Label: Seven Seas - K18P-4077 Format: Vinyl LP, Album, Compilation Country: Japan Genre: Stage Screen Style: Theme, Soundtrack
Peter Mayhew as Chewbacca. Baxter, John Decent Films Guide. Digital compositing technology allowed the restorers to correct for problems such as misalignment of mattes and "blue-spill". An audio CD boxed set of the Star Wars radio series was released incontaining the original radio drama along with the radio adaptations of the sequels, The Empire Strikes Back and Return of the Jedi. Archived from the original on May 27,
A New Hope - Star Wars: The Digital Movie Collection. Episode IV Teaser Trailer. Creature Cantina. Use the Force, Luke. A New Hope Story Gallery. Mos Eisley Cantina The Mos Eisley cantina is a dimly-lit tavern known for its strong drinks, hot tunes, and occasional outbreaks of shocking violence. Start a Wiki. Do you like this video? Contents [ show ]. Episode V: The Empire Strikes Back re-release poster. Episode VI: Jack Kaplan and Cheryl Gard. The album was released on 20th Century Fox Records T and came with an illustrated book.
The original film became a hit in the days before home video, so for many fans at the time, this album was the closest to owning a copy of the film they could revisit whenever they wanted.
The album was also released on compact cassette , 8-track tape , and 4-track reel-to-reel audio tape. It was a commercial success and achieved Gold Record status. In , the title was used again for a three disc set produced and released for the VideoNow Color personal video player. The first two discs are an overview of the first five Star Wars films released: Star Wars: Abrams for a discussion on the upcoming film.
Author E. Kristin Baver. Designing Star Wars: Star Wars Resistance StarWars. Jenn Fujikawa. No Escape: Cast and Creator Photos from the Star Wars: Abrams and more! So I began researching and went right back and found where Alex Raymond who had done the original Flash Gordon comic strips in newspapers had got his idea from.
I read through that series, then found that what had sparked Burroughs off was a science-fantasy called Gulliver on Mars , written by Edwin Arnold and published in That was the first story in this genre that I have been able to trace.
Jules Verne had got pretty close, I suppose, but he never had a hero battling against space creatures or having adventures on another planet.
A whole new genre developed from that idea. Lucas began writing in January , "eight hours a day, five days a week",  by taking small notes, inventing odd names and assigning them possible characterizations.
Lucas would discard many of these by the time the final script was written, but he included several names and places in the final script or its sequels. He used these initial names and ideas to compile a two-page synopsis titled Journal of the Whills , which told the tale of the training of apprentice CJ Thorpe as a " Jedi -Bendu" space commando by the legendary Mace Windy. After United Artists declined to budget the film, Lucas and producer Gary Kurtz presented the film treatment to Universal Pictures , the studio that financed American Graffiti ; however, it rejected its options for the film because the concept was "a little strange", and it said that Lucas should follow American Graffiti with more consequential themes.
They think I do weirdo films. He added: We had Westerns, pirate movies, all kinds of great things. Where are the romance, the adventure, and the fun that used to be in practically every movie made? Lucas and Kurtz, in pitching the film, said that it would be "low-budget, Roger Corman style, and the budget was never going to be more than—well, originally we had proposed about 8 million, it ended up being about Both of those figures are very low budget by Hollywood standards at the time.
Although Ladd did not grasp the technical side of the project, he believed that Lucas was talented. Lucas later stated that Ladd "invested in me, he did not invest in the movie. He changed Starkiller to an adolescent boy, and he shifted the general into a supporting role as a member of a family of dwarfs.
Lucas began researching the science fiction genre by watching films and reading books and comics. However, in this draft, the father is a hero who is still alive at the start of the film. Lucas completed a second draft of The Star Wars in January , making heavy simplifications and introducing the young hero on a farm as Luke Starkiller.
For example, Luke had several brothers, as well as his father, who appears in a minor role at the end of the film. The script became more of a fairy tale quest as opposed to the action-adventure of the previous versions. This version ended with another text crawl, previewing the next story in the series. This draft was also the first to introduce the concept of a Jedi turning to the dark side: Impressed with his works, Lucas hired conceptual artist Ralph McQuarrie to create paintings of certain scenes around this time.
A third draft, dated August 1, , was titled The Star Wars: From the Adventures of Luke Starkiller. This third draft had most of the elements of the final plot, with only some differences in the characters and settings.
The draft characterized Luke as an only child, with his father already dead, replacing him with a substitute named Ben Kenobi.
The Star Wars. Lucas worked with his friends Gloria Katz and Willard Huyck to revise the fourth draft into the final pre-production script. Lucas finished writing his script in March , when the crew started filming. There are certain traditional aspects of the genre I wanted to keep and help perpetuate in Star Wars. It goes on forever. Let me sit down and write this for you. George Lucas recruited many conceptual designers, including Colin Cantwell, who worked on A Space Odyssey , to conceptualize the initial spacecraft models; Alex Tavoularis to create the preliminary conceptual storyboard sketches of early scripts; and Ralph McQuarrie to visualize the characters, costumes, props and scenery.
Two years later, after completing American Graffiti , Lucas approached McQuarrie and asked him if he would be interested "in doing something for Star Wars. He commissioned production designers John Barry and Roger Christian , who were working on the sets of the film Lucky Lady when Lucas first approached them, to work on the production sets. Christian recounted in Lucas described a "used future" concept to the production designers in which all devices, ships, and buildings looked aged and dirty.
Nothing was new. George was going right against that. The designers started working with the director before Star Wars was approved by 20th Century Fox. Although Lucas initially provided funds using his earnings from American Graffiti , it was inadequate. As they could not afford to dress the sets, Christian was forced to use unconventional methods and materials to achieve the desired look.
He suggested that Lucas use scrap in making the dressings, and the director agreed. I used to do it with models when I was a kid. According to Christian, the Millennium Falcon set was the most difficult to build.
Christian wanted the interior of the Falcon to look like that of a submarine. The massive rebel hangar set was housed at a second sound stage at Shepperton Studios ; the stage was the largest in Europe at the time. Most of the visual effects used pioneering digital motion control photography developed by John Dykstra and his team, which created the illusion of size by employing small models and slowly moving cameras.
George Lucas tried "to get a cohesive reality" for his feature. However, since the film is a fairy tale , as he had described, "I still wanted it to have an ethereal quality, yet be well composed and, also, have an alien look. To achieve this, he hired the British cinematographer Gilbert Taylor. A Space Odyssey. However, he eventually withdrew to work on the Vincente Minnelli -directed A Matter of Time instead, which "really annoy[ed]" Kurtz. On his decision, Lucas said: Taylor said that Lucas, who was consumed by the details of the complicated production, "avoided all meetings and contact with me from day one, so I read the extra-long script many times and made my own decisions as to how I would shoot the picture.
During production, Lucas and Taylor—whom Kurtz called "old-school" and "crotchety"  —had disputes over filming. His lighting suggestions were rejected by Taylor, who believed that Lucas was overstepping his boundaries by giving specific instructions, sometimes even moving lights and cameras himself.
Taylor refused to use the soft-focus lenses and gauze Lucas wanted after Fox executives complained about the look. Originally, Lucas envisioned the planet of Tatooine , where much of the film would take place, as a jungle planet. Gary Kurtz traveled to the Philippines to scout locations; however, because of the idea of spending months filming in the jungle would make Lucas "itchy", the director refined his vision and made Tatooine a desert planet instead.
When principal photography began on March 22, , in the Tunisian desert for the scenes on Tatooine, the project faced several problems. It was all a gray mess, and the robots were just a blur. But George saw it differently, so we tried using nets and other diffusion. He asked to set up one shot on the robots with a mm, and the sand and sky just mushed together. Filming began in Chott el Djerid , while a construction crew in Tozeur took eight weeks to transform the desert into the desired setting.
Kenny Baker , who portrayed R2-D2, said: After completing two and a half weeks of filming in Tunisia,  the cast and crew moved into the more controlled environment of Elstree Studios , near London. The film studio was the only one of its kind in Britain or America that could cater nine large stages at the same time and allow the company complete freedom to use its own personnel. He said that "they were all black and gray, with really no opportunities for lighting at all". To resolve the problem, he worked the lighting into the sets by chopping in its walls, ceiling and floors.
The moon Yavin 4 , which acted as the rebel base in the film, was filmed in the Mayan temples at Tikal , Guatemala. Lucas selected the location as a potential filming site after seeing a poster of it hanging at a travel agency while he was filming in Britain. This inspired him to send a film crew to Guatemala in March to shoot scenes.
While filming in Tikal, the crew paid locals with a six pack of beer to watch over the camera equipment for several days. Lucas rarely spoke to the actors, who believed that he expected too much of them while providing little direction. His directions to the actors usually consisted of the words "faster" and "more intense". Ladd offered Lucas some of the only support from the studio; he dealt with scrutiny from board members over the rising budget and complex screenplay drafts.
At the same time, after production fell behind schedule, Ladd told Lucas he had to finish production within a week or he would be forced to shut down production. Kurtz said that "it came out to be like 9. During production, the cast attempted to make Lucas laugh or smile, as he often appeared depressed.
At one point, the project became so demanding that Lucas was diagnosed with hypertension and exhaustion and was warned to reduce his stress level. According to an article in Star Wars Insider No. Richard Chew found the film to have a lethargic pace and to have been cut in a by-the-book manner: He found that the pace was dictated by the actors instead of the cuts. Hirsch and Chew worked on two reels simultaneously. The most significant material cut was a series of scenes from the first part of the film which served to introduce the character of Luke Skywalker.
There were too many story lines to keep straight: So we simplified it by taking out Luke and Biggs". The company had spent half of its budget on four shots that Lucas deemed unacceptable.
Lucas inspired ILM by editing together aerial dogfights from old war films, which enhanced the pacing of the scenes. During the chaos of production and post-production, the team made decisions about character voicing and sound effects. Sound designer Ben Burtt had created a library of sounds that Lucas referred to as an "organic soundtrack". Blaster sounds were a modified recording of a steel cable, under tension, being struck.
The lightsaber sound effect was developed by Burtt as a combination of the hum of idling interlock motors in aged movie projectors and interference caused by a television set on a shieldless microphone. Burtt discovered the latter accidentally as he was looking for a buzzing, sparking sound to add to the projector-motor hum. Lucas and Burtt created the robotic voice of R2-D2 by filtering their voices through an electronic synthesizer.
In February , Lucas screened an early cut of the film for Fox executives, several director friends, along with Roy Thomas and Howard Chaykin of Marvel Comics who were preparing a Star Wars comic book. It also lacked most special effects; hand-drawn arrows took the place of blaster beams, and when the Millennium Falcon fought TIE fighters , the film cut to footage of World War II dogfights.
Spielberg, who claimed to have been the only person in the audience to have enjoyed the film, believed that the lack of enthusiasm was due to the absence of finished special effects. Lucas later said that the group was honest and seemed bemused by the film.
In contrast, Ladd and the other studio executives loved the film; Gareth Wigan told Lucas: Lucas found the experience shocking and rewarding, having never gained any approval from studio executives before. Lucas had planned to rework a confrontation scene between Han Solo and Jabba the Hutt in Mos Eisley Spaceport by compositing a stop-motion animated model of Jabba to replace the actor Declan Mulholland , but with time and money running out, Lucas reluctantly decided to cut the scene entirely.
The sequence was later re-instated in the Special Edition with a computer-generated version of Jabba. Williams had worked with Spielberg on the film Jaws , for which he won an Academy Award. Lucas believed that the film would portray visually foreign worlds, but that the musical score would give the audience an emotional familiarity; he wanted a grand musical sound for Star Wars , with leitmotifs to provide distinction.
Therefore, he assembled his favorite orchestral pieces for the soundtrack, until Williams convinced him that an original score would be unique and more unified. According to Lucas, different concepts of the film were inspired by numerous sources, such as Beowulf and King Arthur for the origins of myth and religion.
The influence of The Hidden Fortress can be seen in the relationship between C-3PO and R2-D2, which evolved from the two bickering peasants, Tahei and Matashichi, and a Japanese family crest seen in the earlier film is similar to the Imperial Crest. Star Wars also borrows heavily from another Kurosawa film, Yojimbo There are also thematic parallels, including the freedom fight by a rebel army against an empire, and politicians who meddle behind the scenes.
Arrakis is the only known source of a longevity spice ; Star Wars makes references to spice in "the spice mines of Kessel", and a spice freighter. In passing, Uncle Owen and Aunt Beru are "moisture farmers"; in Dune , dew collectors are used by Fremen to "provide a small but reliable source of water. In addition, the sequence was partially inspired by the climax of the film Squadron , directed by Walter Grauman ,  in which RAF de Havilland Mosquitos attack a German heavy water plant by flying down a narrow fjord to drop special bombs at a precise point, while avoiding anti-aircraft guns and German fighters.
The earlier big-budget science fiction film influenced the look of Star Wars in many other ways, including the use of EVA pods and hexagonal corridors. The Death Star has a docking bay reminiscent of the one on the orbiting space station in The film was originally released in with the title Star Wars. The retroactive addition of these subtitles was intended to bring the film into line with the introduction to its sequel, The Empire Strikes Back , which was released in bearing the designation "Episode V".
Saga One: Star Wars" While the film was in production, a logo was commissioned from Dan Perri , a title sequence designer who had worked on the titles for films such as The Exorcist , Taxi Driver The logotype eventually selected for on-screen use originated in a promotional brochure that was distributed by Fox to cinema owners in This brochure was designed by Suzy Rice , a young art director at the Los Angeles advertising agency Seiniger Advertising.
On a visit to ILM in Van Nuys, Rice was instructed by Lucas to produce a logo that would intimidate the viewer, and he reportedly asked for the logo to appear "very fascist " in style. Lucas signed off on the brochure in between takes while filming inserts for the Mos Eisley Cantina scene. For the US release in , 20th Century Fox commissioned a promotional film poster from the advertising agency Smolen, Smith and Connolly.
They used the freelance artist Tom Jung who was given the brief of "good over evil". Some Fox executives considered this poster "too dark" and commissioned the Brothers Hildebrandt , a pair of well-known fantasy artists , to rework the poster for the UK release. Fox and Lucasfilm subsequently decided that they wanted to promote the new film with a less stylised and more realistic depiction of the lead characters.
Producer Gary Kurtz turned to the film poster artist Tom Chantrell , who was already well known for his prolific work for Hammer horror films , and commissioned a new version. Lucasfilm hired Charles Lippincott as marketing director for Star Wars.
As 20th Century Fox gave little support for marketing beyond licensing T-shirts and posters, Lippincott was forced to look elsewhere. He secured deals with Marvel Comics for a comic book adaptation, and with Del Rey Books for a novelization. A fan of science fiction, he used his contacts to promote the film at the San Diego Comic-Con and elsewhere within science fiction fandom. However, fewer than 40 theaters ordered the film to be shown. In response, the studio demanded that theaters order Star Wars if they wanted the eagerly anticipated The Other Side of Midnight based on the novel by the same name.
Star Wars debuted on Wednesday, May 25, , in fewer than 32 theaters, and eight more on Thursday and Friday. Kurtz said in , "That would be laughable today. Spielberg disagreed, and believed Star Wars would be the bigger hit. Lucas proposed they trade 2. Fox initially had doubts if Star Wars would emerge successful.
Having forgotten that the film would open that day,  he spent most of Wednesday in a sound studio in Los Angeles. The film was a huge success for 20th Century Fox, and was credited for reinvigorating the company. After the screening, the audience was silent, leading him to fear that the film would be unsuccessful.
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