developed sense of the absurd, which always helps.

How long were you in Sydney?

I was out for a period of just under a month initially, and then I went back to do another scene a few weeks later. So I was there for about five weeks in all.

You mentioned the script coming in at the last minute for Episode II. How much time did you have with it before you started shooting?

Well, the script was very late indeed. I arrived in Sydney on a Wednesday, and I was given the script when I got off the plane. There wasn’t one available before that. And then we were shooting on Monday. I thought, inevitably, it will be in the Senate, and I’ll have some long speeches, and that was indeed the case.

Does it affect your acting when you don’t have much time to refine your performance?

Everybody likes to get it as soon as possible so they can immerse themselves in it, but I knew the situation. I was staying in a friend’s apartment who wasn’t there, so I had the peace and quiet to work on it over those few days, which is what I did.

Of Acting and Actors

What did you think of the script when you finally got it?

I liked it very much. George had always said that Episode II would be a love story, and it has a real sort of courtly delicacy about it. The whole relationship between Padmé and Anakin is very moving and delicately done, but it’s also quite passionate. It’s a strong relationship and a strong attraction that they have, and that’s present in the script. Episode I was the introduction, the grand overture to the whole project.

Episode II is the big step of the story, when they get together and when Anakin learns. He’s a great and fast learner and has a tremendous instinct. He grows up very quickly, perhaps too quickly.

When you first read the script, was there anything in there where you thought, “Oh, I can’t wait to do this?”

Yes. I could see how the character had developed. He wasn’t seeking a power base — he had one. So there was the whole notion of being able to enjoy that and use that fact to take things further. In the previous film, I had to try and persuade people, but now he’s more at home and more centered, and he has to do less. That doesn’t mean to say that he doesn’t go about things in a persuasive way.

Was there anything unique about shooting Episode II, or was it just business as usual for Star Wars?

It was nice to be able to have more to do with some of the characters — for example, to have a scene with Sam Jackson. And to be in the same movie as Christopher Lee — that’s almost an ambition realized, as far as I’m concerned, because I think he’s one of the two aristocrats of screen menace, along with Peter Cushing. I like to think I’ve picked up a few tips from him over the years. His Dracula — I’m sure he’s sick to death of hearing about it — is one of the great cinematic creations.

He’s a terrific man, charming and amusing and highly sophisticated. I think he’s particularly pleased to be in the movie because Peter Cushing, who was his good friend and working partner for so many years, was in the original Star Wars movie. I think that’s somehow appropriate and quite moving.

What was your first impression of Hayden Christensen, the new Anakin Skywalker?

I watched a rehearsal he had with George and Natalie, and I could see immediately that he is a fine actor. It was also immediately apparent that they had a real acting rapport and chemistry. It was great to see Natalie again, too, because she’s so wise. That’s the word I always think of with Natalie. She’s not very old, but she has a maturity that I really admire.

To me, one of the greatest little moments in the last film was your brief encounter with Anakin — and it was one of the last scenes shot, just a couple months before Episode I was released.

Did you take as much delight in playing that scene as your character took in telling Anakin — that he’d be watching his career “with great interest?”

Yes, the scene with Palpatine and Anakin. I tried not to put too much into that. George said, “Just say it,” and of course, he’s quite right. Knowing what it really means, it takes care of itself. And once again, the character was being charming — a boy had served his planet well, and he was acknowledging it, and that was it.

I think George had originally thought that we shouldn’t meet, and then having seen it all together, he thought that we should recognize each other, but just in a casual way. We filmed that one Saturday morning, very much later, and then I went to do some ADR [additional dialogue recording] work in the afternoon.

Did you notice any difference in George as a director from Episode I to Episode II?

I suppose just an increasing sense of relaxation. I know he initially hadn’t decided that he was going to direct both II and III, but he did say during I that he was really enjoying working with the actors. As far as I’m concerned, it’s entirely preferable, because then you have a direct line, as it were. Also, he doesn’t say very much, and I like that too, because what he does say then is entirely specific. That’s helpful, because the more specific a director can be, the more helpful he is.

You also recently worked with Tim Burton on Sleepy Hollow. What was that like?

It was the same kind of atmosphere. Tim — and George is like this too — would see something that happened, or that you were doing, and go for more of that. So it was a process that was always evolving. It wasn’t as if you were just filming a preconceived storyboard. You did feel that it was happening in the moment, which is when acting is really good. You feel that each take could be something fresh.

Other Projects

Sleepy Hollow brought you back to Leavesden Studios, where you shot The Phantom Menace with much of the same crew. But how was making Sleepy Hollow different from shooting Star Wars?

It was nice to play a character who was completely different from the Emperor. I like to play a character with fear. Poor Dr. Lancaster, he’s always in a state of terror — and he has good reason to be, because they’ve all behaved badly and they’re waiting to be found out. He was corroded by guilt. He couldn’t be farther away from the Emperor, who doesn’t know the word — he knows about corrosion, but he doesn’t know about guilt.

It was also interesting because there were enormous sets in that film. There was a whole forest in Leavesden as opposed to just sections, which we would have had in Star Wars. There was some blue screen, but not much. They built the whole village, which was truly spectacular. It looked very theatrical — I kept thinking, “There are so many plays we could do on this great forest set.” So from that point of view, it was completely different. But in its own way, the production design was as exciting as Star Wars.

Does having the set there in its entirety make a difference when you’re acting?

It doesn’t. They’re terrific to look at, but you’re always filming in small sections anyway. Movies are always done in small nuggets, and everything in front of you is a kind of chaos — it’s machines and people staring, and willing it to be right, and doing their best to make it right. Sets on movies, to me, are always about small contained areas. So it doesn’t matter whether something’s going to be filled in behind you later or whether it’s the actual thing. It’s a tiny corner of order among the chaos, and that’s one of the things I like about movies. Because if the camera moved two inches to one side, you would see how absurd it all was. You just have people standing there scratching their heads or chewing gum.

I hear that your current stage production of The Tempest has nearly movie-level special effects. Is it true you’ve got rain coming down, and you’re kind of destroying the stage and not really worrying about the damage?

Yes, well, we have some renovation work to do on the theatre. Part of the project is we need a new stage and we had to raise the roof. So we thought that this was the perfect play to go out on, because as you know from The Tempest, Ariel should fly, and we thought it would be great if he could not only fly but swim.

So the whole of the stage is a giant water tank. It doesn’t look like that to begin with — it looks as if we just put some water on the stage and built a pond, but we haven’t. We’ve sunk it. There’s a wonderful moment when Ariel actually dives in and swims, and the audience thinks, “Why hasn’t he hit his chin?” We make it look as if it’s very shallow and then he completely disappears. We can almost do it like the movies, but in theatrical terms. We can make people gasp, and I’m happy to say they do.

We’re on until the theatre closes down, and I wish we could do it more. Various people have said, “Why don’t you come and do it here?” And we say, “OK, but you’ve got to take your floor out and put a giant water tank in.” And they go, “Oh, well, maybe not.” It’s a one-opportunity show — unless there are other theatres in a state of partial renovation.

In the last few years, you’ve guided the Almeida to become a major theatrical force in London. How do you decide which projects to take on?

For this tiny theatre in North London, we’ve always tried to re-invent ourselves. Once you do something people seem to like, we think not, “How can we do that again?” but, “How can we do something different?” The happiest sight really is on the final performance of a show. It’s sometimes sad, but as you’re watching the set come out, at the same time you’re watching another new set come in. And it’s that process of always going on to the next thing that I think is the essence of theatre.

Do you ever have time to relax?

Well, I had a few days in Australia. That was quite nice. I had a week between filming and I went to Melbourne, so that was a week. As far as possible, I try and keep Sundays free to do very little, or nothing. But I feel if I had too long to relax, I’d stop. The body would wind down, and I wouldn’t be able to wind it up again. I understand why George can’t wait to get into the editing suite, because although it’s intense, it’s also relaxing, because it’s what you want to do.

Star Wars has been so popular for so long. Do you think it’s something that will remain in people’s minds for years to come?

I think it’s entered the general consciousness. Just listening to kids talk about The Phantom Menace, and seeing them respond, one does feel that, as George has always hoped, this is a myth that will continue and which succeeding generations will take different things from. I’m confident about that. It’s a great story, and that’s always what does it to people. A great story is what we need.

You mentioned kids who were into The Phantom Menace. Since Episode I, are you recognized more on the street than you were before?

I’m happy to say not nearly as much as I thought. Yes, people come up now and again, but I can still go on public transport, which I quite like doing. Most people who do come up to me say, “It can’t be.” To which I say, “I guess you’re right — it can’t, it isn’t.” And they say, “Oh, OK, sorry.” Now, of course, the minute I open my mouth, they recognize the voice. Then they realize, but by that time, I’ve gone onto another tube.

I was once chased through a tube station. They were saying, “You’ve got to stop, you’re the Emperor, you’ve got to stop.” And I managed to run faster than them. They only wanted my autograph — it wasn’t anything sinister. I thought, “This is ridiculous — why didn’t I just stop and give my autograph and move on?” But it had gone too far by then.

So when you’re not running from autograph seekers, or running a theatre, you’re on call for possible Episode II pick-up shooting and looking forward to Episode III?

Yes, if it’s needed, I’ll be very happy to go. And I’m certainly looking forward to Episode III, but that’s a while away. I’m looking forward to what must inevitably happen in Episode III — and let’s say no more than that.

by Scott Chernoff

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-09-02 15:23:45.

Phil Feiner – Executive Vice-President, Pacific Title & Art Studio

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

Phil Feiner
Executive Vice-President, Pacific Title & Art Studio

Phil Feiner became involved in the work on the Star Wars Trilogy Special Edition when he was invited to screen a newly made answer print of Star Wars by Ted Gagliano of Fox. When asked his opinion, Feiner could only reply that the print, from the original 1977 negative, “looked awful . . . with white dirt printed in, the color looked ‘desaturated’ and the overall timing was off.” This discouraging assessment began Feiner’s two-year involvement in the process of creating the perfect answer print for the Star Wars Trilogy Special Edition release. Because the original Technicolor prints had been lost, the color timing of the prints was done subjectively. Feiner told Fox that this was the wrong approach: “Everyone interprets color the way each individual sees it. It needs to be the way George Lucas approved the answer print in 1977.” The only source of a perfect print was one of the last IB (Imbibition) releases, since IB prints don’t experience dye fade. Finally, an IB print was found, and YCM Laboratories took on the job of answer printing the feature.

After the initial problem with the prints had been solved, Feiner and his team at Pacific Title were able to concentrate on re-making 482 optical effects shots, 19 of which were from the scene in the Millennium Falcon in which Obi-Wan begins to teach Luke how to use a lightsaber. “The ‘Jedi Lesson’ was by far and large the greatest challenge. It wasn’t the technical difficulty but the time frame. Four working weeks was the total amount of time to complete this sequence of 19 D/Opticals . . . compositing the seeker ball into the background, while using the 1977 rotoscope hi-con elements to ‘burn in’ the laser sword into the ‘latent digital composite’.”

Feiner was born in 1955 in Burbank, California and raised in New York City. He attended the Claremont Colleges, then began his career in 1974 at Sync Film Laboratory in Hollywood, two years later taking a job as Optical Effects Operator at Total Optical Company in Burbank. Feiner has worked at Pacific Title & Art Studio since 1977. He was nominated for an Emmy for best visual effects for V: the Final Battle. In 1977, while at Pacific Title, Feiner worked on Star Wars, optically compositing all the foreign versions of the Star Wars main title, as well as cleaning up the landspeeder effects.

When asked who is his favorite Star Wars character and why, Feiner responds: “Darth Vader. He gets right to the point.” Feiner’s favorite movie of the trilogy is Star Wars: A New Hope. “It’s a western set in outer space. The story and the ‘pacing’ haven’t been done since the thirties. Everything, story, editing, sound, visual effects, were seamlessly woven into a continuous fabric. The results speak for themselves.”

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-01-25 00:05:56.

A Visit to the Archives

Welcome to a look inside The Holocron. A collection of articles from the archives of *starwars.com no longer directly available.

(*Archived here with Permission utilising The Internet Archive Wayback Machine)

A Visit to the Archives

The Lucasfilm Archives, justifiably renowned among legions of fans as the final resting place for everything from Darth Vader’s lightsaber to the Holy Grail that just eluded the grasp of Indiana Jones, is much more than just a prop mausoleum. It’s an active private collection where on-going programs of conservation and restoration ensure that precious items that aren’t really made to last, but that have become icons of popular culture, can survive for future generations to enjoy in exhibitions around the world.

And in an age where the “common wisdom’ had it that digital technology would replace the need for most hand-built props and models, the opposite seems to have happened. The Archives has grown larger and more sophisticated in the wake of Star Wars: Episode I The Phantom Menace than at any time since it was established shortly after completion of production of Return of the Jedi. “This is truly a unique collection” says Paloma Anoveros, the Collection Manager since October 1996. “Most production companies don’t keep the props, costumes and models that they generate for films. But I think that since Star Wars was a trilogy, the idea of reusing objects made sense. Later it became clear that these were films that were making an impact, and that these objects had an extremely iconographic power in our culture.”

Most Lucasfilm movies are represented in the Archives: The Indiana Jones Trilogy, the Star Wars films, WillowTucker, and even American Graffiti.

With the initial success of Star Wars, and the immediate realization that a second film would be made, Industrial Light & Magic kept a number of the props from the first film to see if they could be used again. It did the same thing for The Empire Strikes Back. The production company also sent some of the large pieces back from England for storage in California. But it wasn’t until around the time of the taking of a very famous photo–George Lucas amidst a sea of some of the most famous spacecraft, droids and other props from his trilogy–that Lucas decided it was time to set up a proper Archives.

It was also around that time that some of the earliest exhibitions of Lucasfilm props took place: The World Science Fiction Convention (Los Angeles, 1984), The Star Wars 10th Anniversary Celebration (Los Angeles, 1987) and several Marin County Fairs.

The first Archives was a makeshift rental in an industrial park, but at least it served as a gathering spot for all of the props, costumes, models and artwork. Several years later, the first climate-controlled Archives building was erected. A second structure has been added to accommodate Episode I costumes and props including the massive miniatures such as Theed city and the Mos Espa Arena. Currently, the Archives take up about 50,000 square feet of space.

The Archives also has a film department which houses production elements such as dailies, original sound recordings and continuity reports and audition reels and outtakes. The daily operations of the film archive include providing requested materials to departments such as Production and Publicity, while safeguarding the transition of materials to a cool, dry environment which will keep them protected for years to come.

“A normal museum usually grows steadily,” Anoveros says, “But we grow tremendously in spurts. Last year the collection more than doubled due to Episode I and other collections, so we have to be creative on how to address issues like this.”

Anoveros’s background is in artwork conservation and collections management. On her staff are two full-time model and costume archivists (Danielle Roode and Susan Copley), a film archivist (Sandra Groom), and project personnel like interns from museum studies programs.

Despite her museum and conservation background, Anoveros knows that, first and foremost, she serves an active film production company. “This is very much a collection in use, with props and models that may be needed at any time for production,” she says. “My role is not to prevent use but to minimize damage while things are being used. So I talk to the person who needs something for reference and ask, ‘Do you need the actual object, or would a great photo do?’ Or if it’s for filming, I make sure it’s packed and transported correctly and handled properly to minimize damage.”

For Episode I, the Archives got requests early on from the Art Department for props for reference for continuity purposes. It sent large amounts of material to Leavesden Studios outside of London for use in the actual film–everything from masks and costume to R2-D2 units and Luke Skywalker’s original landspeeder. A little closer to home, ILM borrowed props for blue-screen use or for reference for computer-graphic use. All of it needed to be logged, tracked, packed, shipped, and eventually brought back.

“A very important aspect of what we do is cataloguing the objects” Anoveros says. The Archives is implementing a bar code system because objects move in and out so quickly during filming. Then, if it needs to be sent out it can simply be scanned. Among the challenges faced by Anoveros and her staff is that objects built as film props, for the most part, aren’t built to last.

“We have modern materials and no one knows how they are going to perform long-term,” Anoveros says. “Many of these objects are fragile, and meant to be used under careful supervision in front of blue screen, and it’s a continuous challenge how to preserve them. For example latex, used widely for masks and creatures. There is no treatment for deteriorated latex. We try to provide stable environmental conditions and appropriate support for their preservation. Once latex deteriorates there is no treatment to recover it.”

Currently, the Archives doesn’t perform restoration work on-site, but hires trained professionals when necessary. “Sometimes we get work done at the ILM department where they created the actual object, or we contract it to conservators in the field who are experts in different materials,” Anoveros says. The Archives keeps a priority list based on how important a piece is, whether it might go on display at some point, and whether it will deteriorate further if it isn’t fixed.

“We try to focus on preventative conservation, which is avoiding damage before it happens to objects,” Anoveros says. “We try to keep things in stable environmental conditions by keeping the temperature at a constant 65 degrees Fahrenheit and 50-55% relative humidity. We have implemented a pest management system to prevent pest infestation. And in terms of storing objects, we try to provide the proper support for all objects, like costumes and masks to make sure they don’t sag or stretch and deform.”

The Archives collection is incredibly diverse. “We have models from full size spacecraft to miniatures, and from screen quality to foam-core prototypes,” Anoveros notes. “We have traditional costumes from Imperial officers to incredible Queen Amidala gowns to Gamorrean guards with all the foam layers of ‘fat.’ There are thousands of pieces of concept art and production paintings. There are original matte painting. These are usually done on glass, some are on board and some very large ones on canvas. This section of the collection isn’t likely to grow since matte painting are now done digitally.” The Lucasfilm Archives has multiple copies of some objects. “It’s just the nature of production,” Anoveros says. “For example, look at all of the version of R2-D2. One was worn by Kenny Baker and is considered a costume; one just has the ability to turn its head; another has the ability to drop its third leg. So these all add history to the collection.

One of Anoveros’s most weighty recent responsibilities was proposing what to keep for the Archives from Episode I. “I started first looking at the objects keeping in mind the issues of significance, quality, storage, transportation, and maintenance costs. The few pieces we could not keep-like the really large sets-we documented really well.”

In the last few years, much of the time of the Archives staff has been devoted to organizing public exhibitions of the treasured memorabilia in conjunction with Lucas Licensing Ltd., another unit of Lucasfilm. “Since we are a private collection that does not have the facilities to be able to be open to the public, we try to take part in well-organized public museum exhibitions when possible,” Anoveros says. In the last several years there have been two very popular separate exhibitions in Japan and one in San Francisco. There was even an amazing three-day exhibit at the Star Wars Celebration fan convention in Denver last May.

But the real attention getter was the year-long National Air and Space Museum’s Star Wars: The Magic of Myth, which is currently on a two year tour of U.S. museums organized by SITES. Coming up in April in London is a similarly ambitious exhibition, The Art of Star Wars, at the Barbican Art Centre.

“Currently, the exhibitions have been taking 90% of our time,” Anoveros says. “Of course, that slows down once the exhibit goes up, but when you’re moving 250 objects, that takes a lot of time. We work with the organizing institution in terms of developing exhibit plans and guidelines, and we give suggestions of what we think might work. We think we know our fans and what they expect to see. It’s a continuous dialog to develop the curatorial point of view, and we participate actively with them in selecting the objects.”

High on Anoveros’s agenda is better maximizing her existing space as the calendar pages keep turning. Before too long, she’s going to be getting a telephone call from Episode II Producer Rick McCallum: “Paloma, I’ve got a bunch of stuff for you to take a look at!”

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-06-25 13:24:52.

The Clone Wars Episode Guide: Mystery of a Thousand Moons

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The Clone Wars Episode Guide: Mystery of a Thousand Moons

Episode Air No.: 18
Original Air Date: February 13, 2008
Production No.: Season 2, Episode 2

Written by Brian Larsen
Supervising writer Drew Z. Greenberg

Directed by Jesse Yeh

Key Characters: Padmé Amidala; Anakin Skywalker; Ahsoka Tano; Obi-Wan Kenobi; Dr. Nuvo Vindi; Jaybo Hood

Key Locales: Naboo; Iego

Cast
Matt Lanter as Anakin Skywalker
Catherine Taber as Padmé Amidala | Angel
Ashley Eckstein as Ahsoka Tano
James Arnold Taylor as Obi-Wan Kenobi
Matthew Wood as battle droids
James Mathis III as Captain Typho
Michael York as Dr. Nuvo Vindi
David Kaufman as Jaybo Hood
BJ Hughes as Jar Jar Binks
Phil LaMarr as Amit Noloff
Tom Kane as the Narrator

Episode Brief: The fatal Blue Shadow Virus menace is still at large, infecting Ahsoka, Padmé, and many clone troopers — and giving Anakin and Obi-Wan just 48 hours to find the antidote on a mysterious planet from which no visitor has returned.

Full Synopsis

“A single chance is a galaxy of hope.”

Newsreel:
Hard-pressed Jedi and their valiant
clone troopers have thwarted an
insidious Separatist plot to plant bombs loaded with the deadly Blue Shadow Virus in key Republic systems.

Obi-Wan Kenobi and Anakin Skywalker have captured the vile scientist behind the nefarious scheme: Doctor Nuvo Vindi. Now the Jedi plan to transport Vindi to the Republic capital for trial….

ACT I

Anakin Skywalker and Obi-Wan Kenobi load a cuffed Dr. Vindi into his waiting shuttle for transport to Theed. Far below, in the subterranean laboratory, a clone trooper notes that the last bomb defused has its virus vial missing. The assistant droid must have taken it. Padmé orders a red alert. Dr. Vindi hears this ruckus and gloats that the Jedi’s efforts have been for naught.

The little assistant droid inserts the vial into one of the inert bombs in the preparation room, and primes the explosive. Two clones spot the droid and try too late to stop it. The explosive detonates, spreading a cloud of Blue Shadow Virus into the lab. Emergency bulkheads begin slamming shut. Captain Rex and his clones race to make it to a safe room, but it seems too late. The hermetic blast doors are slamming shut. Ahsoka uses the Force to hold the doors open long enough for the clones and her to jump through.

Elsewhere, Padmé and Jar Jar are secure in another safe room and within their hazard suits. Anakin receives an update from within the compound. The laboratory is sealed, but any remaining droids are sure to attempt to break out and thus release the virus into the Naboo ecosphere. Padmé is determined to stop them.

Anakin questions Vindi at lightsaber-point about a cure to the virus. The crazed scientist snickers, for there is no such thing. Short on time, the shuttle blasts off to Theed, where there are those much better equipped to search for an antidote.

In Ahsoka’s safe room, at the end of complex B, the clones discover that some of the virus made it past the sealing doors. They have all been exposed to the contaminant. Rex is still determined to stop any droids from leaving the compound, even if it’s the last thing he does.

Vindi’s shuttle lands at Theed, and he is marched into custody. Typho, meanwhile, has been researching the first outbreak of Blue Shadow Virus and has found a possible antidote in the historical archive: a little known extract made from reeksa root, a vine found only on Iego, world of a thousand moons. Iego, unfortunately, is deep in Separatist-controlled space. Anakin is not deterred. He and Obi-Wan will venture into the heart of enemy territory. Skywalker is determined to save Padmé and Ahsoka. The Jedi team blast off in the Twilight and launch into hyperspace.

Padmé and Jar Jar work their way to the end of complex B and arrive at Ahsoka’s safe room, avoiding droid patrols along the way. Ahsoka greets Padmé, and the young Padawan is still set on carrying out her mission of destroying the droids, even though she is now terminally infected. They split up — Padmé, Jar Jar and two clones will take the north corridor, while Ahsoka and Rex will take the south.

ACT II

Scouting the blue-cloud filled corridors, Padmé, Jar Jar and the clones come across a team of battle droids attempting to cut through the sealed doors. Padmé and the clones open fire, picking away at the droids. Ahsoka and Rex come running in from the other end. A lone battle droid makes it all the way to the upper hatch, but it is stopped before it can make it to the surface.

The Twilight arrives at Iego. In addition to the swarm of moons and asteroids around the planet, there is a dense debris field filled with fragments of wrecked starships. Yet there is no starship traffic at all. The Twilight weaves its way through these obstacles before making planetfall and landing at the spaceport city of Cliffhold amid the basaltic spires of Iego’s spaceport.

A strange collection of reprogrammed battle droids greet the Twilight. Anakin impulsively charges into the horde and cuts down 18 droids before he realizes they are no threat. Many of the droids are cobbled together from spare parts, and some of them are oddly defaced with childish scribbles and crude paint jobs. One of the droids introduces Anakin and Obi-Wan to “the venerable” Jaybo Hood, a 10-year old kid responsible for reworking these droids. Anakin is impressed with his handiwork, if not his stature.

Jaybo’s been tinkering with these droids for nine months now. He’s living the life of a ruler, fawned over by the repurposed automata. When the Separatists left Iego, they left behind a whole warehouse of inactive droids that Jaybo commandeered. Kenobi and Skywalker try to steer the conversation to the matter at hand: the urgent need to recover the reeksa root. But any claims of urgency don’t seem to affect Jaybo. He tries to tell the Jedi that they’re not going anywhere — nobody gets off the cursed world Iego, haunted by the destructive spirit of Drol. Fifty of the best star pilots have attempted to outrun the curse, and all died.

Back on Naboo, Ahsoka cuts down a pair of droidekas, but as Padmé tackles Jar Jar to save him from incoming fire, she tears a hole in her hazard suit. She is now exposed to the Blue Shadow Virus.

On Iego, Anakin and Obi-Wan climb down the sheer cliff face to the lower canyon floors. Jaybo offers them some survival tips — do not touch the reeksa vines. And watch out for flying xandus. A huge bat-like xandu almost immediately flutters past Anakin, knocking him off the cliff face. He grabs the xandu’s talon, and gets an idea. Anakin shouts for Obi-Wan to do the same, so Kenobi leaps and grabs the xandu’s other leg. The combined weight of the Jedi weigh the leathery winged creature down. It drops down to the canyon floor in a controlled fall — a much faster descent than climbing.

In the sealed lab complex, Ahsoka cuts down more droids, but her skin has become mottled and her strength is starting to leave her. She is succumbing to the virus.

Kenobi and Skywalker tumble to the canyon floor. Skywalker pulls a spade from his backpack and begins digging for a root. The reeksa vines start writhing, revealing themselves to be enormous, ravenous carnivorous plants with sharpened spikes for teeth and deadly thorns along their length. The plants begin snapping at the Jedi, but Anakin secures the root quickly enough for them to retreat back to the cliff-face. The Jedi slash back at the plants, narrowly escaping back to Jaybo’s ledge.

ACT III

With root in hand, the Jedi accompany Jaybo Hood to what passes as the meeting hall at Cliffhold. The urban sprawl looks a bit decrepit, and Jaybo explains that the planet has been neglected since the spice convoys dried up and transit to and from the world has ceased. A seemingly crazed Quarren official, Amit Noloff, decries Drol, the spirit of the thousand moons — the world’s protector and destroyer — for the fate that has befallen the inhabitants of Iego. Skywalker, though, remains skeptical. The Quarren produces a holographic recording of a Rodian star pilot, Taquito, whose ship was destroyed as he tried to leave.

Skywalker is not deterred. The Jedi board the Twilight and fly the spice freighter up into the debris field. Suddenly, laser beams begin lancing forth from some of the rocks, forming a web of deadly energy. From the surface of Iego, it looks as if a lattice of fire spreads across the sky. Drol may not be a ghost, but whatever it is, it is a real and deadly threat guarding the skies of Iego. The energy web is too dense, so the Twilight returns to the spaceport. Kenobi surmises that the Separatists must have installed the laser field to keep anyone from leaving Iego.

Padmé and Ahsoka make contact with Anakin. They are quite visibly weakened. They have destroyed all the battle droids inside the compound. Naboo is safe, though it looks as if neither has much time to live. Anakin won’t give up. He’s determined to run the laser gauntlet again, but Obi-Wan thinks that plan is too impetuous and dangerous. He has another idea, though he has difficulty calming Anakin down.

Kenobi calls forth the Iego council. He explains that Drol is no ghost, but rather a Separatist security system. Noloff refuses to believe this. Kenobi asks if anyone inhabited Iego’s moons prior to Drol’s destructive rise. A strikingly beautiful, willowy, phosphorescent humanoid enters the chamber — an Angel. She explains that they were driven from their homes by the Separatists, who stole their moon of Millius Prime.

Anakin realizes the primary node of the laser web must be near Millius Prime. Obi-Wan recruits Jaybo to donate a number of remote-controlled vulture droids in a bid to escape the laser web. R2-D2 will control the vulture droids as a distraction for the laser field, while the Twilight targets the hub on Millius Prime.

On Naboo, Padmé does what she can to alleviate the suffering of the infected clones. Ahsoka collapses, overcome by the virus.

The Jedi carry out their plan. The Twilight leads the way with a squadron of four vulture droids in tow. The laser field activates. R2-D2 pilots the vultures to intercept the lasers, while the Twilight opens fire on the primary node. A chain reaction erupts as the laser web unbalances, and emitters overload, sparking a series of explosions throughout the debris field. The laser web collapses. The people of Iego are free. With no time to waste, the Twilight leaps into hyperspace, en route to Naboo.

A short time later, Anakin and Obi-Wan arrive by gunship into the eastern swamps, where medical droids are tending to the infected. The virus has been neutralized, and those afflicted will make a full recovery. Skywalker confers with Padmé, who never lost faith in Anakin. Anakin also sees to Ahsoka, praising her for her devotion and success.

Meanwhile, Kenobi congratulates Jar Jar for his bravery in the face of such danger, and says he will recommend one of his troops gives Representative Binks some marksmanship training. Rex, though ailing, makes it clear that it won’t be him.


Trivia & Details

  • Anakin calls Dr. Vindi a “sleemo,” which is Huttese for “slimeball.”
  • The series debuts some fully realized Ithorian and Quarren models in this episode. Previously, the Clone Wars movie used cobbled together figures to represent these background aliens. In Jabba’s palace, the Ithorians were made of a crudely modeled head stuck on Palpatine’s body, and the Quarren was a simple head stuck on Obi-Wan’s body.
  • The Angel went through a number of revisions, with some much more human than the end result.
  • Originally, the xandu was to have been devoured by the reeksa vines.
  • The city of Cliffhold is based on old Doug Chiang designs from The Phantom Menace. It is filled with aurebesh graffiti, including incidents of Jaybo Hood’s name scrawled on the walls or simple illustrations depicting droids and clones. One building is marked with a large aurebesh marquee that reads “KRISTAL SKULL.”

Memorable Quotes

“Oh well, just another boring day saving the universe.” — Obi-Wan Kenobi

“Patience, Anakin. There’s more than one way to skin a womp rat.” — Obi-Wan Kenobi

“We may be dead men, but we could still stop those droids.” — Clone Captain Rex

“Welcome to Iego. Roger roger.” — Jaybo Hood’s battle droids

“I have a bad feeling about this.” – Obi-Wan on Iego

  • “If you ask me, sounds like a load of –“
  • “Superstition?”
  • “That’s one word for it.” — Anakin and Obi-Wan discussing Drol.
  • “A great leap forward often requires taking two steps back.”
  • “And sometimes all it requires is the will to jump.” — Obi-Wan and Anakin

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2023-05-26 18:10:07.

Trisha Biggar

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Trisha Biggar: Of Imaginary Wardrobes and Real-Life Clothes

Costume Designer Trisha Biggar could rely on her broad background of experience when she set out to meet the many costuming challenges of Star Wars: Episode I. Her work with prestigious British theatre companies, like the Glasgow Citizen’s Theatre, and her extensive film and television experience (including The Young Indiana Jones Chronicles) had more than prepared her for whatever obstacles would arise during her work on the next chapter of the Star Wars saga. Still, the unusual aspects of the project made it inevitable that she would be confronted with at least a few new and stimulating challenges.

Episode I is the fourth Star Wars film, yet it brings to life a previous generation, whose actions shaped events that took place before the classic trilogy; and so Biggar had to make sure costume continuity was respected, while at the same time drawing on her skills and imagination in order to trace her own path through new territory.

The first and foremost challenge was the sheer volume of costumes required to bring to life George Lucas’ vision, and the short time frame in which all of these ideas had to become physical reality. In less than a year, over one thousand costumes were painstakingly designed and put together, piece by piece. When working on a project of this scale, careful management of a productive team is essential; and so Biggar was there at every step, making sure that each member of the team was doing exactly what was needed.

Inspiration for the realization of this myriad of costumes came from a variety of sources, including, of course, the classic Star Wars trilogy. “We obviously had to have some continuity from the first films, and we had, among others, the Jedi costumes,” Biggar says. “Since we see them again in Episode I, we tried to link through and bring parts of their costumes from the first film back into this one. We used virtually the same Jedi cloak, but we experimented with different types of fabric. And we modified the undergarments to make them more suitable for younger men, men who have to fight.”

Other inspirational sources included the cultures of several countries, mixed together and revised with the Star Wars universe in mind. Even the Roman Empire influenced some of the designs. But no hypothetical future style shows up in Biggar’s work, for her designer eyes were always turned toward the past. “The costumes have all been drawn from the past. A long time ago. Not futuristic,” she says.

Devising a real cloth costume based on a design drawing is a process that Biggar was well familiar with, but Episode I made this a bigger challenge than usual, for Star Wars’ exotic setting gave rise to some concepts that were very highly imaginative. Another difficulty lay in the fact that some of the costumes were intended for characters who were not human. And on top of that, Biggar had to keep in mind that certain pieces of clothing were to be worn during action scenes, sometimes even fitted to stuntmen who jumped, fell, and pushed themselves – and the costumes they wore – to their limits.

The Royal Guard costume, briefly seen in part 4 of our “Lynne’s Diary” behind-the-scenes documentary, is one example. “We had to look at what the people who would be wearing the costumes would be doing. And so a few of them had to be adapted so the people wearing them wouldn’t injure themselves. Some different fabrics for stuntmen, and so on,” Biggar says.

Staying true to an already deep and detailed universe while at the same time improving old concepts and introducing completely new ideas is a challenge like few others, but one that Biggar could match up to and enjoy. “Everything was great fun, really, because there was such a wide variety of things to do,” she concludes with a smile.

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-07-30 16:05:42.

Foley artists of Episode I

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Foley artists of Episode I

In a dark, cavernous underground sound stage, two women crouch, their eyes riveted to a giant movie screen. Projected in front of them, frame by frame, is the final cut of Star Wars: Episode I. Like musicians in an orchestra pit playing to a celluloid score, they take their cues from the movements of the images flickering in front of them. The duo of performers creates a sound to match the movement onscreen wielding mysterious metallic instruments. Highly sensitive microphones record the specialized work of these two women. Lithe and highly focused, Dennie Thorpe and Jana Vance are the foley artists of Lucasfilm. Together with their partners, Foley Recordist Frank “Pepe” Merel and Foley Mixer Tony Eckert, they provide the ambient sound effects of Episode I.

These subtle yet essential foley effects – the footsteps, the cape movements, the rattle and hum of everyday life – provide all of the natural sounds that exist between the remaining layers of sound in a film. Many films utilize a foley track because sound as recorded on the set is often unusable. Background noise like a plane flying overhead or the toot of an automobile horn can obscure dialogue. Sometimes live sound recorded on a set must be replaced because sets created to look like real environments are actually fake. For example, when Ewan McGregor (Obi-Wan Kenobi) and Liam Neeson (Qui-Gon Jinn) faced Ray Park (Darth Maul) in Episode I’s climactic lightsaber battle, they were actually performing on a set constructed of plywood made to look like metal. The live sounds recorded during this scene consisted of a series of heavy footsteps on plywood, the clack of prop lightsabers and the breathing of the actors as they performed the complicated fight choreographed by Stunt Coordinator Nick Gillard. To create the necessary illusion of realistic sound, Dennie and Jana recreated the scene foley-style by running, jumping and occasionally falling on a special square of marble “spaceship” surface. The other sounds, like the lightsabers and doors opening and closing, were created by Ben Burtt and his sound editing team.

The Episode I foley team has worked together for over three years, though Dennie has been part of the Lucasfilm foley team since she walked in both Darth Vader’s and Luke Skywalker’s footsteps in Return of the Jedi. “It was my third or fourth job and I was scared to death,” says Dennie, “because I was doing it by myself. Yet it was fun.”

The well-knit team works closely with Sound Designer Ben Burtt. At the beginning of Episode I production, the foley team and Burtt watched an early cut of the entire film. They made a scene-by-scene analysis to determine which foley effects were needed. After foley work for each 10-minute reel was completed, Burtt returned to the foley stage to evaluate a playback. The group then discussed the sounds and determined what needed to be altered, enhanced or simply redone. Each day the busy team created approximately 200 different “sound events,” which are unedited recordings that will eventually be crafted into finished sound effects.

Their huge sound stage is full of real-life objects – ancient vacuum cleaner canisters, the battered hood of a car, a mini-swimming pool, and cabinets of stuff that most would be hard put to identify. “Very low tech stuff sounds great when used in creative ways,” says Jana. Yet, though the foley cupboards were packed, the team decided that they would need a set of truly unusual sounds for the production of Episode I. “Often,” says Tony Eckert, “the real movement doesn’t sound as real as you’d want it to and the artist must find a more suitable object with which to create.

This search for unique sounds led Dennie and Jana on a foley shopping spree to several scrap yards in the Bay Area with a special mission to find the perfect droid parts. While imagining the movement of the battle droids, Dennie had a brainstorm. “I was a foley artist for the T-1000 on Terminator 2,” says Dennie. To capture the chilling metallic footsteps of the T-1000 she had had a pair of perfectly ordinary boots resoled with metal plates. Planning the droid movement in Episode I, she continues, “it occurred to me that those monstrous boots I used in T2 would work perfectly.” Soon afterward Dennie and Jana were each fitted with a pair of specially made boots – Dennie’s combat boots were soled in brass while Jana’s cowboy boots sported thick steel soles. They were then able to create a sound unique to the battle droids: a heavy and metallic footstep, with a bit of a slide. “The droid sounds in the final battle scene took meticulous prep time,” says Jana, “and although each sequence only lasts 2 minutes on-screen, it probably took us about half a day to create it.”

Once Dennie and Jana have walked a character for one reel of film, they can anticipate a character’s every movement. At this point they don’t need to look at every cue. “It’s because we have them ‘muscle memoried’,” explains Dennie. Dennie performed the parts of Obi-Wan Kenobi, Anakin Skywalker and Padme Naberrie. Jana “walked” the parts of Qui-Gon Jinn, Jar Jar Binks and Darth Maul. Of Ray Park who played Darth Maul, she says, “he was incredible – he was more like a dancer than an actor.”

Although Dennie and Jana performed their characters individually, there were some effects they created as a team: the big battle scenes, and the movements of the larger creatures. Together they did the saddles and bridles of the kaadu, a giant beast used by the Gungans, and modeled these sounds on everyday equestrian equipment. “We’d been doing horses for years,” says Tony, who had assumed that the job would be a straightforward one. But what made the kaadus unique is that they’re enormous in size and completely computer-generated. The team began their approach as they would for a horse, using leather straps and clinking metal parts. Then Tony laid special microphones to pick up the deepest frequencies, enlarging Dennie and Jana’s human movements so that they would sound massive.

On Episode I, almost every reel the foley team worked on had 24 tracks of different sounds. Foley Editors Bruce Lacey and Marian Wilde would determine the foley effects to be recorded each day, creating a cue sheet that looked like a musical score – with movements set to time. This cue sheet was then passed to the Episode I foley team who would read, for example, that at the thousand feet marker of a particular cue sheet, a battle droid would walk on a marble surface for ten feet. Because of this system, the team was able to perform and record each scene in a very efficient manner.

After the foley sounds were recorded, they were handed to the editors who examined each movement on every track to determine whether the foley work had been done in synch with the picture. Then the editors used a computer to cut and nudge each sound into place. Once this initial composition was complete, it was passed on to a pre-mixer who mixed the bulky 24 tracks of foley down to either 3 or 6 tracks. At this point the Episode I audio existed as groups of pre-mixes – a music pre-mix, a foley pre-mix, an effects pre-mix and a dialogue pre-mix – which were combined during a final mixing session overseen by George Lucas.

The foley track can cue the audience to pay attention to certain characters or actions. Just as music can sway your emotion, foley influences where you focus your attention. When done well, foley enhances individual characterizations. Some in the business consider foley to be the glue that holds a picture together. “It’s just like life,” explains Tony. “If you sit with your eyes closed and start to listen you’ll hear the scuffing of cloth, or someone dropping a glass. You don’t really think about it – you just accept it. But you’d miss it if it wasn’t there.”

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-08-02 13:30:13.

Serious Post-Production Mode

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Serious Post-Production Mode

November 2, 2000 — “Where we’re at right now is serious post-production mode,” says Producer Rick McCallum, describing the current status of Episode II. “George [Lucas] arrives early every morning. He’s working with Ben Burtt. Jamie Forester and I are working, along with Matthew Wood and Skywalker Sound, to make plans for the new post-production sound environment that we’re going to create for Episode II.”

The production has moved from overseas studios and locations back to northern California. Early next year, more studio work is scheduled for any additional shooting that is required. “We are starting to outline the plan of our additional shooting in March,” explains McCallum. “We’re also working out the moves with ILM and setting up the schedule of how we’re going to proceed. There is an awesome amount of work that we have to do, which we expect to go full bore in January and deal with for at least 15-16 months.”

The current task ahead of McCallum is ensuring the timely delivery of a rough cut of the film. “What we’re trying desperately to do is to keep George totally linked in to getting a first assembly of the film as soon as possible so that we can begin to lay off a lot of the scenes,” he says. With the rough cut done, individual shots can make their way to Industrial Light & Magic for effects work. One scene, involving Obi-Wan Kenobi (Ewan McGregor), is largely complete and has already been delivered to ILM.

At the same time, the digital artists have begun crafting wireframe models for the various computer-generated characters. ” John Knoll and Rob Coleman are busy getting their crews started for some of the scenes they’re going to be attacking,” McCallum reports.

“At this point we’ve gone from the theoretical down to the practical,” says McCallum, “We have to actually start making miniatures soon. It’s looking really good. Everything’s moving.”

Just as a FYI, to avoid old posts becoming one with the Force, this post has been republished so it can be a blue glowy thing, it was Originally posted 2022-08-16 16:00:23.