All language subtitles for Empire of Dreams (2004).English SDH

I'm Luke Skywalker.
I'm here to rescue you.

[ Man narrating ] It is the most popular
space adventure of all time.

"Exciting" is hardly
the word I would choose.

It's one of the most groundbreaking
sagas in Hollywood history.

There'll be no one
to stop us this time.

It captured imaginations
with an irresistible force...

You've taken your first step
into a larger world.

And catapulted three young performers
to superstardom.

- I got him!
- Great, kid! Don't get cocky.

[ Man ] My whole life was changed by
the opportunities that came to me...

- Through the success of Star Wars.
- Yahoo!

It really is
a wonderful morality tale.

I'll never turn
to the dark side.

It's George’s vision,
and he truly is...

A visual man
in a profound way.

[ Narrator ]
But the Star Wars trilogy...

Didn't just change
the way we look at movies.

It changed the way
that movies are made.

You must unlearn
what you have learned.

There are so many accomplishments
that George has done...

That really has changed
the business as we know it.

We did it!

[ Narrator ]
What began as a galactic fairy tale...

Became a success story
beyond one man's wildest dreams.

The force will be
with you always.

I expected not to ever make a hit movie.
That wasn't my agenda.

I certainly didn't expect
Star Wars to be this giant hit.

[ Crowd cheering ]

But it became
such a phenomenon.

[ Narrator ] It's hard to remember
a time before Star Wars.

The world was different then.

There were no cell phones
or personal computers.

The internet was years away.

Even home video
had yet to catch on.

The space race was over.
That's one small step for man.

Americans felt deeply mired
in the present.

It was a time
of economic inflation...

And rising oil prices,

and the nation had grown cynical
about its heroes and its leaders.

Well, I'm not a crook.

[ Man ] In our country,
Watergate tore us apart.

And then we had the Vietnam war
on top of that,

which was dividing the nation
like nothing else had.

It was a terrible decade
of great storm and violence in our history.

[ Narrator ] On the big screen, Hollywood’s
view was equally grim.

The films of the early 1970s
were gritty and often downbeat,

a reflection of America’s
social and political upheaval.

Instead of
old-fashioned heroes,

the screen was dominated by hard-nosed
antiheroes who broke all the rules.

[ Lucas ] In the late '60s,
the Warners, the Zanucks,

all the people that started
the studios in the first place,

were retiring, and they were selling
the studios to corporations.

They were beverage companies and all kinds
of other-- they were in other businesses.

They didn't know at all, uh,
how to run a movie studio.

All they know is if the marketing department
said people want this, then you make that.

They started marketing pictures and studying
demographics and all these kinds of things.

And they realized that there was a market for
films made by young people for young people,

'cause the young person
was becoming a bigger part of their market.

[ Narrator ] The studio system
that lasted for decades...

Had now collapsed.

And Hollywood executives,
desperate to connect with younger audiences,

turned to film schools
to find the next generation of moviemakers.

- [ Man ] Action.
- It was in this atmosphere of change...

That gifted young directors
like Francis Ford Coppola,

Brian de Palma,
Martin Scorsese and Steven Spielberg...

Brought a more personal
sensibility to the screen.

It was a state of confusion,
and a lot of filmmakers...

Got to make projects that they ordinarily
wouldn't have gotten to make.

And I got caught
right in the middle of it.

George was the kind of maverick from Northern
California, an independent filmmaker,

who was always
extremely, uh,

proud that he had
very few attachments to Hollywood.

[ Narrator ]
Born in Modesto, California,

George Lucas grew up
reading adventure stories...

And watching movie serials
on television.

[ Screams ]

But it wasn't until college that his own
dreams of filmmaking began to surface.

In 1963, he left Modesto
to attend film classes...

At the University
of Southern California.

[ Man ] I was teaching at USC,
and George was in one of the seminars.

We talked about some of his
early attempts at filmmaking.

And I'll tell you,
right from the beginning,

George had a unique vision.

George was a guy
that thought out of the box,

as you can certainly see
by his student film THX-1138.

THX-1138 4EB.
THX-1138 4EB.

This is authority.
You will stop where you are.

[ Kazanjian ] He shot a film that was 20
minutes long. It was supposed to be five.

[ Man's voice ] You're going for
the emergency switch.

But he got a great deal
of recognition...

And opened the eyes of the professors that
kids could do something out of the box,

beyond what
the restrictions were.

[ Narrator ] Lucas won acclaim
for his technical skills...

And imagination
as a storyteller.

His interest in mythology and philosophy
gave his work an added dimension.

[ Kershner ]
George's style was fantastic.

Incredible.

I don't care
what he was doing,

it just looked more personal
than some of the other work.

[ Narrator ]
After graduating from USC,

Lucas joined his friend,
Francis ford Coppola, in San Francisco,

where in 1969 Coppola
founded American Zoetrope,

an independent film company.

[ Lucas ] I came up with no intention
of actually becoming successful.

But I did have a very strong feeling about
being able to be in control of my work...

And not having people
tamper with it.

[ Narrator ] In 1971, Lucas directed
THX-1138,

a theatrical feature
based on his student film.

But when Warner brothers executives
saw the finished product,

they demanded Coppola return
the $300,000...

The studio had advanced
to develop THX and other projects.

The fledgling company imploded,
and Lucas had to find work elsewhere.

He decided to take matters
into his own hands...

And start his own company,
Lucasfilm limited.

[ Tires squealing ]

For his first project under this new banner,
Lucas chose American Graffiti,

an affectionate look at teenage cruising
in the early 1960s.

- I'm a ready teddy.
- Well, get bent, turkey.

[ Whooping ]

Produced by Universal Studios,

it was loosely based
on his own experiences...

As a car enthusiast
growing up in Modesto.

[ Lucas ] I had gone from being extremely
experimental and hard-edged...

And then really taking up a challenge
that Francis gave me--

"I bet you can't do
just a silly comedy,

you know, kind of
warm and fuzzy comedy."

I said, "well, okay,
I'll try that."

[ Narrator ] The film was shot in just 28
days for under a million dollars.

Coproducing was another
USC alumnus, Gary Kurtz.

Toward the end of the postproduction
on American Graffiti,

we organized a screening
at the Northpoint cinema in San Francisco.

And we felt the reaction
to the film was quite positive.

But Ned Tanen from universal
was very upset.

He said, "you shouldn't be
showing it to an audience at this stage."

And we were totally
flabbergasted.

[ Lucas ] My first film
they didn't understand,

and they meddled with it
after it was all finished.

Same thing with my second film,
the corporate entity came in...

And jerry-rigged with it,
cut five minutes out.

[ Narrator ] But even before the release
of American Graffiti,

George Lucas's imagination
was pointed at the stars.

[ Kurtz ] All during this time,
he was talking about the fact...

That he would like to do a Flash Gordon
kind of 1930s space opera.

And he started
working on that in earnest.

[ Lucas ] And people said, "of all things to
pick, why in the world would you do that?"

I said, "well, you know,
it's fun to make films for young people.

"It's a chance to sort of
make an impression on them.

- I wanna do this."
- [ Narrator ] With his galactic fairy tale,

Lucas hoped to reinvent
a classic genre.

Among his influences were the writings
of scholar and educator Joseph Campbell,

in which he explored the origins
of myth and world religions.

[ Man ] When Lucas was writing
the script of Star Wars,

he was heavily interested
in Joseph Campbell.

What Joseph Campbell was interested in
was to see the connections...

Between myths-- the myths
of different cultures--

to try to find out
what were the threads...

That tied all these very
disparate cultures together.

[ Lucas ] I did research to try to distill
everything to motifs that would be universal.

I attribute most of the success
to the psychological underpinnings,

which had been around
for thousands of years,

and the people still react the same way to
the stories as they always have.

[ Man ] George is nothing
if not a good reporter.

And when he sets out
to do his work,

he starts reporting from the best sources
he can gather.

He brought Campbell
into the process...

Of looking at his work
on Star Wars...

And saying, "is this right?
Am I getting it down?

Is this the right emphasis?
Is this the right character?"

Joseph Campbell said to me, the best
student he ever had was George Lucas.

[ Narrator ] Like such epics as
The Odyssey,

Beowulf
and the legend of King Arthur,

Star Wars drew from a shared pool
of mythic archetypes.

[ Woman ] You have the youth
who's on the adventure...

That you can identify with.

You have the swashbuckler.

And you have the damsel.

She may not sort of have the
reactions that are conventional,

however she is in distress.

And you have the wise old man,
who you go and you find him.

And you have
the funnier characters.

I mean, it really adheres
strictly to that form.

[ Lucas ] It's the traditional,
ritualistic coming-of-age story.

And when I went into the mythological side
of what I wanted to do,

that's a key factor,
uh, with heroes.

[ Narrator ]
By the summer of 1973,

George Lucas had created a treatment that
he felt was ready to shop around.

Whether anyone would be interested,
that was another story.

The most successful science fiction film
up to that point was 2001.

And successful then was that it made about
$24 million or something like that.

Most hit science fiction films
would make about $16 million,

which was the Planet of the Apes films
and that sort of thing.

But most science fiction films
would make under $10 million.

I mean, there's no reason
to think that it would do any different.

[ Narrator ] Star Wars was more space
fantasy than science fiction,

but its galactic setting
made it a tough sell in 1973.

[ Lucas ] When I was pitching the film,
all I had was a 14-page story treatment.

It was very vague.
Said it was kind of a 1930s,

action adventure,
Saturday afternoon serial,

based on the kind of Flash Gordon, Buck
Rogers kind of comic book future.

And that's about all
they knew about it.

[ Kurtz ] In the '70s, science fiction
seemed to be...

All about apocalyptic societies
and death and destruction.

Not very inspiring. We were fighting an
uphill battle with a science fiction project.

[ Narrator ] George Lucas brought Star Wars
to universal and united artists.

Both studios passed
on the project.

But the ambitious young filmmaker
was secretly relieved.

The last thing he wanted was to hand his
dream project to the wrong people.

He didn't care
for the studio system.

He used it because there was no other way of
doing what he needed to do.

[ Narrator ] Undaunted, Lucas presented
Star Wars to Alan Ladd, Jr.,

the new head of creative affairs
at 20th Century Fox.

Ladd, a former producer, was able to
recognize potential in the filmmaker,

if not necessarily
the film.

[ Man ] We had a meeting,
and George said,

"well, I've been thinking about
this thing called Star Wars."

And he told me about it.

And I said,
"that sounds terrific."

I mean, the technology part of the whole
thing was completely over my head.

But I just believed in him
and his genius.

I sort of recognized
off of American Graffiti...

That he really was a genius,
so I just flew with it.

He understood what talent was,
he respected talent and he was able to say,

"I think this guy's talented.
I think we're gonna invest in him."

So, Alan Ladd, Jr.
invested in me.

He did not invest in the movie.
And it paid off.

[ Narrator ] In 1973, Ladd's
investment in George Lucas proved justified.

American Graffiti was finally released
to rave reviews...

And became the third-highest grossing
picture of the year.

It went on to earn more than
$100 million worldwide.

American Graffiti showed a very human
center and a huge heart...

That George has always had,
by the way.

And I think that surprised
a lot of people.

[ Narrator ] With a preliminary deal
for Star Wars in place,

Lucas began writing
his screenplay in 1974.

It proved more ambitious
than he had first imagined.

The filmmaker was able
to distill his idea down to its essence--

an epic battle between
a heroic rebel alliance...

And an evil galactic empire.

The chief villain, Darth Vader,
was there practically from the start.

But it took time to come up with
Star Wars's three main heroes--

a plucky young princess
named Leia Organa,

the fearless Corellian smuggler
known as Han Solo...

And most important,
an idealistic farm boy,

whose original name
was Luke Starkiller.

Over the course
of his adventure,

Luke trains to become
a Jedi knight,

deriving his power from a mystical energy
known as "the force."

But along the way,
the script went through radical changes.

At one point, Luke was
a 60-year-old general...

And Han Solo
had green skin and gills.

Even the concept of the force
had yet to be fully realized.

Instead, there was
the Kaiburr crystal,

a sort of galactic
holy grail.

[ Kurtz ] The concept of the force was
an important one in this story.

And the difficulty is...

Trying to create
a religious-spiritual concept...

That works in a very simple way
without heavy exposition...

Or without it seeming
to pull down the story.

[ Lucas ] It got to be a very fat script,
about 200 pages.

And the story
had gotten away from me.

So, the only way I could cope with it
was to say,

"I'll take the first third--
the first act-- I'll make that into a movie."

But I'd written all this other stuff.
I'd spent a year writing this story.

And I said, "well, I'm not gonna just
throw away two thirds of my year...

"And say, 'this is all I can
afford at this point.

This is the only amount of money I'm gonna
get is to do this one movie.'"

so, I put it on the shelf. I said, "by hook
or by\ crook, I will finish this movie."

[ Narrator ] But Star Wars
wouldn't be cheap.

To get the Fox board
of directors to approve the necessary budget,

Lucas needed
something dramatic.

He hired Ralph McQuarrie, a conceptual design
artist who had worked for Boeing.

[ Lucas ] I'd seen some of his paintings.
I thought he was brilliant.

I said, "look. I want you to do some
paintings of these scenes that I've done...

So that the studio can get a picture of what
it is I'm talking about."

When I turned in the script, I had about five
or six drawings that I turned in also.

To say, "this is what
it's gonna look like."

He had a concept
for a big spectacular visual,

and it didn't come across
in the script.

So I tried to give it scale,

juxtaposing
the tiny little figures...

With the great
spectacular backgrounds.

George would say, "don't worry about
how we're going to do it.

"We just want to see
an impression...

Of what the scenes
would look like on the screen."

[ Narrator ] McQuarrie's artwork won over
the fox board of directors,

who soon approved a budget
of just over $8 million.

With only the first part
of his Star Wars saga being made,

Lucas also needed to think
about the future.

But his prior dealings with major studios
had taught him to be cautious.

When I made the deal
for Star Wars,

originally I made the deal
before American Graffiti had even come out.

'Cause Alan Ladd had seen the film, American
Graffiti, he said, "I'll make a deal."

But he made a very,
you know-- "you're gonna make

'x' number of dollars"
and this kind of thing.

And it was a very,
like, one-page memo.

When it came up to doing the contract for
the film, which is about a year later,

I knew that what I really
had to do was to protect...

The unwritten part,
the other two parts of the script.

[ Ladd ] All of a sudden,
Graffiti comes out,

and it's a big huge,
smash success.

So his agent came back
and said, "hey, look.

"This guy has made
this huge successful movie now.

"Don't you think we should get more than
a couple hundred thousand dollars...

For writing, directing
and producing a movie?"

I said, "yeah. I think
he should get more."

I was very careful to say, "I don't want more
money. I don't want more points.

I don't want anything financial. But I do
want the right to make these sequels."

I was working on the assumption,
as every filmmaker works on,

which is the film
will be a disaster...

And that it won't be promoted
and it'll just die a horrible death.

And it'll be very hard to get
these next two movies made.

George said, "I'd like a big slice
of the merchandising."

Up until that time, merchandising had been
relatively unknown.

[ Lucas ] When I took over the licensing,
I simply said,

"I'm gonna be able to make
shirts, I'm gonna be able to make posters...

And I'm gonna be able to sell this movie,
even though the studio won't."

So, I managed to get control of pretty much
everything that was left over...

That the studio
didn't really care about.

George was enormously farsighted,
and the studio wasn't,

because they didn't know
that the world was changing.

George did know the world was changing.
I mean, he changed it.

[ Narrator ] With his Star Wars contract
completed,

George Lucas
now needed a rebel force...

Up to the challenge
of production.

In the summer of 1975,

he founded the visual effects company
Industrial Light & Magic.

[ Lucas ] There was no special effects
companies in those days.

And the studios' special effects department
had been disbanded.

Part of that was because
of the expense,

and part of it was
that the American taste,

the culture had gone toward
very realistic-looking films.

[ Kurtz ] We approached the visual effects
as a grand experiment, saying,

"can we do this with a lot of people who
work on architectural models...

And in commercials and have never made
feature films before?"

[ Man ] We were kind of like
a weird kind of fraternity...

Of robotic photography nuts
or something like that.

I mean, this was a big movie for Fox.
We were doing commercials.

We all dreamed
about doing a feature,

and this was like
the dream come true.

So, Star Wars came along
at just the perfect time for us.

[ Man ] We moved into a big empty
warehouse in Van Nuys,

right near the Van Nuys airport
and basically started from scratch.

I mean, it was empty. In the early days,
you used to park your car inside.

There was no camera equipment,
no rooms to speak of.

[ Narrator ] Supervising at I.L.M.
Was John Dykstra,

an effects cameraman
who had worked under Douglas Trumbull...

On films like Silent Running.

[ Man ] I was essentially to be responsible
for doing the visual effects for the film.

We took the concept of motion control,
which is essentially an old concept...

Of being able to duplicate
camera motion through more than one pass...

So that you can generate
multiple elements of film...

And we made it production-savvy
by tying it into a computer,

which was, at that point,
custom-built microprocessors.

There were no P.C.s. You didn't go down and
buy a P.C. We built them from scratch.

[ Narrator ] At the same time
the camera system was being built,

another team began constructing
model spaceships.

[ Man ] I was one of the early hires.
They had a small art department.

And there were some
concept models made out of cardboard...

And, uh,
model kit pieces.

There were some storyboards
and some concept illustrations...

That Joe Johnston had done.

There were some paintings
that Ralph McQuarrie had done.

[ Man ] Everything came
either from my sketches...

Or Ralph’s paintings
and drawings.

And any input that George
might have, you know.

There wasn't a lot of
outside influences on Star Wars.

[ Man ] George wanted it to look like you
could actually see the rivets,

so you could see the logic
of how it was made.

I was originally hired
to work on the death star,

the 40 foot by--
oh, what was it?

40-by-80 feet or 40-by-60 feet
or something like that.

Nobody wanted to do the job, 'cause you had
to spend a lot of time on your knees.

[ Man ] Everybody sort of could cross-train
and work in different techniques.

That was different
than the Hollywood system...

That had very strict
sort of union rules.

But there was no way
that this work could be done that way,

or no way that the Hollywood
unions could understand what we were doing.

[ Narrator ] With preproduction
gaining momentum,

Lucas next began the process
of casting his galactic opus.

He shared the audition stage
with his friend, Brian de Palma,

who was seeking actors
for the Stephen King shocker Carrie.

[ Lucas ] We were both making these movies
and casting at the same time,

so we decided to combine
our efforts.

I've made movies with very young people
that have no track record,

so I have to kind of
go through and discover them.

Pick them and then test them
and go through them and have readings.

So it takes a long time. I spent probably
six or seven months casting Star Wars.

And that's a long process
to sit in a little room and interview people.

And I interviewed
thousands of people.

[ Narrator ] In casting the male leads,
Luke Starkiller and Han Solo,

Lucas looked for
individual screen presence...

As well as chemistry
between performers.

[ Man ]
Okay, action.

Oh, it checks out again.
There's no mistake.

You can't find Organa Major?
I found it.

It's just not there.

Oh, I found it.
It's just not there.

What's left of it
is contaminated.

That's it there. Look at those
radiation readouts.

It's impossible.
I've never seen anything like it.

The Empire must have
gotten here first.

The planet has been
completely blown away.

[ Narrator ]
For the pivotal role of Luke,

Lucas needed an actor who could project
both intelligence and integrity.

She's part of the royal family.
They won't get anything out of her.

She knows the power
of mind control.

She's part of the royal family.
They won't get any information from her.

She knows the art
of mind control.

[ Narrator ] Twenty-four-year-old
Mark Hamill...

Was a familiar face
on television.

A newcomer to films, his wholesome,
easygoing manner fit the part perfectly.

[ Hamill ] I can remember a line
from the screen test,

which I don't think
ever will leave me.

And Luke says, "but we can't turn back.
Fear is their greatest defense.

"I doubt if the actual security there is any
greater than it was on Aquilae or Sullust,

and what there is is most likely directed
towards a large-scale assault."

Fear is their greatest defense.

I doubt
if the actual security there...

Is much greater
than on Aquilae or Sullust,

and what there is is most likely directed
towards a large-scale assault.

I read that line and I thought,
"who talks like this?"

So I just
did it sincerely.

How many more systems
have to get blown away...

Before you have no place to hide
and are forced to fight?

Don't you realize
what's going on?

[ Ford ] Kid, you take the glory
and the good intentions.

I'll take the reward.

[ Narrator ] The role of Han Solo
needed someone older...

With a more cynical edge.

What's that little droid carrying
that's so blasted important?

What's the little droid carrying
that's so important?

[ Narrator ] Harrison Ford had worked
with Lucas on American Graffiti.

But because the director
initially only wanted new faces,

he was not allowed to audition.

Wait. Do I have to sit up
to get in on the right?

Instead, he was brought in
to feed lines to the other actors.

[ Ford ] I was given sides and asked if I
would help read the other actors.

It became my task to explain to the other
actors who were coming along...

Just what it was
that these sides, uh,

uh, were meant to be about.

They're gonna follow us.
They'll destroy your hidden bases.

They'll destroy
the whole system.

Right, and they'll bring
the Death Star too.

[ Narrator ] Lucas may have been reluctant
to use Ford at first,

but the actor won him over
by giving Han a mix of mercenary swagger...

And world-weariness.

Well, what was so clear was what the idea
was of the character relationships.

Mark was the callow youth,
I was the smart-ass,

and we each had
a clear section of turf to explore.

The planet's
totally blown away.

It would've taken a thousand ships with more
firepower than I've ever seen to do that.

If the empire had a new weapon
that could do this, I'd know about it.

I'd have heard something.

Well, you know
about it now.

The enemy's on the move.
We haven't much time. Wha--

I brought you here. Now what?
We've got to find the rebels.

What we're carrying
belongs to them.

Their bases
are very well hidden, son.

Do you--
all the power of the empire can't find 'em.

Do you know where they are?

No.
not anymore.

Well, I'm not gonna take you
on an impossible chase across the galaxy!

[ Narrator ] Virtually every young actress
in Hollywood...

Tried out for the part
of Princess Leia.

Although the character
was the same age as Luke,

as a leader of the rebellion Leia needed
to project a confidence beyond her years.

The plans and specifications
to a battle station...

With enough firepower
to destroy an entire system.

Our only hope in destroying it
is to find its weakness,

which we will determine
from the data I stored in R2.

Now, our only hope
in destroying it...

Is to find its weakness,

which we'll do from the data
I stored in R2.

Okay? Now, we've captured the
plans in a raid on the imperial shipyards.

But we fell under attack before
I could get the data to safety,

so I hid it in R2
and sent him off.

When R2 has been safely
delivered to my forces, you get your reward.

[ Ford ] Wha--
you have my guarantee.

What's the little droid
carrying that's so blasted important?

The plans
and specifications...

To a battle station
with enough firepower...

To destroy
an entire system.

[ Narrator ]
One actress in particular...

Seemed tailor-made
to play a princess.

As the daughter of actress Debbie Reynolds
and singer Eddie Fisher,

Carrie fisher was the product
of Hollywood royalty.

She had no trouble conveying the
self-assurance needed for Leia Organa.

[ Fisher ] I met with Brian de Palma
and George,

and Brian did all the talking,

because George
didn't talk then.

There were incredible actresses
that were my age...

That were being considered
for this role,

so I didn't think
I would get it.

But our only hope is to destroy it
before it destroys us.

[ Scoffs ]

Hiding is useless now.

With the Death Star, they'll continue to go
on destroying systems...

Until they've found us.

We have no alternative
but to process the information...

And use it
while there's still time.

[ Fisher ] I got it with the proviso
that I went to a fat farm...

And that I lose 10 pounds.

I think they were hoping it was gonna come
out five here and five here.

My character was someone...

Who was feisty
and all of that,

but I felt myself
to be a bit of that too,

so it would have been unlikely
that I would be cast as a shrinking violet.

He cast us to type,
in a way.

[ Narrator ] Lucas's decision
to hire unknowns...

Went against the advice
of his friend Francis Ford Coppola,

who had cast The Godfather
with stage and screen stars.

20th Century Fox
was also concerned...

About Lucas's choice of actors.

He came and said, "these are
the three unknown people I want to go with."

I figured we've gone down this far in
the road, he knows what he's doing.

I'd be lying if I said,
"oh, my God. Harrison's perfect,

Carrie is perfect
and Mark is fantastic."

No, I was very nervous
about the cast.

[ Narrator ] For the important role of
aged Jedi master Obi-Wan Kenobi,

Lucas recognized that
he needed an established star.

Sir Alec Guinness was
a veteran of over 40 films...

And had won an Oscar in 1958...

For his performance in
The Bridge on the River Kwai.

The knighted actor had
the pedigree and the persona.

The Alec Guinness role...

Required a certain stability
and gravitas as a character,

which meant we needed a very strong
character actor to play that part.

[ Narrator ] Signing Guinness
was a major coup.

But more casting
would be done in London,

where Star Wars
would be principally produced.

Unlike Lucas's home base
of northern California,

London provided access
to the kind of massive soundstages...

Needed for Star Wars's
ambitious sets.

The location also gave Lucas
access to Britain’s top production talents.

The character of Darth Vader demanded
someone of commanding physical stature.

To fill Vader’s boots,

Lucas cast champion bodybuilder
David Prowse,

whose résumé included roles
like Frankenstein's creature...

In Hammer's
popular horror movies.

As Vader’s evil accomplice
Governor Tarkin,

another Hammer alumnus
was cast--

63-year-old Peter Cushing.

Best known as the methodical
professor Van Helsing in Dracula,

Cushing was the perfect choice to portray the
Death Star's icy chief administrator.

For the part of Chewbacca,
Han Solo's towering Wookiee copilot,

Lucas and Kurtz had to look
outside normal casting channels.

But at seven feet,
three inches tall,

it was no stretch
for Peter Mayhew,

who had been working as an orderly
at a Yorkshire hospital.

I sat down
on one of the sofas...

Waiting for George.

Door opened,

and George walked in
with Gary behind him.

So naturally,
what did I do?

I'm raised in England.

Soon as someone
comes in through the door, I stand up.

George goes, "hmm."

Virtually turned to Gary
and said,

"I think we've found him."

[ Narrator ] Finding the right performers
to portray robots...

Was even more of a challenge.

Production designers had constructed an
assortment of robots and androids...

- To populate the Star Wars universe.
- [ Beeps ]

But it would take living, breathing actors
to give personality...

To the two main droids,
C-3PO and R2-D2.

To operate R2,

Lucas needed a performer
small in stature,

but with a big imagination.

Enter 3-foot-5-inch
stage comedian Kenny Baker.

[ Baker ] They couldn't find anyone that
would fit inside this robot...

To make it move,

and they couldn't use kids 'cause it was
quite a heavy machine, you know.

It weighed about 80 pounds.

I'd had a lot of experience
inside costumes...

And inside cats and dogs
and goodness knows what else.

So when I got into
the robot, he said, "look happy."

So I'd go--

inside. Nobody could
see my expressions, obviously.

But it just-- you have to do something to
get the feel of the thing.

[ Narrator ]
Actor Anthony Daniels...

Not only had the slender build
needed for C-3PO,

but training
as a mime artist.

[ Daniels ] He'd been seeing people
every five minutes.

I was there for a while and thinking, "well,
nearly time to go, I guess."

And then, kind of over George’s shoulder,
I saw a painting,

and the most extraordinary
thing happened.

It just struck me, because I kind of looked
at this face,

and the face looked back at me,
and we had this extraordinary eye contact.

He's looking right out
of the picture, and he seemed to be saying,

"come. Come.
Be with me."

And the vulnerability
in his face...

Made me want to help him.

Isn't that weird?
He just looks utterly vulnerable.

That painting completely changed my attitude
to the whole project.

Years later I was able to go
to Ralph McQuarrie and say,

"you realize this is all your fault."
[ Laughs ]

[ Narrator ] In March 1976,
with casting completed,

George Lucas and company
arrived in north Africa.

It was a strange caravan
of British and American filmmakers...

Working in a French-speaking nation on
a script few people believed in.

[ Man ] The overriding thing for me,
really, at that stage was...

The amount of work
that we had to do,

the amount of stuff
there was to achieve,

and we had grave doubts
about getting it done in time.

[ Narrator ] But the trial by fire
had yet to begin.

It was now up to Lucas
to make his movie.

Just one day into filming,

the Sahara was pelted
with its first major rainfall in 50 years.

[ Man ] We were going out there
to shoot on the salt flat.

I came out in the morning and the rain was
going horizontally down the street. This way.

I thought, "my God--"

I just called a rest day on the crew, told
them all to go back to bed,

because there was no way
we were gonna shoot on that.

[ Lucas ] The first two weeks of shooting
we'd run into a lot of weather problems.

The sets had blown down,
I didn't get everything shot.

It was a disaster.

At that point I was
pretty depressed, saying,

"boy, I've gotten myself in way over my
head. I don't know what I'm gonna do."

You must do what you feel
is right, of course.

[ Narrator ] With temperatures topping
100 degrees by midmorning,

Tunisia was anything
but fun in the sun.

[ Woman ]
Luke! Luke!

Baking for hours
in heavy costume,

even the film's stunt coordinator,
Peter Diamond,

found the conditions
physically exhausting.

[ Diamond ] I was the only stuntperson
on the picture in Tunisia.

I became a Tusken raider,
or a sandperson.

I'm not a sun merchant.
I don't like the sun. I just burn.

So I just died
with the heat of it.

I couldn't stand it anymore,
it was so hot.

There were so many problems.
It just was not a good location.

We seem to be made
to suffer.

It's our lot in life.

C-3PO was finally...

Put together
for the very first time...

The day before
we started shooting.

R2-D2 didn't really
function that well.

He could run along
in the three-legged position,

but he couldn't turn his head
at the same time.

[ Baker ]
There were wires everywhere.

The head was on a track
of ball bearings.

I used to grab whatever I could grab
ahold of and turn it that way and that way.

Not very far.

Because if I went too far
the wires would go around my neck.

Then they'd say, "cut!
All right, break for lunch."

And everybody'd just
walk away and leave me.

Then they'd remember me
eventually.

That happened many times.

[ Daniels ] It was bad enough
putting on the costume for the first time,

and within two paces the left leg
had shattered down...

Onto the plastic
of the left foot...

And was gently,
but forcibly and persistently,

knifing it into the--
[ Laughing ]

The soft part of my foot.

So we took it off and I limped to the set
with one foot.

It was then I began to panic
about the days to come.

[ Narrator ] As the actors and crew began
to grumble about the adverse conditions,

it was sir Alec Guinness who served as a role
model of professionalism.

[ Ford ] It was, for me, fascinating
to watch Alec Guinness.

He was always prepared,
always professional,

always very kind
to the other actors.

He had a very clear head
about how to serve the story.

[ Hamill ] He was the person who sort of
brought it some legitimacy.

I asked him
why he wanted to do it.

He loved the idea of playing
a mentor or a wizard...

In a morality play...

Where good and evil
are so clearly defined.

[ Man ]
Action!

- How long have you had these droids?
- Three or four seasons.

They're up for sale
if you want them.

Let me see
your identification.

You don't need to see
his identification.

I don't need to see
your identification.

These aren't the droids
you're looking for.

These aren't the droids
we're looking for.

He can go
about his business.

You can go about
your business.

Move along.

[ Narrator ]
Lucas, meanwhile,

was up to his neck in malfunctioning props,
electronic breakdowns...

And other production woes.

Star Wars was already
struggling to stay on schedule.

The only silver lining
was that after Tunisia...

The production would be moving to
a more controlled environment--

Elstree Studios
outside London.

The stages at Elstree
were among the largest in the world,

and the sets, now finished after months of
construction, were just as impressive.

For the first time, the entire Star Wars cast
was together.

[ Hamill ] That was almost like
a whole separate movie.

It was like getting
a whole, fresh start.

It was all new, really.

[ Fisher ] We were all
very different ages.

I was 19,
Harrison was 33.

He was sort of
the big man on campus.

Meeting him, you sort of felt,
"well, he'll be a movie star."

[ Narrator ] Costumes, makeup,
robots and aliens...

Were all ready to go.

[ Mayhew ]
I put that mask on...

And Chewie transformed me.

I transformed.
The attitude was different.

The walk was different.
Chewie turned on.

Do the scenes, come back,
take the mask off,

Peter was back.

[ Man ]
Action.

That old man's mad.

You said it, Chewie.
Boy, where did you dig up that old fossil?

Ben is a great man.
Yeah, great at getting us into trouble.

I didn't hear you
give any ideas.

[ Man ]
Okay, cut.

[ Narrator ] But working
at Elstree Studios...

Didn't mean the production
was free from problems...

Or strict
British union regulations.

[ Lucas ]
At 5:30 we had to stop,

unless we were
in the middle of a shot.

Uh, I could ask the crew
for an extra 15 minutes,

but they always
voted me down.

I'm not putting down the British crew, but
there was an attitude like "what is this?"

[ Narrator ] It didn't help that most of
the crew thought Star Wars...

Was just a children's film.

At times even the actors were hard-pressed
to take the work seriously.

[ Baker ] Didn't think it was gonna be
any good. At least I didn't.

I thought,
"this is a bit strange."

I can remember
this lighting man--

he said, "what is all this about?
It's a load of rubbish."

And we all thought the same
at the time-- "yeah, it's a bit strange."

[ Man ]
Action!

[ Ford ] It was a princess
with her hair in weird buns on the side...

And a giant in a monkey suit
or something.

I mean, it was weird.
It was very, very weird.

No more adventures!
I'm not getting involved!

Don't you call me
a mindless philosopher,

you overweight
glob of grease!

[ Man shouts ]
Bang!

I'm going to regret this.

[ Fisher ]
It was tough dialogue to say.

So I got, "governor Tarkin,
I thought I recognized your foul stench."

Which, I don't know about you,
but I'm always talking like that.

Governor Tarkin.

I should have
expected

to find you holding
Vader’s leash.

I recognized
your foul stench

when I was
brought on board.

Charming to the last.

We used to say, "you can type this stuff,
but you can't say it."

[ Kurtz ] George didn't really like
being in London,

I suppose,
is the best way to say it.

He doesn't like
being away from home.

He's not the most gregarious person
in the world.

He had some clashes
with the cameraman.

Gil Taylor was a very
old-school cameraman-- very crotchety.

George, coming out of
low-budget filmmaking...

Was used to, um, doing
a lot of things himself.

So George would say things like,
"well, put a light here."

And Gil took offense
at that kind of thing.

He says, "that's not your job, son."
[ Laughs ]

"You tell me what you want to see,
and I'll do it...

The way I think is best
to create what you want to see."

It was a clash
of style of working.

Slate 327, take four.

We're coming up
on Alderaan.

You know,
I did feel something.

I could almost
see the remote.

That's good.

You've taken
your first step

into a larger world.

[ Narrator ]
Lucas also became frustrated...

That the costumes, sets
and other production elements...

Weren't living up
to his vision for Star Wars.

The compromises required
due to the film's budget...

Plagued him
on an almost daily basis.

What was disappointing
would be the cantina sequence.

It was really
imaginatively described,

and then you go in there...

And it looks like
the nutcracker suite.

You know, there's a frog guy
and a mouse girl...

And a giant cricket at the bar.

It was just--
it was really disappointing.

But George says, "don't worry, don't worry.
We're gonna fix all of this."

We didn't see anything
of what ended up on the screen.

So when they blew my planet up,

I was looking at a guy going like this
against a board with a circle on it.

I mean, it was funny.

Proceed with the operation.
You may fire when ready.

What?

Dantooine is too remote

to make an effective
demonstration.

We will deal with
your rebel friends soon enough.

No!

[ Man ]
Bang!

[ Leia ] And you call yourselves
humans.

[ Fisher ]
George never talked.

We felt he wanted us
to hit our marks...

And magically
accommodate our dialogue.

He lost his voice at one point.
We didn't know that for days.

And we wanted to get him a little board
that said, "faster and more intense."

That was his main direction.

He just wanted us
to speed through it.

[ Daniels ] George is notorious
for saying, after a take,

"do it again.
Faster, more intensity."

He certainly said to me, "terrific, Tony.
Can you do it again, faster?"

But I didn't get
"more intensity."

I didn't think 3PO with more intensity
would be bearable. Do you? Hmm.

I said all systems have been alerted
to your presence, sir.

The main entrance seems
to be the only way in or out.

We all had to fill in
a lot of the blanks.

It was more a matter of, if we did something
he didn't like he'd tell us,

rather than telling us
what to do.

I think George likes people.

I think George
is a warmhearted person.

But he-- yeah, he's a little impatient
with the process of acting,

of finding something,
you know.

He thinks it's there.

"It's right there. I wrote it down."
You know?

"Do that." You know? And sometimes you can't
just "do that" and make it work.

[ Hamill ] He's really focused on what he's
trying to do and get everything right.

Is the smoke right?
Did the squibs go off right?

And we were just
taunting him mercilessly.

[ Mayhew ] Carrie and mark have
wicked sense of humors.

Carrie was very young,

and Mark was very young,

so they were
the junior division,

and they were always
lurking about on set.

So it kept us in stitches.

[ Fisher ] I got one outfit
for the first movie,

and as George taught me,

there is no underwear
in space.

Instead of that,
there is, um, gaffer tape.

So I was taped down.

And I used to say, we should just make up
a contest on the call sheet...

As to who's gonna rip it off.

But we didn't do that.

[ Hamill ] We were all goofing around
and trying to make George crack,

'cause he really looked
like he was ready to burst into tears...

And you'd try
and cheer him up.

[ Man ]
Go.

[ Lucas ]
Okay, cut. Cut it.

[ Ford ] And? And? And?
[ Hamill ] And? And?

[ Man ] Carrie and Mark bumped in
to, uh--

ohh!
Ohh!

[ Crew laughing ]
[ Man ] uh, the mike was in frame.

The mike
was in picture.

The mike was in picture!
Ohh!

The mike
was in picture!

[ Man ] Back to first positions.
[ Fisher ] Whoo!

The sound department
has to pay up.

[ Hamill ] That, to him, was really
inappropriate humor at the time,

because I'm sure he's in the zone and seeing
what he wants to do...

And we're just actors
trying to stave off boredom...

Because we've been
in the trash compactor all morning.

[ Man ]
Ready? And action!

[ Leia ] What happened?
I don't know!

It just disappeared!

I got a really bad feeling
about this.

But it is amazing what you can do when
you have a vision, an ambition...

And when you can bend
other people's will to your desire.

The thing that kept it focused
towards the ambitions...

Was George’s vision
and his passion for the idea.

[ Narrator ] Perhaps the most memorable
stunt in Star Wars...

Was actually performed
by Mark Hamill and Carrie fisher--

the nick-of-time escape
of Luke and Leia...

Across a yawning chasm
in the Death Star.

Mark Hamill wanted to do
as much as he could himself.

I had times when I had to keep him back
'cause he was too enthusiastic, actually.

He could've got hurt.

Princess Leia and Luke Skywalker
had to swing over this void.

We couldn't afford doubles, so I said, "I can
teach them to do this, and it'll be safe."

My buddy and I, we put the harnesses on,
we put the wires on.

Everyone down below--
remember, we are about 20 meters up,

looking down on them,
right?

And as we swang across, there was a
terrible tear, and my buddy said to me,

"peter, your harness
has snapped."

Mark said, "I'm not going in that.
It's too dangerous."

This is where I discovered
you had to be a good liar.

I said, "there's nothing wrong with the
harness. I split my trousers as I landed."

He said, "oh, I thought
that was the harness."

I said, "Mark, I wouldn't let you go on this
if it was dangerous."

[ Man ]
Action!

They did it in one take,
and that's how we got it.

For luck.

That was really early on
in the shoot,

when I was still
worried about my weight.

I thought we were gonna miss
and I'd hit the wall...

And they will say, "ah, still too tubby.
Let's bring in Jodie foster."

[ Narrator ]
Another of Peter Diamond's tasks...

Was choreographing
the dramatic lightsaber battle...

Between Darth Vader
and Obi-Wan Kenobi.

You can't win, Darth.

If my blade should find its mark,
you will cease to exist.

But I warn you,
if you strike me down,

I shall become more powerful
than you can possibly imagine.

[ Diamond ] George wanted a broadsword type
of fight with a touch of Japanese behind it.

But instead of becoming
samurai moves with one hand,

I kept it with two hands,

so all the moves were two hands,
completely like that.

The first swords
were bits of wood...

With front-projection material
wrapped around them.

Now, the hardest thing for me
on the first fights--

Darth Vader was
a very heavy man,

Obi-Wan Kenobi was
a gentleman, right,

who had done some fencing
in the theater.

I had to teach them,
if that was the sword,

to stop before they touched,
'cause the blades were breaking.

We bloke-- broke so many blades.
They just kept snapping.

[ Man ] Cut.
[ Man #2 ] cut it!

[ Narrator ] Across the Atlantic, Fox's head
of production, Alan Ladd, Jr.,

continued to offer Lucas
his main,

if not his only,
support from the studio.

[ Ladd ] There was a lot
of problems, yes.

I mean, every board meeting
I attended,

the subject was always
about Star Wars.

"Well, the costs are rising.
It's this, it's that.

Look, we've read drafts of scripts that make
no sense to us in any way, shape or form."

It was rather unpleasant.

[ Man ] The things that stick
in my mind that made me laugh were, like,

memos worried about whether or not
the wookiee should have pants.

They're looking at this thing
and saying,

"couldn't he have
some lederhosen?"

[ Chuckling ] And I thought,
"isn't this great?

"You know, of all the things
to worry about.

The wookiee has no pants."

Argh!

[ Lucas ] I think we were like two
weeks over schedule.

At that point,
the board of directors at Fox...

Started to panic
and tell Alan Ladd, Jr....

That he had to shut
that film down regardless.

And so he came to me
and said,

"look, you've gotta finish
in the next week...

"Because I've got
another board meeting,

and I can't go in there
and say we're still shooting."

[ Kurtz ] I kept going on the phone
to their production department,

saying, "this is insane.

"If we put on a second crew to do this,
it costs us more...

Than going an extra week."

They said, "it doesn't matter.
The studio's opinion...

Is that the day deadline
is more important than the money you spend."

[ Narrator ] The final scenes were filmed
at breakneck speed,

with Lucas
frantically bicycling...

From one soundstage
to another.

[ Watts ]
Well, I think George suffered...

A lot more than
I was aware of at the time.

But I was very focused
on what I was doing,

'cause this was a very busy movie,
just nonstop dawn to dusk.

We did go over
at the end,

and we split into three units
right at the end.

Gary directed
the second unit,

and I had the distinction
of directing...

The third unit
of Star Wars.

My shots were
things like close-up...

Of R2-D2's third foot
going down.

[ Chuckling ]
Nothing too dramatic.

But that's how
we finished it.

Come on!

[ Man ]
Okay, cut. Time up. Cut.

I hope that old man got the tractor beam
out of commission,

or this is gonna be a real short trip.
O.K. Hit it!

[ Narrator ] Fox originally slated Star Wars
for a Christmas release in 1976.

- Schmuck.
- 463, take one.

[ Narrator ] But the difficult shoot had
put the film severely behind schedule.

[ Man ]
Action!

- Didn't we just leave this party?
- [ Man ] Give us a growl.

[ No audible dialogue ]

What kept you?
We ran into some old friends.

Is the ship all right?
Seems okay.

If we can get to it.
I just hope the old man...

Got the tractor beam
out of commission. Look!

Now's our chance. Go!

[ Narrator ]
With barely six months to go,

there was almost no chance of delivering
the project on time.

[ Man ]
Okay, cut! Cut it!

I had just finished shooting the movie,
and I was exhausted, basically,

but I had to go right from the shooting
into the finishing...

Without a break.

[ Narrator ] Already anxious
about meeting his deadline,

Lucas was shocked when he saw the first
assembly of his edited film that spring.

Sir, the groiters
are losing power!

All right.
I'll get it.

[ Narrator ] The first cut of Star Wars
was an unmitigated disaster.

How's that?
Yes, that's much better.

[ Lucas ] I'd started to see things cut
together. I wasn't happy with it.

I'd come in on weekends,
and I'd recut the film on my own.

Cut.
Cut!

And I tried to get the editor
to cut it my way,

and he didn't really want to,
and so I had to let the editor go.

So I had no editor.
I was behind schedule.

I had to race
to finish the movie.

[ Man ]
177, take two.

[ Narrator ] Lucas realized his only hope
was to start from scratch.

And I am C-3PO,
human-cyborg relations.

And this is my counterpart--
R2-D2.

Oh, hello.
[ Man ] Okay, cut.

[ Narrator ] To recut the movie, he hired
Paul Hirsch and Richard chew,

and for several months
he was able to borrow his wife, Marcia,

who was editing
New York, New York with Martin Scorsese.

Slate 250, take seven.
[ Man ] Action.

You must do what you feel
is right, of course.

[ Sighs ]

Right now
I don't feel too good.

[ Narrator ] On Star Wars,
the trio's first task...

Was to give the film
an energy and pace that was sorely lacking.

[ Man ] Cut.

[ Man #2 ] It was cut in a
very traditional manner...

Of just playing things
out in masters...

And then going
into the coverage...

And let the actors' rhythms
dictate the cuts,

rather than having the cuts...

Kind of, uh, drive
the rhythm of the scenes.

211, take three.
Guide track.

Action!

[ Chew ] So, consequently,
there wasn't any excitement...

In the footage the way that it had
been put together.

- Cut.
- Cut!

Richard and I would
sort of leapfrog. If he was on reel one,

I would grab reel two,
and then whoever finished that...

Would grab reel three
and then so forth.

Aah!

[ Hirsch ] We used shots up until
the very last frame.

[ Man ] Cut.
[ Woman ] Can I take another one?

Very often, the very next frame
would be the-- the flash of the camera stop.

For instance, there's a shot
of one of the sandpeople...

Who knocks Luke down, and then
he holds his weapon up over his head.

He just did it once, and we rocked it back
and forth so he did it a number of times.

The only things that are there
is what's presentable,

and everything
behind the scenes is a mess.

[ Narrator ] With no chance of
being ready by Christmas,

a new release date
was set for summer, 1977.

Some doubted that the movie
would ever reach theaters.

But as bad as things
had been with the editing,

the situation at I.L.M.
was even worse.

The company was trying to create effects
that had never been done before.

They knew what they
wanted to accomplish,

but they had yet to create anything
usable for the film.

[ Lucas ] They had spent
half their budget,

and ultimately
I had about four shots,

none of which I would accept;
They were just not good.

That was pretty much
of a low point.

I had no special effects.

I didn't even know whether we were gonna
get the ships to work.

So it was a pretty
desperate time.

And we'd spent half the budget building the
motion-control cameras, setting the shop up.

It was a disaster, uh,
to say the least.

[ Huston ]
The factory has to be built...

Before the first can of peas
can be sent to the supermarket.

And I think it was a year
or more...

Without any film coming out,
without-- without one shot being finished.

'Cause they were building optical printers,
they were building cameras,

we were building models.

I know that George was
disappointed in the work,

and I'm-- and I'm disappointed
that he was disappointed.

But there's a certain subjectivity
to some of that stuff.

I wish he'd been happier, but
I also think that ultimately...

The work did the job.

[ Narrator ] When word of the various
postproduction problems...

Reached the Fox
board of directors,

they decided they'd had enough
of George Lucas and "that science movie."

[ Ladd ] I just sat in one
executive committee meeting...

Where they're hauling me
over the coals.

I just said, "it's the greatest picture
ever made."

That ended the conversation.

They were afraid to say,
"well, you're stupid and you're wrong,

and we want you out
of this building by 5:00 this afternoon."

So, uh, there were
some tense moments there.

[ Narrator ] With the dismal
early cut of the film,

I.L.M. in chaos and growing pressure
from the studio,

Lucas was facing almost unbearable battles
on a daily basis.

After an especially
tense trip to I.L.M.,

Lucas felt
sharp chest pains.

Fearing a heart attack, the director checked
into a Marin county hospital.

He was diagnosed with
hypertension and exhaustion...

And was warned
to reduce his stress level.

At that point,
I really felt that I'd, uh,

gotten myself into a real mess, and
I didn't know whether I was gonna get out.

[ Narrator ] Lucas doubled his efforts
to save Star Wars.

The situation at I.L.M.
required drastic measures.

To get the film's crucial special effects
back on track,

Lucas had no choice
but to step in personally.

[ Lucas ] We put a production department in
at the special effects company,

I went down there
twice a week.

[ Kurtz ] There was a certain amount
of resentment at first...

Because they--
they felt that they're--

they were being challenged
a bit on how they had set it up.

We felt that there was a certain
quasi-hippie mentality...

That some of them had
about the schedule.

Ultimately, I guess we were known
as a country club.

[ Muren ] I think it looked
to those guys that there needed to be...

A really strong
production force in there...

That was going to meet
some sort of quota.

[ Narrator ] With hundreds of shots
left to be completed,

I.L.M. would have to do
a year's worth of work in just six months.

But Lucas and Kurtz were determined to turn
the situation around.

[ Edlund ] Gary was a gearhead,
so he could understand our problems.

And-- and George is
a storyteller, you know,

and so we have to serve his needs because
he's the one that's telling the story.

But we had to build these incredible
contraptions in order to do it.

[ Man ]
George was our general.

We're his soldiers.
And we're all fighting this single battle...

To get this film out.

We were going
on the front lines here,

and that gave us also
kind of a feeling of being special...

And fighting this great battle
to get this thing done, whatever it is.

[ Biggs ]
Luke, pull up!

[ Narrator ] To help inspire
the effects team at I.L.M.,

Lucas had spliced together
aerial dogfights from old war movies.

[ Ralston ] That would be like the first
animatic, which you do in the computer now,

and we matched frame to frame and did
the action on that as close as we could.

Ha ha!

[ Ralston ]
And it was hugely helpful.

- [ Luke ] I got him!
- Great, kid! Don't get cocky.

To describe that abstract world
of a battle is impossible.

Storyboards don't do it, as far as the
pacing, the rhythms that he needed.

Thanks, Wedge.

That was a great thing.

[ Narrator ] As fall turned to winter,
Star Wars finally started to take shape.

That's it! We did it!

We did it!

[ Narrator ] Working from
the raw production tracks,

sound designer Ben Burtt...

Would add a critical new layer
to the film.

Burtt had spent a year
building a catalog of sounds...

For things that didn't exist
in our galaxy.

[ Laser blast sounds ]

George introduced the idea of what he called
an "organic sound track."

George thought that Chewbacca
might be made up...

From recordings of dogs
or maybe even bears.

In addition, I recorded some lions and tigers
and even some walruses.

- [ Growling ]
- [ Growling ]

I would begin
editing them together...

And making little phrases
out of the noises.

I would take the recordings
and edit the best pieces.

- [ Roaring ]
- Argh!

You know, the bear might make
a sound that sounded angry.

Grrr!

Or they might make a sound
that was cute--

[ growling ]

Argh.

Or a sound that sounded like a sentence,
a "wah-wah-wah" kind of a sound.

Argh argh argh!

You said it, Chewie.

The voice of R2 turned out to be the most
difficult problem to solve...

In the sound design
of the first movie...

Because R2 had to act
alongside of the other actors.

And the script only said...

That R2 made a sound, or maybe R2 beeped.
[Beep]

I had a small
electronic synthesizer,

and I did some patches
with it and made up some electronic sounds.

But that didn't sound alive.

At one point we talked
about R2's personality,

and we felt he was developing
kind of as a-- as a toddler.

[Beep beep]

So I did a lot
of baby recordings,

and eventually we found
that we-- in the discussion of R2's voice,

we were making
the sounds ourselves.

[Beep whistle]

A few experiments led
to the combination of using my voice...

Doing baby talk--
beeps and "boops."

[Bleep blip]

With the electronic synthesizer.
So R2 is sort of 50% machine and 50% organic,

coming out of, you know,
the performance of a person.

The breathing for Vader
was recorded...

By putting a little
tiny microphone down inside...

A regulator on a scuba tank.
[ Mechanical breathing ]

I breathed through the mask itself,
and it breathed in and out,

and out of that came the various, you know,
paces of Vader breathing.

[ Mechanical breathing ]

And that sound worked out
pretty successfully.

[ Narrator ]
Finding the right voice for Darth Vader...

Was another challenge.

[ Man ]
And action!

[ Narrator ]
Lucas had never intended to use...

The on-set vocal performance
of David Prowse.

[ British accent, muffled ] Start tearing
this ship apart, piece by piece,

until you find those tapes!

Find the passengers of this vessel!
I want them alive!

[ Ralston ] I can still hear
David Prowse's accent...

In the Darth Vader mask muffled,
'cause he would do the real dialogue,

in trying to curse
Carrie fisher or something.

I don't know what
you're talking about.

I'm a member of the Imperial Senate
on a diplomatic mission--

you are part of the rebel alliance
and a traitor. Take her away!

It was hilarious and terrifying
at the same time,

'cause we didn't know
what Darth sounded like.

That was the first time we heard him.
We were like, "is that it?

Is he gonna be some Scottish guy,
or what is this?"

[ Narrator ] Prowse's voice
would later be replaced...

With a more menacing performance--
[ Man ] Cut it.

Provided by classically trained
stage and film actor James Earl Jones.

[ Jones ]
George had hired David Prowse,

but he said he wanted
a so-called "darker" voice.

Not-- not in terms of ethnic,
but in terms of timbre.

And the rumor is that
he thought of Orson Welles,

and then probably thought
that Orson might be too recognizable.

So what he ends up is
picking a voice that was born in Mississippi,

raised in Michigan
and was a stutterer.

And, uh, that happened
to be my voice.

I want to know what happened
to the plans they sent you.

I don't know what
you're talking about.

I'm a member
of the Imperial Senate

on a diplomatic
mission to Alderaan.

You are part of the rebel alliance
and a traitor.

Take her away!

C-3PO's voice struck us all
as, you know,

"well, we've got to do
something about that."

Thirty-four, take three.

[ Daniels, muffled ] We seem to be made
to suffer. It's our lot in life.

It was mentioned
a number of times...

That C-3PO might sound
like a used car salesman.

Not the English butler type.

[ British accent, muffled ]
I'm sorry, sir. I must have fallen over.

I just came up
with this voice, um,

of an over-the-top
British butler.

Um, British because that would be my natural
mode of thinking.

A butler because that was
his-- his role in life.

Nervous because that
was his feeling in life.

And it came as, "C-3PO,
human-cyborg relations."

This is my counterpart--
R2-D2.

Hello.

[Beep beep blip]

A few people
were brought in to record,

and an attempt was made
to see how 3PO would be...

With different kinds
of voices.

I believe 30 actors coming--
and some really quite impressive names.

Stan Freberg and a few others
were auditioned.

Apparently one of them
was a major cartoon actor,

a man of literally a thousand voices,
who eventually said,

"you know something, George, Tony's
voice is pretty good for the character.

Why don't you
just use his voice?"

And eventually the discussion
just quieted down,

and it was an
excellent performance.

It synchronized
with his body motions.

It was a total character
which he created.

He was-- his track
was left in the movie.

Hey! We don't serve
their kind here.

What?

Your droids, they'll
have to wait outside.

We don't want them here.

Why don't you wait
out by the speeder?

We don't want any trouble.

I heartily agree
with you, sir.

[ Man ]
Cut.

428, take seven.
Action!

Here we go.
Cut in the sublight engines.

What the--

[ Narrator ] At long last,
the editing, sound...

And visual effects
were taking shape.

But a private screening
of the film for Lucas's closest friends...

Didn't do much
to bolster his confidence.

No!

It was an early stage--

you know, sort of
a second or third cut.

I had a couple of my friends
come up to see it.

Brian de Palma was in town.
Steven came.

Some other friends
came to see it.

[ Spielberg ] The human characters
and the sets were there,

but, of course,
all the spectacular--

you know,
the-- the Death Star fight...

And the battle
inside the trench,

and all that was just, um,
not even there to be seen.

So, the reaction was not a good one.
I loved the movie.

I was one of the only people
in the audience that liked the movie.

[ Lucas ] All my friends were very honest--
"I don't get it. What are you doing here?"

So that was basically
the tenor of the whole thing.

On the other hand,
the studio--

when Laddie and his
little group saw the film, they loved it.

It was the first time
I've actually shown a film, um,

and one of the executives
even cried at the screening.

It was, like,
very emotional for him.

[ Wigan ] I sat my family
round the kitchen table in my house,

and I said, "the most extraordinary day of
my life has just taken place.

"I want you
to remember this day.

"Because this is what
I never dreamed-- or maybe I dreamed--

"but I never thought
I would have a day's experience...

Like the day I've had today
in seeing this film."

You know, I couldn't even believe it,
'cause I'm used to studios--

at that point I was used
to studio chiefs saying, "this is terrible.

You shouldn't show this to
an audience. Embarrassing."

So, for me it was
a very rewarding thing...

To show it to people,
even though it was in bad shape.

[ Narrator ] It didn't help that one critical
element in Star Wars was still missing.

- There's no lock.
- [ No orchestral sound track ]

The musical score.

That oughta hold them
for a while.

Quick! We've got
to get across.

Find the controls
that extend the bridge.

I think I just
blasted it.

They're coming through!

I remember
bugging George, like,

"when can we hear the score?
When can we hear the score?"

[ Narrator ] Fortunately, Lucas was able
to recruit...

One of the industry's
most accomplished composers, John Williams.

Williams had recently
won an Oscar...

For Steven Spielberg’s Jaws,

and his résumé included countless film
and television scores,

including music for the original
Lost in Space television series.

I do remember George
talking about the fact...

That what we were going to see
in the film...

Represents worlds
that we hadn't seen,

but that the music should give us some kind
of an emotional anchor.

♪♪ [ Soft orchestral ]

We heard a romantic melody
for princess Leia.

We heard, uh, bellicose music
for the battle scenes.

♪♪ [ Rousing orchestral ]

And some very heavy
declamatory thing for Darth Vader.

♪♪ [ Grim orchestral ]

[ Narrator ]
In March, 1977,

John Williams led
the London Symphony Orchestra...

In the performance
of the Star Wars sound track.

Recorded over 12 days, it was a sweeping
symphonic masterpiece,

one of the few things
to actually exceed Lucas's expectations.

♪♪ [ Symphonic ]

[ Lucas ] To hear Johnny play the music
for the first time...

Was a thrill
beyond anything I can describe.

[ Williams ] It was my first opportunity to
work with the London Symphony Orchestra,

which was a thrill to me.

This is red five.
I'm going in.

[ Narrator ]
Like Star Wars itself,

the music in the film
defied conventional wisdom.

At a time when disco
was burning up the charts,

having a traditional
symphonic sound track...

Was another huge risk
on Lucas's part.

He really understood the genre
that I was talking about.

It's a group of composers that weren't that
well looked upon in the '70s.

There was a different attitude
toward the old-fashioned symphonic scores.

And I had a lot
of music in the movie.

[ Man announcing ]
Somewhere in space,

this may all
be happening right now.

- Here they come.
- Fox said they wanted a trailer out...

For the Christmas films,
before the summer release.

They're coming in
too fast!

We didn't have any
visual effects shots ready then.

So we said, "well, it's going to be limiting
in what the footage can be."

Grrr!

[ Announcer ] It's a big,
sprawling space saga...

Of rebellion and romance.

What was really cool about the trailer was
that we were still working on the movie.

It's an epic of heroes...

And villains...

And aliens
from a thousand worlds.

[ Yelling ]

It was more about
the spirit of it.

It introduced a lot
of different characters-- the robots.

One thing
they did have...

Was a couple of the very early
lightsabers.

Star wars, a billion years
in the making,

and it's coming to
your galaxy this summer.

It was fun.

[ Narrators ] Industry insiders had been
predicting doom for Star Wars,

but a small army of fans
had been building...

Thanks to the foresight
of Lucasfilm.

Charles Lippincott was brought
in as a marketing director.

He was a science fiction fan.
He had contacts with the fan base...

That was critical, we felt.

Science fiction fans were
going to be the big supporter of this film,

regardless of its popularity
with any other audience.

So that was the key target audience
to start with.

[ Narrator ] Aside from licensing posters
and t-shirts,

there was little support
outside of Lucasfilm's marketing efforts...

To promote Star Wars.

Fortunately, Charles Lippincott
was able to secure a comic book deal...

With Stan Lee
and Marvel Comics.

He also convinced Del Rey
to publish a novelized version...

Of George Lucas's screenplay
in November, 1976.

By February the next year, half a million
copies had completely sold out.

Fearing Star Wars would get
crushed by other summer movies,

like Smokey and the Bandit,

Fox moved its release
to the Wednesday before Memorial Day,

but fewer than 40 theaters
agreed to show it.

[ Wigan ] Nobody wanted to book it.
That same summer of 1977,

Fox released a film called
The Other Side of Midnight,

which was based on
an enormously successful best seller.

It wasn't a very good film,
but it was a very, very much-expected book.

And in order to exhibit
The Other Side of Midnight,

you had to exhibit...

Star Wars.

[ Ladd ]
We sent out a beautiful book,

and that didn't seem to make
an impact on 'em at all.

We had very few bookings.

Also it wasn't that there
had been Time or Newsweek,

or any of that stuff
preceding this.

Hadn't been screened
and hadn't gotten the reviews.

[ Narrator ] On the eve
of Star Wars's release,

20th Century Fox,
George Lucas and the cast and crew...

Braced themselves
for the worst.

One way or another,
May 25, 1977,

would be a day
they'd never forget.

Opening shot was one of the most important
shots in the movie for the visual effects.

Because if the audience
bought that shot, you had them.

[ Peterson ] The combined chest of everybody
just went-- [ Gasps ]

Air was sucked out of the place.

And then when the white stardestroyer
came overhead, I teared up.

It was so powerful.

I had seen that scene,

but without music,
without context,

it's not the same thing.

We're doomed.

Help me, Obi-Wan Kenobi.

There was this
sort of weird electric kind of reaction.

One had never seen
anything like it.

[Alien lounge music plays]

I'm gonna make
the jump to light speed.

I had never experienced
special effects that were so real.

I was-- I was--
I was dazzled.

I'm Luke Skywalker.
I'm here to rescue you.

This is some rescue!

I loved it, because I loved the story
and I loved the characters.

Will somebody get this big walking carpet
out of my way?

Argh!

For luck.

I thought that
it was revolutionary.

This is a work of genius.

The force will be
with you always.

No!

We were in shock. I felt like we were blasted
in the back of our seats.

I said, "man,
who worked on this?"

I'm going in.

Use the force, Luke.

I have you now.

- What?
- Yahoo!

[ McQuarrie ] The theater was
jammed full of people,

and there was a lot of hollering and cheering
going on.

You're all clear, kid!
Now let's blow this thing and go home!

After it was over,
everyone was on cloud nine.

Just kind of in shock.
We had no clue what we were on.

It was wonderful.

[ Johnston ] I remember leaving
the theater...

And having these kids
ask us for our autograph.

"No, you don't want
our autograph. We're model-builders."

"No, no. We want you
to sign this." So we were thinking,

"Wow. This must mean something.
People are asking for our autograph."

[ Ladd ] Everybody was standing up and
applauding. Never seen it before in my life.

And I'll never
see it again.

[Beep beep]

[ Ladd ] We released it, I think,
in 37 theaters initially...

And broke 36 house records.

I was completely shocked.

It got an amazing response.

I used to drive by
and look at the lines and think, "what?"

I mean, it was the first
sort of blockbuster.

[ Cronkite ]
George Lucas's Star Wars...

Lifted us out of our...

Sort of depression
of the '70s...

And into an awareness
and a focus...

On space and its
possible future.

This movie stood
by itself.

[ Moyers ]
Timing is everything in art.

You bring out Star Wars
too early, and it's Buck Rogers.

You bring it out too late,

and it doesn't fit
our imagination.

You bring it out just as the war
in Vietnam is ending,

when America feels
uncertain of itself,

when the old stories
have died--

and you bring it out
at that time, and suddenly it's a new game.

Also, it's a lot of fun.

It's a lot of fun
to watch Star Wars.

[ Braudy ] People started seeing the world in
the terms that Star Wars had laid down.

People would say,
"may the force be with you."

It was a kind
of code, almost,

that proved that you were
one of the people who had seen the film...

And you were connecting
with other people who had seen the film.

Star Wars became like
a kind of handshake.

[ Narrator ] In the wake of Star Wars,
everyone's careers were changed.

Overnight, Mark Hamill,
Carrie Fisher and Harrison Ford...

Had become household names.

I felt like this.

"Great. Terrific.
Now I can go to work."

Now I have an opportunity to take advantage
of the success of this film...

And-- and, uh,
go to work.

And as much as life changed for us,
it changed for George as well.

About a month after it was released,
I said, "okay, it's a hit.

I can now go ahead. I can make my other
movies. I'm gonna do this."

[ Narrator ] Ironically,
the independent filmmaker...

Who wanted nothing to do
with corporate Hollywood...

Was now credited
with reinvigorating it.

In three weeks, Fox's stock price doubled
to a record high.

A bunch of the guys at that point ran out
and bought a bunch of stock in Fox.

I wasn't smart enough.

The greatest profit...

That 20th Century Fox
had ever made in a single year...

Was $37 million.

And in 19-- whatever that year--
'77, '78,

whatever that year was,
they made a profit of $79 million.

That was Star Wars.

[ Narrator ] The cultural impact of
Lucas's outer space story...

Was greater than anything
even he could've imagined--

not just in the United States
but around the globe.

[ Cronkite ] It wasn't a story of cultures,
wasn't a story of nationalities.

It wasn't a story
of geography.

It was a story of mankind
escaping his environment...

To a life which everybody
expects to happen...

But George Lucas was able
to illustrate for us.

This was what made it
a success worldwide.

[ Narrator ] The movie did spectacular
business across Europe,

but when Alan Ladd, Jr. attended the premiere
in Japan one year later,

he feared that the silence
which followed the screening...

Indicated that Star Wars
would be a flop.

He was relieved
when he later found out...

That silence was
the greatest compliment...

A Japanese audience
could give a film.

[ All clamoring ]

[ Cheering ]

We had the footprint ceremony
in the Chinese theater.

R2-D2, hurry up.

[Beep beep]

[ Kurtz ] Thousands of people
showed up,

so we were sure by then
that there was...

Much more to it than just
the science fiction audience.

[ Man over P.A. ]
R2-D2 goes in.

He made about
a seven-inch impression.

[Beep beep]

And the crowd is chanting
for Darth Vader!

[ Narrator ] Not surprisingly, Star Wars's
greatest fans were children.

They thrilled to the fantasy adventures
of Luke Skywalker,

Han Solo and Princess Leia.

And they were eager to bring the experience
of the movie home with them.

But little Star Wars
merchandise was available...

For the first few months
after its premiere.

To help promote the movie,
Lucasfilm's Charles Lippincott...

Had tried to attract potential licensees
before the film opened.

But prior to Star Wars,
there had been few...

Successful motion picture
licensing campaigns,

and Lippincott's attempts
were flatly rejected.

Just one company--
Kenner Toys--

signed on shortly before
Star Wars opened.

Kenner didn't believe
the film would be a hit,

but they were interested in creating
a modest line of colorful space toys.

When Star Wars
became a smash,

they were caught
completely off guard.

Unable to produce toys
in time for Christmas orders,

Kenner resorted to selling boxed vouchers
for Star Wars action figures.

[ Kurtz ] There wasn't anything available
when the film came out.

There wasn't even anything
available for the following Christmas of '77.

That was the infamous
empty-box campaign,

where the idea proposed
by Kenner was that...

There'd be these wonderful boxes with all the
Star Wars illustrations on them,

and the kid would get this
for Christmas and open it up,

and there'd be a certificate in there saying,
"you can get this toy in March."

[ Man announcing ] The Star Wars early-bird
certificate package--

new from Kenner.

[Alien lounge music plays]

I lit up
when I found out...

That they were gonna
make my face a mask on a box of cereal...

With little dots
where to cut my eyes out.

The idea of me being
on bubble-gum cards--

I thought you had to have
athletic ability to be a bubble-gum card.

So I enjoyed the merchandising
aspect of it.

[ Fisher ]
We signed away our likeness,

so when I look
in the mirror...

I have to pay George
a couple of bucks.

You're not really famous
until you're a Pez dispenser.

But, you know, you sort of realize,
"I'm not really famous.

Princess Leia is.
And I look like her."

And owe George
a couple of bucks.

[ Narrator ] For Lucas, protecting the
quality and integrity of his vision...

Became as important as gaining his financial
independence from Hollywood studios.

Merchandising offered
a means to an end,

one that helped fuel support
for more Star Wars films...

As well as other
important projects.

[ Man ] In the world of merchandising--
oh, goodness gracious,

people came to us
with ideas all the time, every day,

day and night,
from all over the world...

For Star Wars merchandise.

We were the ones
in those days to say,

"no. Sorry. That doesn't
fit into our plan."

[ Narrator ]
At the 1978 academy awards,

Star Wars earned an impressive
10 Oscar nominations...

And took home seven,
including statues for best visual effects,

sound, editing
and production design.

It was... terrific.
I don't know.

It was great. It was like a dream come true.
It's the American dream.

I wound up winning the Academy Award
for Star Wars...

Before I'd even started
thinking about winning Academy Awards.

My goal was to get
another job.

[ Narrator ] While it didn't win
for best picture,

its nomination was quite an achievement
for George Lucas...

And his kids' movie.

In addition
to industry acclaim,

Star Wars earned more money
than any movie in history.

After years of fighting
uphill battles,

Lucas could finally
call his own shots with the studios.

When Fox approached him about
doing the inevitable sequel,

it was the moment the filmmaker had
long been waiting for.

[ Lucas ] This was the perfect
opportunity...

To become independent
of the Hollywood system.

I didn't mind
releasing it through them.

But it was really going to them
for the money and them saying,

"I like the script,
but I want a change,"

or, "the film is good,
but we want to make these changes."

That's the part
I wanted to avoid.

I decided I was gonna
finance the film myself,

that I was gonna make it
completely independently.

The rule in Hollywood is
never put your own money in any film.

Even your own film.

But George was self-financing
The Empire Strikes Back,

but he was doing it through the bank,
and we were talking about...

Close to a $30 million film
at the time.

But, because of the huge success
of the first picture...

And of the revenues
that were still rolling in--

merchandising was very strong--

it was a gamble, but a gamble that
he knew would pay off.

[ Narrator ] With his earnings
from Star Wars,

Lucas was able to secure a bank loan for
The Empire Strikes Back.

Empire's original budget
was $25 million,

more than twice that
of the first film.

[ Kazanjian ] We would meet at Medway,
which was George’s San Francisco office,

and look at
the illustrations...

While George was
writing the script.

And Gary Kurtz would
fly in occasionally...

From London,

and Ralph McQuarrie
would send down drawings,

conceptual designs,
as well as Joe Johnston.

[ Narrator ] The Empire Strikes Back
would reunite...

Much of the Star Wars cast.

It would also move the story
in new directions,

digging more deeply into the emotions
of the characters.

George had been given enormous license by
the success of Star Wars.

And so when he started
talking to me about...

The Empire script
that didn't exist,

he knew what had to happen in the story,
and it was very dark stuff.

I was delighted...

That it was not gonna be
a rehash of Star Wars.

But in fact, after having
set the whole thing up...

And gotten a rousing start,

you launch into the second act
in which everything goes to hell.

And that's usually
the best act in a play.

[ Narrator ] Empire would also
open the door...

To a romance between
Han Solo and Princess Leia.

But this time, George Lucas wasn't getting
in the director's chair.

It was just too hard
to set up a company,

get the money,
get the film made,

and also be down there
on the set every day trying to direct it.

Um, so I decided
I'd hire a director.

[ Kershner ] I was asked by George to come
to lunch at Universal.

And he said, "how would you like to do
the second Star Wars?"

We had no title
for it at that point.

And I said, "gee, George,
I don't think so."

It's a phenomenal hit
as a picture.

A second one can
only be a second one.

It can't be as good...

Because the first one
is the breakthrough.

And I told my agent
about the meeting,

and he said,
"are you crazy? Do it!"

There were approximately
64 sets on this picture,

which is much bigger
than Star Wars.

George says, "the film has to be
much better...

"And much bigger and much more complex
than Star Wars.

"Because if the second one
doesn't work,

"it's the end of Star Wars.

"If it does work,

then I can continue
making more of them."

I said, "it doesn't put me
in a very comfortable position.

It's a hell
of a responsibility."

[ Narrator ] Known for smaller,
character-driven films...

Like Up the Sandbox
and Eyes of Laura Mars,

Irvin Kershner had never
directed a blockbuster.

But emphasis on character
was just what this middle chapter needed.

[ Kershner ] The story line was
much more difficult.

I felt I needed
humor in the picture.

And yet,
I couldn't have gags.

I felt I needed
a love story,

and yet I couldn't have
a lot of smooching...

And kissing
and all that stuff.

And it had to all be
more implied.

I knew I needed something
powerful going on...

Inside Luke’s soul.

And he really carries
the picture, of course.

So I didn't know quite
how I was gonna do this.

[ Narrator ] In the year since the release
of the first Star Wars,

now dubbed
Episode IV: A New Hope,

I.L.M. had come a long way.

The company was no longer
a fledgling operation...

Struggling to get by.

[ Johnston ]
At the end of Star Wars,

George invited the core group
to northern California...

To start this
whole new facility.

There were 10 of us, and I was the only one
that immediately came up.

I said, "are you kidding?
Stay here in Van Nuys...

"In this crummy
part of town...

"In this dumpy building,
you know,

"that was inadequate
from the very beginning,

"or move to Marin County,

"have a new building
and have a new film to work on...

In this great environment?"

It was like a no-brainer.

I remember George saying,
"this time we got some money."

And so that was kind of nice.

We talked about,
"should we top ourselves?"

Or "are we gonna
top ourselves?"

And I think it was more of, "let's just make
it look cool. Have some fun with it."

And George came up with
some great story stuff.

[ Peterson ]
We started on the walker,

but we also had to
build the probot,

which is the probe that is sent down
by Darth Vader...

That lands on
the snow planet's surface...

That then goes and looks
for human life-forms.

Joe had already drawn the drawings.
George liked that.

But they were going to go to Norway
to shoot all those scenes,

and they needed a prop.

They needed one that was, like, nine
feet tall or something like that...

In scale to have
out in the distance.

[ Kurtz ] The making of Empire
was a whole set of problems...

That we didn't anticipate.

The picture was a much bigger undertaking
than originally conceived.

The budget was
quite a bit more.

Everybody who's dealt
with visual effects said, "never do snow,

because you can't
maintain the color."

We ignored all those warnings
and decided to shoot in the snow anyway.

But it was a very
time-consuming process.

And again,
just like in Tunisia,

we were in Norway
shooting on this glacier,

and we had the worst
winter in Scandinavia...

That they'd had
in 50 years--

20 below zero,
18 feet of snow.

[ Wind howling ]

[ Watts ]
It was a miserable location,

'cause we were across
this frozen thing up on this glacier...

With these tracked vehicles
to get there.

We had sort of like stakes--
like big twigs, almost-- in the ground...

About every six feet.

Because if it started snowing, you get a
whiteout. You can't tell where you're going.

And it did one night.
I drove one of the tracked vehicles.

And without these,
I never would've found my way back.

[ Kershner ]
We get to Norway,

and I couldn't get out
of the hotel to shoot...

Because there was
a wall of snow...

That was blown in
that night.

So we put the camera
in the doorway of the hotel,

going out the back door.

The crew was all inside,
toasty warm,

and Mark had to go out
into the snow...

And go running away
from the ice creature.

And we never left the doorway!
[ Laughing ]

And he froze to death,
and we were fine.

We finally shot
all the scenes...

Knowing where
the special effects--

where this thing
would come down,

the foot would come down
and all this stuff.

[ Tippett ]
It was really tricky stuff--

animating these things
on these snowy sets.

So initially, I think,
the intent was...

To try and set up...

Scenes that would be
bluescreen comped...

Into background plates
that were shot on location.

But this kid showed up
at I.L.M....

Who was this, like,
amazing painter,

and so most of the work
of the snow walkers and the tauntauns...

Were done...

Against these painted backdrops
that Mike made.

[ Huston ] I like the snow walkers. I think
that's just a great idea.

And I think that
the compositing got a lot better,

but it was better than it was
in Star Wars.

And so it's a little bit
more believable.

[ Narrator ] The cast and crew
of The Empire Strikes Back...

Were determined to make
the second installment of Star Wars...

Worth three years
of waiting by fans.

Echo station five-seven.
We're on our way.

All right, boys,
keep tight now.

Luke, I have no approach vector.
I'm not set.

Steady, Dak.

Attack pattern delta.
Go now.

[ Narrator ]
As with the first film,

principal photography
for The Empire Strikes Back...

Was done at Elstree Studios
in London.

Here, members
of the original cast...

Would be introduced to
a new principal character--

Lando Calrissian,
played by Billy Dee Williams.

Why, you slimy,

double-crossing,
no-good swindler.

You've got a lot of guts
coming here

after
what you pulled.

Ha ha ha ha ha
ha ha ha ha!

How you doin', you old pirate?
So good to see you!

Well, he seems
very friendly.

Yes.

Very friendly.

It's always interesting
to create a character that has--

you know, is a sort of
dual character.

You know, you're not
quite sure about him.

Especially if he's cute.
And I was really kind of cute.

Hello.
What have we here?

Welcome,
I'm Lando Calrissian.

I'm the administrator
of this facility.

And who might you be?

Leia.

Welcome, Leia.

All right, all right,
you old smoothie.

[ Narrator ] The Empire Strikes Back
also introduced...

A new villain
to the saga--

the calculating,
cold-blooded bounty hunter Boba Fett.

What's going on,

buddy?

You're being put
into carbon freeze.

What if he doesn't survive?
He's worth a lot to me.

The Empire
will compensate you

if he dies.

Put him in.

We looked at the scene...

Where Han Solo goes
into the freezing chamber.

[ Ford ]
George had scripted...

An exchange between
Princess Leia and Han Solo,

which went like this:

She said, "I love you,"
and Han Solo said, "I love you too."

And it kind of, uh,
seemed to me...

That we weren't taking advantage of the
character that we'd established for Han Solo.

[ Kershner ] We tried take
after take after take.

Nothing satisfied me.
And finally...

I said, "Harrison--

don't think about it. Don't think about it.
Let's shoot it. Okay, action!"

I love you.

I know.

And he dropped in,
and I said, "cut."

I said, "yeah, that's a great line.
That's Han Solo."

[ Narrator ] Ironically, the most
talked-about new character...

Wasn't a human at all,

but a two-foot-tall puppet
called Yoda.

Designed by Stuart Freeborn...

And operated by
muppeteer Frank Oz,

the tiny creature was
a fully realized character...

And a unique achievement
in movie puppetry.

[ Man ] George showed me
a few original sketches,

and I thought,
"well, that's interesting,

but I want something
in more depth," you see?

And so I looked
in the mirror...

And I thought, "well,

something perhaps
a little bit amusing about my face."

So I modeled something
of myself.

Now I've got to make him
look intelligent.

I got this photograph of Einstein and put the
Einstein wrinkles in all around.

I did a lot
of thinking about it...

Because he's got to be
full of subtle action and movements,

especially in the face
and the body.

And I put it all in, what was necessary,
and finally it all worked.

[ Man ] I remember Stuart was
under the gun.

And it was very tense.
Very tense.

We had to get this thing done.
We've got to start shooting with Yoda.

And so--
[ Laughs ]

While we were talking to him, I just had
Yoda’s head, and I was just playing with it,

and I dropped it
and it cracked.

So here we are--

and then Stuart said,
"I need a drink."

So it was terrible, because we were pressing
so much and I'm the one who screwed it up.

[ Kershner ] In order to shoot
the puppet moving,

the set had to be built
about five feet...

Above the floor
of the stage.

And we would put
holes or ridges...

Where it would stand
on top of it...

And he could move it along
in a certain direction.

So it had to be
predetermined.

On top of the stage
were trees,

rocks, caves, everything.

Now,
they couldn't hear above,

and Mark couldn't hear
Frank Oz.

How do you do a scene?
You can't hear each other.

I-- I give Mark
a lot of credit for this.

[ Reynolds ]
I can remember he actually--

this little voice called over to me--
"Norman, Norman," he said.

And I actually--
I actually blushed...

Because it seemed so real,
this weird, weird little thing.

[ Oz ] It was tremendously
difficult physical work.

The whole floor was
about three-and-a-half, four feet high,

so I could be underneath
the floor,

and then I would hold my hand up and, uh--
through a hole or whatever.

And I remember Kersh
was talking to me--

but he sometimes talked to Yoda.
I'm saying,

"Kersh, I can't hear you.
I'm down here under the floor."

[ Man ] Look a bit more
towards the lens.

Uh, the other way.

[ Oz ] But the pressure was extreme because
I was taking too much time.

The reason I was taking too much time is this
was the first time this has ever been done.

You know, I had somebody
doing the cables for the ears,

and somebody else was doing the eyes,
and somebody was doing the left hand.

I had me and three other people trying to
bring one character to life.

[ Oz ] Center those eyes a bit.
Yeah, just one second.

[ Man #1 ] The eyes-- this way.
[ Oz ] there.

[ Man #2 ] That's a bit too far.
[ Man #1 ] there. That's it.

[ Oz ] That's good, Graham. Okay.
We'll go back into that. Ready.

[ Man ]
All right. Action.

- [ Luke ] I followed my feelings.
- You are reckless.

So was I,
if you remember.

He is too old.

Yes, too old to
begin the training.

I'm not afraid.

Oh...

You will be.

You will be.

[ Oz ] Sorry. Um, problems.
[ Man ] Cut.

That was like a real leap,

because if that puppet
had not worked,

the whole film would
have been down the tubes.

It just would have been a disaster if it'd
been a silly little muppet--

if it'd been Kermit
running around in that movie,

the whole movie
would've collapsed under the weight of it.

340E, take two, "A" and "B" cameras.
[ Panting ]

[ Narrator ] While many individuals
helped bring Yoda to life,

it was Mark Hamill’s believable performance
that made audiences accept the character.

Is the dark side
stronger?

No, no.

No.

Quicker, easier,
more seductive.

How do I know the good side
from the bad?

You will know when you are calm,
at peace.

[ Narrator ] For Hamill, playing
a Jedi-in-training...

Was more than just
a physical challenge.

It was also
an emotional one.

I was the only human being
on the call sheet for months.

It would say, "Actor: Mark Hamill.
Part: Luke.

"Props:
Snakes, lizards, robots,

smoke machines,
gila monsters."

- [ Man #1 ] This is it.

- [ Man #2 ] If you choose
the quick and easy path,

as Vader did, you will become
an agent of evil,

and the galaxy will be plunged deeper...
Ow!

Into the abyss of hate and despair.
He bit me.

[ Man #3 ]
You're standing in the light.

[ Kershner ] He bit you?
Yeah!

Didn't he bite me? He just took a--
it was a little love nip.

[ Hamill ] Frank Oz and his crew
were there,

but they'd get buried down
underneath the ground.

I had an earpiece
where I could hear,

[ imitating Yoda ] "Many years have you--
[ Mumbles ]"

And then if you turned your head the wrong
way, you'd pick up radio 1,

and it was the Rolling Stones
singing "Fool to Cry."

I remember I reacted to that...

And went,
"hey, I got the Stones!"

And Kershner goes, "cut!"

And he's way across
the bog saying,

"you know, if that happens again, just
pretend like you don't hear it," because...

With all the elements
of that set--

"is the smoke good?
Is the snake--

poke the snake. Get the snake to move.
He's just lying there."

So you felt, "let's get
our priorities straight."

'Cause I'm concerned
about how did I come off in the scene.

They were looking at
everything but me.

[Beep blip beep beep]

[ Reynolds ] I have to say, it was--
you wouldn't wanna fall in that pool.

By the time you finished shooting,
it's full of all sorts of wildlife and bugs.

It was absolutely foul after all those
weeks of being in there-- stagnant water.

I don't...

I don't believe it.

That is why you fail.

[ Narrator ] As elaborately
detailed as the sets were at Elstree Studios,

equally impressive was
the work done in California.

I.L.M. was able to produce
special effects...

That were light-years ahead
of those seen in the first Star Wars.

If you look at Star Wars, you're either kind
of in space, and they're all--

maybe the Death Star's
back there, maybe it isn't,

and you have a number of shots
on different planets.

But you look at Empire,
and it's broad.

You've got a speeder sequence
and two or three big dogfights.

You've got the whole Cloud City and all the
interiors of different landscapes...

That are way beyond
what we'd done before.

So I think it was the breadth of the work
that differentiates that from the first show.

And each one of those sequences
required different problem-solving skills.

[ Gawley ] We did this incredible chase
through the asteroid field.

Designing asteroids is not
as easy as you think,

and I remember many of us
in the model shop...

Tried and tried to come up with something
that would look good.

And I think for some of the very far ones,
we had, um, used potatoes.

The biggest problem I had is it wasn't going
fast enough, and I was running out of money.

Irvin Kershner's
an extremely good director,

but the film went over budget,
went over schedule,

and all the money I had in Star Wars
was committed to this film, plus more.

We shot several scenes
in Empire over again.

There's a scene in Cloud City where Han Solo
character is kind of pacing up and down...

And Princess Leia comes in,
and he reacts to the way she looks...

'Cause she's dressed differently
than she has in the entire rest of the film.

You look beautiful.

You should wear
girls' clothes all the time.

We looked at the dailies
and weren't happy with anything.

Um, the attitude of the actors
was too obvious.

Sit down.

Come on.
Talk to me.

And we could have let that go,
but it just didn't feel right.

- Retake.
- [ Man ] Action.

I hope Luke made it
to the fleet all right.

I'm sure he's fine.

He's probably sittin' around
wondering what we're up to right now.

You know, your friend Lando's very charming,
but I don't trust him.

Trust him.
He's an old friend of mine.

- End slate.
- So we shot it in a more subtle fashion,

which is the way
it's in the film now.

I don't trust Lando.

Well, I don't
trust him either.

But he is my friend.
Besides...

We'll soon be gone.

Then you're as good as gone,
aren't you?

[ Narrator ] Although most production
challenges had been anticipated...

And expectations were
understandably high,

when Empire went over
budget by $10 million,

Lucasfilm suddenly found itself
in a fiscal crisis.

The force is with you,
young Skywalker.

But you are not
a Jedi yet.

[ Man ] Three of the top executives
of Bank of America Entertainment...

Walked into my office saying,
"we have to pull your loan."

And I said, "how can the largest bank in
the entertainment business...

With the sequel to the most successful movie
ever out be wanting to pull my loan?"

He said, "well, we have
a new credit manager, and he just has a rule:

Budget doubles,
he pulls the loan."

One of the bankers quit over it. They knew
it was a big mistake,

but, you know, I was stuck with trying
to make a million-dollar payroll by Friday.

Release your anger.

Only your hatred
can destroy me.

That was the big difference
between the studio system...

And the independent view
of filmmaking.

The studios have a large resource to draw on
for what they do,

and independents don't,

so it's a much tighter
situation.

[ Lucas ] I was just hoping the bank
to allow me to finish...

Without going back to 20th Century Fox
and giving away all my rights,

because that's ultimately
what my other choice was,

was to just simply let them
own it and lose my independence.

But I wanted my independence
so badly,

we managed to do it in a way that I paid
them just a little bit more money,

but they didn't get any of the licensing, and
they didn't get any of the sequels.

That was what I was
trying to hold on to.

If I had to pay a few extra points to get
them to guarantee a loan with the bank,

I could do that.

I think Fox was just as concerned that the
movie get finished as we were.

[ Narrator ] While Empire's budget
may have been tight,

security during the production
was even tighter.

Only Lucas, Kershner and the film's producers
knew the real story.

[ Kershner ] At the time, I knew that Mark
had a father and that it was Darth Vader,

but this was not
in the script.

There was a false page inserted,
and I had the knowledge.

The actors didn't even have it.

No one had it.
It was a total secret.

[ Ganis ] The script was under lock and key,
the models were under lock and key,

I.L.M. was under lock and key
and shrouded from the rest of the world.

The story line of the movie
was under lock and key.

You are beaten.

It is useless to resist.

[ Narrator ]
The film's shocking climax,

in which Darth Vader reveals
Luke Skywalker's true parentage,

was kept a secret
from nearly everyone,

even David Prowse
and Mark Hamill.

Hamill was told privately,
just moments before the cameras rolled.

[ Kershner ]
I met with mark and said,

"you know that Darth Vader’s
your father."

"Wha--"

they had taken me aside and said, "this is
what he's really going to say."

"And we're gonna do the scene.

"And Darth Vader will be saying
stuff that doesn't count. Forget it.

Use your own rhythm
compared to what he's doing."

Aah!

There is no escape.

Don't make me destroy you.

We did a few takes,
and he finally got into it.

Join me,

and I will complete
your training.

[ Kershner ] And here is Darth Vader, who had
his dialogue, by the way,

and he's speaking
the dialogue.

He thinks it's being
recorded, you see.

It's not being recorded.
What's being recorded is this, this, this.

He said, "you don't know the truth.
Obi-wan killed your father."

And then, of course,
we rerecorded everything.

I'll never join you!

If you only knew
the power

of the dark side.

[ Jones ] When I first saw the dialogue
that said,

"Luke, I am your father,"

I said to myself,
"he's lying.

I wonder how they're gonna
play that lie out."

Obi-wan never told you

what happened
to your father.

He told me enough.

He told me
you killed him.

No.

I am your father.

And I scream, "no!"
Just as it was meant to be.

No!

No!

Join me, and together
we can rule the galaxy

as father and son.

[ Kershner ] I think that it went beyond
Star Wars.

You got to know the characters
a little better, you had some humor.

Laugh it up, fuzzball.

[ Kershner ] I thought of the film as the
second movement of a symphony.

That's why I wanted
some of the things slower.

And it--
it ends in a way...

That you can't wait to see,

to hear the vivace,
the next movie, the allegretto.

I didn't have a climax
at the end. I had an emotional climax.

[ Narrator ] As Empire's premiere date
approached,

the producers once again
held their collective breath.

When The Empire Strikes Back
finally opened on May 21, 1980,

it didn't meet expectations--
it surpassed them.

Within three months, George Lucas had
recovered his $33 million investment.

[ Muren ] There was something about Empire
that immediately just clicked when I saw it.

I didn't know how all the romance was gonna
work and the adventure,

and was it too serious
and all this sort of stuff.

Uh, but it really came together.

[ Narrator ] Until its
premiere, cases of

lightning striking twice
were rare in Hollywood.

Sequels were almost always
a letdown.

But in the Star Wars universe,
different laws applied.

And George Lucas, the world's most successful
independent filmmaker,

was fast becoming a law
unto himself.

In a radical move
by Hollywood standards,

he shared Empire's profits with
every one of his employees,

handing out over five million dollars
in bonuses in 1980.

The profits from
the two Star Wars films...

Also helped fuel Lucas's rapidly expanding
business enterprises.

We did have some money,
but it was still a start-up company.

We could have messed it up
as much as we did it right.

But his ability to make
successful movies...

Is what drove the financial success
of the company.

But how we used those
funds to grow the company

and why he has a net
worth the way he does,

he was smart enough to understand all the
rights, all the ancillaries.

[ Narrator ] By financing
The Empire Strikes Back with his own money,

George Lucas had
bet the farm and won.

In fact, he was in a position
to build his own kind of farm--

Skywalker ranch,
in Marin County, California.

Lucas had long imagined
a visually inspiring setting...

Where his employees could work
in a creative atmosphere...

And where friends like Steven Spielberg,
Robert Redford and Francis Ford Coppola...

Could enjoy working at
a state-of-the-art facility.

[ Kazanjian ] George was debating on two
different parcels of land--

one was on Lucas Valley Road.

[ Laughs ] And I said, "well, that's
the one you have to pick!"

The company structure supported
multimovies in all areas--

merchandising, special effects,
ancillaries.

And so all the little companies had
to be started and operated...

And have all these systems
put in place.

[ Narrator ]
Lucasarts, THX,

Skywalker Sound,
Industrial Light & Magic.

Each subsidiary of Lucasfilm
would serve George Lucas's creative vision.

In turn, they revolutionized
a film industry...

That had for too long
been plagued by complacency.

[ Weber ] It was an idea of one person
and successfully implemented.

George has one of the more successful
companies in the world.

And you can't measure it
just by size,

uh, because he doesn't
need the size of a Fox or a Warners...

To accomplish the same thing
he's accomplishing in putting out his films.

[ Narrator ] As the sole owner of the most
successful franchise in movie history,

Lucas had gained the
financial means and the

creative freedom to
produce anything he wanted.

[ Spielberg ] George's greatest strength as a
filmmaker is that he's a great storyteller.

George has a vision.
There are filmmakers down

through history,
like Capra and John Ford,

and they made John Ford pictures
and Frank Capra pictures, and they made--

and Hitchcock made Hitchcock films, and
George Lucas makes George Lucas pictures.

[ Narrator ] George Lucas had helped turn the
tide of Hollywood’s downbeat realism...

And brought back a sense
of fantasy and wonder.

Movies were fun again.

But in the wake of Empire,

the filmmaker found himself
unexpectedly mired in Hollywood politics.

To preserve the dramatic
opening sequences of his films,

Lucas wanted the screen credits to come
at the end of the movies.

It was a highly unusual choice.

And for the first Star Wars, the Writers
Guild and Directors Guild had allowed it.

But when Lucas did the same
for the sequel,

they fined him over a quarter
of a million dollars...

And even attempted to pull
Empire from theaters.

Next, the D.G.A. went after
Irvin Kershner.

To protect his director,
Lucas paid all the fines to the guilds,

but the situation left him
feeling frustrated and persecuted.

[ Kazanjian ] Lucas was so upset that he
dropped out of the Directors Guild,

the Writers Guild and
the Motion Picture Association.

[ Narrator ] Another unfortunate casualty
in the wake of Empire...

Was Alan Ladd, Jr., Lucas's most vocal
supporter at 20th Century Fox.

The criticism over the deal
is what ended my tenure at Fox, really,

'cause people were very angry
and irritated,

even though they made millions
of dollars off it.

And, uh, had a big fight,
stomped out of the boardroom,

and said, "I quit."

That was it.

[ Narrator ] 20th Century Fox ultimately paid
a heavy price for Ladd's departure.

With his longtime ally
gone from the studio,

Lucas decided to go to Paramount
with his latest movie idea,

an action-adventure yarn called
Raiders of the Lost Ark.

[ Narrator ] George Lucas had fought
and won the battle...

To gain his independence
as a filmmaker,

but the war between his rebel alliance and
the galactic empire was far from over.

As he began production on the final chapter
of his Star Wars saga,

he knew expectations among fans and critics
would be greater than ever before.

The project was
a high-stakes gamble,

with Lucas once again
putting up every dollar himself.

Nothing about the film, not even the
smallest detail, could be taken for granted.

[ Kazanjian ] George came to me, and he said,
"the title of episode... VI...

Is, uh, Return of the Jedi."

And I said, um,
"I think it's a weak title."

And he came back
one or two days later, and he says,

"we're calling it
Revenge of the Jedi."

[ Narrator ] Choosing the film's title
was just the beginning.

Jedi would require thousands of production
decisions on both sides of the globe.

[ Kazanjian ] We were constructing, really,
in two places in California,

shooting at I.L.M.--
That's three--

and of course working and shooting in London
at the same time.

[ Narrator ] As Lucas discovered,
independence was a double-edged sword.

Quitting the directors guild made it
impossible for him to hire his first choice,

Steven Spielberg.

Instead Lucas chose
Welshman Richard Marquand,

best known for the World War II thriller,
Eye of the Needle.

As the two met with Lawrence Kasdan
to discuss Jedi’s script,

a key issue was whether
Harrison Ford,

who was now equally famous
for the role of Indiana Jones,

would return as Han Solo.

The other actors after Star Wars
had signed on to do two more,

'cause I wanted to finish
the whole thing.

Harrison did not. He had the idea,
"why don't you kill him off?

Why don't you kill him off?"

[ Ford ]
I thought Han Solo should die.

I thought he ought to sacrifice himself, uh,
for the other two characters.

I also felt someone had to go.

You know,
I felt someone had to die.

I said, "he's got no mama,
he's got no papa, he's got no future,

"he has no, um, story responsibilities
at this point,

so let's allow him
to commit self-sacrifice."

And I thought it should happen
very early in the last act,

so that you would begin to worry
about everybody.

We should sacrifice somebody.

And, uh,
George was against it,

and George knew what he wanted,
and he got what he wanted.

Hey, it's me.

[ Narrator ] Once production began,
Lucas was determined...

Not to let the budget escalate
as it had on Empire.

Good luck.

You're going
to need it.

[ Narrator ] It wasn't easy, given that
the rest of the world...

Assumed money was no object.

[ Bloom ] Anytime you would
try and negotiate for production facilities,

people would say,
"well, that'll cost two dollars,"

when it might
normally cost a dollar.

So I had the suggestion
that we change the name of the picture.

It was called Blue Harvest, and the sub line
behind it was "horror beyond imagination."

- "B" camera.
- The idea behind it was to have a title...

That would instill absolutely no interest
whatsoever in what you were doing.

It was like, "well, what-- what is
Blue Harvest?" It's like, "well, who cares?"

It worked until Han and Luke and Leia
showed up to come to work,

and everybody went, "oh, I guess this
really isn't 'horror beyond imagination.'

I guess this is really
the next Star Wars movie."

[ Narrator ] Revenge of the Jedi would again
reunite the Star Wars cast and crew,

who after six years and two record-breaking
motion pictures...

Had formed a lasting bond.

We were the same crew
for all three films, for the most part,

so it was, you know,
a family.

[ Crew chattering ]

I'm walking along by myself rehearsing,
going something like, um,

"Lando Calrissian never returned
from this awful place--" and so on and so on.

Lando Calrissian
and poor Chewbacca

never returned
from this awful place.

[Beep beep whistle]
[ Daniels ] Suddenly I hear, "beep, beep,"

and I turn around,
and-- and George is--

George is now crouched
behind me, waddling along,

sort of on his haunches, going,
"beep, beep, beep, beep."

It was a joyous moment.
[Beep whistle]

[ Narrator ] Like its predecessor,
Jedi continued...

To expand the cast of characters
in the Star Wars saga.

Ho ho ho ho ho!

What's that?

[ Narrator ] One of the biggest was
intergalactic gangster--

I know that laugh.
Jabba the Hutt.

[Speaking Huttese]

[ Chattering ]
[ Tippett ] George said, "I need something...

"That's, you know,
alien and grotesque,

that's like, uh--
like Sydney Greenstreet."

[ Laughs ]
And I went, "oh, okay."

When I had kind of gotten
this idea down to this big slug-like thing...

That is just this big
pulsating mass of flesh.

At one point, I did put-- I had a fez on one
of the characters, like Sidney Greenstreet.

And then, uh, Stuart Freeborn in England’s
job was to fabricate the thing.

And that was operated with,
uh-- with one puppeteer for each arm--

two puppeteers for the arms,
another guy doing the head,

another guy-- radio control guy--
doing the eyes.

It was like a couple
of little people in it,

you know, pulling things
to make the tail move around.

It was quite a thing.

[ Freeborn ] And I had my little dwarf
sittin' inside.

I had a little seat
made for him in the tail here,

and--
and he operated it all.

And he was sitting there for
quite a few days doing this.

And if he operated
the first one,

it made--
whichever way he pulled it--

it would either lift it upwards or sideways,
you see,

so as he could make that move
in any direction.

[ Man ]
And action.

A chunoh ayo ahtot.

At last! Master Luke’s
come to rescue me.

[Speaking Huttese]

I must be allowed
to speak.

Eee! Ah!

[Speaking Huttese]

You will bring Captain Solo
and the wookiee to me.

Ho ho ho ho ho!

[C-3PO] Master Luke,
you're standing on--

[Jabba speaking Huttese]

[Speaking Huttese]

Grr!

Jabba has to pull the rug out from
under Luke and he falls into the pit,

and there's this big
rancor pit monster.

Grr!

George was really adamant that we were going
to do it as a man in a suit.

It was gonna be like
a really cool Godzilla.

Tony McVey, one of the sculptors, fabricated
this big rancor suit,

and, uh--
based on my design.

He designed this thing that I call kind
of a cross between a bear and a potato.

It was just this-- blah!--
This big-- [ Grunts ] Dumb thing.

But it never looked that great,
no matter what we did.

So, uh, at some point, George said, "let's do
it some other way."

And so Dennis thought, well, let's try and
do it as a high-speed puppet.

We designed
the skeleton for rancor.

Tom St. Amand and Dave Sosalla
and I puppeteered the thing.

It was a crazy, you know,
way of working,

because this thing, it has to walk into a
room and turn around and roar,

and it's like a four-second shot
and you're shooting at 90 frames a second.

You've got
a second to shoot it.

[ Narrator ] I.L.M.'s creatures
might have been puppets,

but they could still elicit an emotional
reaction from their human costars.

One even triggered
a panic attack.

Oh! Ah ha ha ha!

I'd got claustrophobia once.
I didn't even have the whole suit on.

I was lying on the floor, the camera's about
that far away from me.

Uh, salacious crumb-- the wonderful salacious
crumb, animated by Tim Rose--

[ imitates bird cry ]
And he's pulling out my eye--

[ Man ] 34-A, take two.
Action!

[ Daniels ] And something went in my mind--
I didn't catch a breath--

and I suddenly could feel
panic just absorbing into my body.

Not my eyes! R2, help!

And I was thinking, "get me out! Get me out!
Get me out! Get me out!"

And I just kept repeating it until they
managed to whiz the head off. [ Exhales ]

And cut.

[ Narrator ] Daniels may
have lost his head as 3PO,

but when it came to
risking life and limb,

the production now had a team
of trained stunt professionals.

For the execution scene on
Jabba's barge,

stunt performers dropped in on
the most ravenous monster yet-- the sarlacc.

[ Man ]
Action!

[ Man ]
Cut.

It wasn't edited that way, but I was the
first guy to come off the skiff...

Into the pit.

I had to make sure it would work and
everybody was gonna be all right.

I had a lot of sand
coming on top of me.

But I was able to say to
the guys, if you go in,

shut your eyes,
keep your mouths closed, right?

Put some cotton wool up your nose, otherwise
you'll be sniffing up sand.

Three people went in
one after the other.

As one went in, they pulled him out.
The other went in, they pulled him out.

So, I mean, what was happening down below is
a comedy film of its own, quite honestly.

But these are the things
the public don't see.

Chewie, you're hit?
Where is it?

Slate three-three, take one.

Boba Fett? Where?

Eeyaah!

Uhh!

[Burp]

[ Williams ] I was hanging on
a rope with Han Solo,

and he was trying to save me, and one of
the squibs went right through my toe.

I'm screaming to Han, "stop,
stop!" He's so busy acting-- [ Laughs ]

And I'm in pain, and all of a sudden
he realized that I got hurt.

Wait! I thought
you were blind!

It's all right!
I can see a lot better!

Don't move!

A little higher!
Just a little higher!

[ Williams ] Harrison,
he's one of those actors-- he's very intense.

- Chewie, pull us up!
- Really gets into what he's doing, you know?

So, uh, he was really into it.
[ Chuckles ]

[ Narrator ] For Carrie Fisher, getting into
the role of Leia this time...

Meant fitting into
a skimpy slave-girl costume.

I got to kill Jabba the Hutt,
but I was still much more concerned about...

The slave-girl outfit and what I was gonna do
about exercise.

31-C, take two.
"A" and "B" cameras.

[ Man ] Wave your arm around.
Action!

And then George Lucas said, "oh, instead of
attacking Jabba from the front...

And be getting angry with him and whacking
him, I want Carrie to jump on his back"--

and then she's got her high-heel shoes on,
and it happened to be that...

My little fellow inside-- it was only foam
rubber-- and it went right into his head.

He screamed his head off,
so we had to stop, cut.

[ Man ] And cut.
[ Man #2 ] All right. Hold it.

Before they could
do the shot again, I had to build...

A firm bit over the top of his head
so she could get up there.

Take three, pickup.
"A" and "B" camera.

[ Man #1 ] Background. Go.
[ Man #2 ] Okay, and action!

Augghh!

[Death rattle]

That was a great relief.
He was an unpleasant... thing,

with mong in the corner of the mouth,
and I never really liked that.

Let's go.

And don't forget
the droids.

We're on our way.

[ Narrator ]
For the veteran cast members,

bringing something fresh
to their characters was often difficult.

Don't move!

I love you.

I know.

Stand up!

[ Narrator ] Another challenge on the set
was Richard Marquand's...

Relative inexperience
with special effects.

[ Fisher ] It's a difficult thing to do,
you know,

work on the one hand with,
you know, the special effects,

and on the other hand,
with a story line with actors,

you know, and making those
two things marry.

[ Lucas ] I hadn't realized that,
you know, ultimately,

it was probably easier for me
to do these things than to farm them out.

Because it was even more
complex than the last one,

I really did have to end up being there
every day on the set...

And working very closely with Richard
and shooting second unit.

There was really more work than
I thought it was gonna be.

[ Narrator ] Under Lucas's supervision,
the production moved to...

The redwood forests of northern California.
"B" camera.

There they photographed one of the film's
most exhilarating action sequences--

Hey, wait!

The speeder bike chase.

Quick. Jam their comlink.
Center switch!

[ Muren ] I got the idea
of using a Steadicam,

and we did a test in
a local park here...

Of walking through the woods
on a path that we kind of disguised,

and he shot with a camera
that shot one frame of film every second.

So when you project it back 24 frames a
second, it's going 24 times faster.

We figured you walked about
five miles an hour--

it came up to about a hundred miles an hour,
and it looked great.

[ Narrator ] Jedi surprised audiences with
its imaginative scope--

both large and small.

It introduced a tiny but valiant
new ally to the rebellion.

A race of pint-sized warriors
known as Ewoks.

And action.

Hey! Point that thing
someplace else.

[Arguing in Ewokese]

Hey!

Han, don't.
It'll be all right.

Joining the cast was Warwick Davis, who was
just a youngster at the time,

but also a die-hard
Star Wars fan.

I was an 11-year-old boy
at school, and my grandmother...

Happened to hear a radio
commercial on the London radio station.

They were putting out a call for short people
to be in this new Star Wars movie.

I don't think anybody on
the movie was quite as excited as I was.

You know, being an 11-year-old on the Star
Wars set, there was no stopping me.

[ Narrator ] In the role of Wicket,
Davis became the film's...

Most prominently
featured Ewok,

but only after Kenny Baker
was suddenly taken ill.

I had this scene with Carrie
and the speeder bikes...

In California
in the redwoods.

I was looking forward to this. I thought,
"Carrie’s nice. I like working with Carrie."

Come the morning of the shoot,
Kenny was very ill in bed...

With what I believe
was food poisoning.

I was seriously in pain.

They said, "well, we gotta
do it because we've got Carrie Fisher in.

We've got the scene set up."
So Warwick took over.

Seventy-two "A," take two.
"A" and "B" cameras.

And, uh, they called me in
to play the scene instead.

[ Man ]
Action.

Eek!

Cut it out!

Grrrrr.

I had a dog at the time, and I remember
whenever he would hear a strange noise,

he would tilt his head from side to side, uh,
to look inquisitive.

I took those kind of movements and used them
in the character.

So whenever he sees something
or hears a strange sound, he would, you know,

tilt his head.

115-s, take three.
"A" camera mark.

[ Man ] What did he say, Ewoks?
He said, "look out!"

[ All yelling ]

[Speaking Ewokese]

[ Davis ]
I like Ewoks.

I think they're in there to really show that
you don't need technology.

You need the will and the belief to
take you through anything.

Uh, and the fact that the Ewoks were able to
defeat the Empire...

Only using ropes and rocks,

I think that said something about them
as a race of creatures.

Fighters coming in!

[ Kasdan ] Doesn't matter how much
machinery you had.

If the will of the people
is strong, they will always win.

You've failed,
your highness.

I am a Jedi,

like my father
before me.

[ Man ]
And action.

[ Narrator ] As filming on Revenge of the
Jedi drew closer to completion,

emotions ran high.

And saying good-bye
would be difficult.

[Singing in Ewokese]

[ Hamill ] As we were
finishing the third one,

we really had the sense
of it was the end.

That they were gonna tie up
all the loose ends.

There was a kind of "clearing your locker out
at the end of the semester" feel to it all.

So part of me was saying,
"oh, I'm so glad to put this behind me."

And the other aspect was, "well, what about
all the adventures Luke could have?"

[ Narrator ] For the moment, George Lucas
was totally focused on...

Completing his epic trilogy.

He weighed every decision, including a change
in Jedi’s title weeks before it opened.

Just before it got to the theaters, George
came back and he said,

"I wanna go back to
Return of the Jedi."

Now the logic behind that was
a Jedi does not take revenge.

[ Narrator ] Return of the Jedi opened
on Wednesday, may 25, 1983,

exactly six years from the day that
Star Wars made its debut.

On its first day,
the film took in $6.2 million,

making it the biggest opening-day
box office in history...

By nearly a million dollars.

I told you they'd do it.

But for George Lucas, completing the trilogy
involved personal sacrifice.

The success of Jedi
would be bittersweet at best.

[ Lucas ] The challenge is trying to do
something that's all-consuming...

With having a private life.

I had made the decision--
after Star Wars--

that I had certain goals
in my private life.

One was to be independent of Hollywood, the
other one ultimately was to have a family.

I finished Return of the Jedi.
I figured that was the end of it for me.

I figured, "well, I've done it.
I've finished my trilogy.

This is what I started out to do. This is
what I was determined to get finished."

It was overwhelming and difficult, but fate
has a way of stepping in.

I ended up getting divorced
right as the film Jedi was finished,

and I was left to raise
my daughter.

[ Narrator ] With the profits he made from
the Star Wars movies and merchandise,

George Lucas was able to keep funding his
dream of pushing the boundaries...

Of film and audio technology.

For the next two decades, he continued to
create new and exciting innovations.

In the process, he fundamentally changed
filmmaking for the better.

In 1984, Lucasfilm revolutionized
motion picture editing...

With EditDroid and SoundDroid,

the world's first nonlinear
digital editing systems.

For the first time, filmmakers
could instantly access...

Any frame or audio track
at the touch of a button.

In 1985, Lucasfilm's computer division
invented the Pixar computer,

helping generate
a new form of animation...

Characterized by
three-dimensional realism.

The division was later sold and became
Pixar animation studios,

the creator of such
instant classics as Toy Story.

The digital breakthroughs
that Lucas himself had ushered in...

Would eventually lead him back
full circle to Star Wars.

In 1993, after helping create
I.L.M.'s groundbreaking effects...

In Steven Spielberg’s
Jurassic Park,

Lucas concluded that digital technology had
finally caught up to his original vision.

In 1997, he would revisit
and perfect his galactic saga at last...

With the Star Wars trilogy:
Special Edition.

[ Man announcing ]
For an entire generation,

people have experienced
Star Wars the only way it's been possible--

on the TV screen.

But if you've only seen it this way,
you haven't seen it at all.

Things I couldn't afford to do at the time.
Things that I had to give up on...

Because I just didn't have
the time or money or the power to do it,

I was able to go in, complete the films the
way I originally intended them to be...

And have it be pretty much
the way I want them to be.

[ Narrator ] In 1999, 22 years after
the original premiere,

Lucas introduced
Episode I: The Phantom Menace.

The film marked the beginning
of another trilogy for a new generation.

It also allowed Lucas to continue his
pioneering use of digital technology.

I'm finishing this for the love of Star Wars.
I like Star Wars.

I want to see
the whole thing finished.

[ Narrator ]
For more than three decades,

George Lucas's passion
and dedication to the Star Wars saga...

Has brought its share
of rewards.

But like the force itself,
success also has its dark side.

[ Lucas ] What I was trying to do
is stay independent...

So I could make
the movies I wanted to make.

But at the same time, I was sort of fighting
the corporate system, which I didn't like.

I'm not happy with the fact that corporations
have taken over the film industry.

But now I find myself
being the head of a corporation.

So there's a certain irony
there, is that I've become the very thing...

That I was
trying to, uh, avoid,

which is basically what
part of Star Wars is about.

The circle
is now complete.

When I left you,
I was but the learner.

Now I am the master.

That is Darth Vader.
He becomes the very thing

that he's trying to
protect himself against.

But, at the same time, I feel good that
I'm able to make my movies...

The way I want them to be.

[ Narrator ] While George Lucas has remained
true to his own vision,

it's been audiences everywhere
who've reaped the rewards...

Ever since May 1977,

when moviegoers first caught sight of
that galaxy far, far away.

[ Ford ] The themes that George is dealing
with are so strong, so primordial.

The conflicts between
children and their parents.

Luke Skywalker was
George growing up.

George facing a conflict
and the need to prove himself.

You have learned much,
young one.

[ Ford ]
And he did, powerfully.

You'll find
I'm full of surprises.

[ Oz ] George was able to put the good guys
and the bad guys and the mythology...

In a package that
somehow touched us.

I don't know how. I guess if you know how,
everybody'd be doing it.

Do. Or do not.

There is no try.

[ Jones ] I am so pleased to be a part of
that whole legend, even as an observer.

And I am just an observer.

Most impressive.

He's created people that
everyone in the world knows.

Any author that could
create such memorable

characters would be a
very happy person indeed.

Laugh it up, fuzzball.

[ Kazanjian ] He really established
the independent film market.

His films changed
epic productions.

He changed storytelling.
He created what Hollywood is today.

I'm out of it
for a little while,

everybody gets
delusions of grandeur.

George was creating
a new world for Hollywood,

and we were lucky enough
to be a part of it.

[Luke]
Come on!

[ Hamill ] He's not just the creator and
director, now he is the studio.

He can make exactly the movie
that he wants to make.

Obi-Wan
has taught you well.

[ Braudy ] One of the things
that George Lucas has done in Star Wars...

Is to communicate, in fact,
with the younger self that resides...

Somewhere inside
even the oldest person.

- Good shot, red 2.
- I think our cultural imagination...

Has been transformed by
Lucas's films...

By taking us back to stories
that make us all feel...

That we share in the heroic journey of
the human species on this earth.

The force will be
with you always.

[ Cronkite ] George Lucas moved us into
a new place in space,

a new time in the future,

which no one else
had created up to that time.

Star wars had a tremendous impact
on the young people,

as well as adults,
for that matter.

[ Lucas ] I committed myself to making
these movies. I believe in these movies.

I think they're very entertaining.
I think if I can get a room full of people...

And they enjoy it,
then I've done whatever I hope to do.

[ Narrator ] For George Lucas, what began
as a quest for creative freedom,

became a philosophy, a cultural phenomenon
and an empire of dreams.

Argh!

[Beep whistle blip]

And may the force
go with you.