12/29/2023 0 Comments The empire strikes backThis, together with the initial challenge of coming up into an environment (San Rafael) that was not oriented toward film, probably presented one of our chief difficulties in getting started.įrom left, visual effects art director for the miniature and optical effects unit Joe Johnston, special visual effects co-supervisor Richard Edlund, director of photography for miniature and optical effects unit Dennis Muren and director Irvin Kershner look over some illustrations. All of this is going to be there for quite a while, so you have to be careful about where you put things. Things get bolted to the floor, utilities get piped in, air conditioning systems get installed. This was difficult to do at first and we tried to look as far ahead as possible, because once you put an optical printer down and set up a department around it, that set-up gets fairly firmly entrenched. One of our major problems in the beginning was to cope with the logistics of the various departments and decide how they were to be set up. If you are a block away, you may as well be miles away, because the work we do is so intricate and detailed and you get so involved in your aspect of it that unless you automatically tend to bump into each other you don't communicate. If the matte department were a block away from the optical department and the shooting stage were somewhere in the distance, we would lose that contact. The coffee machine is our most important meeting place, and when we pass each other in the hallway we can say, "What about the density in this scene?" This kind of thing happens in the normal course of getting from one place to another in the building, so we don't have the problem of departmentalization. The positive result is that all of us work close to each other and pass each other frequently in the course of doing our work, which is very complex in nature. It's somewhat of a disadvantage to have a space that is not quite big enough, but, on the other hand, it is an advantage in that it forces you to compact the departments closely together and to utilize this little nook and that little nook. We have an organization that is really dependent upon the inter-reaction of departments on a fairly immediate basis and our building is small, as compared to normal studios in the motion picture industry at large. The most important consideration in setting up Industrial Light and Magic, the facility that produced the special effects for The Empire Strikes Back, was finding a staff. Special Visual Effects Co-Supervisor This article was first published in AC June 1980. Kenobi still makes appearances in the sequels as a Force spirit.The visionary zeal - the nuts and bolts - the blood, sweat and tears involved in creating this dazzling display of cinematic legerdemain. In any event, when it came time to make this movie, in which Luke begins his training, Lucas drew from the "ugly creature with mystical powers" mythological archetype (as he did when creating Star Wars) and created Yoda as Luke's new Jedi Master. So he killed off Obi-Wan in order to spur Luke on to going into Jedi training and defeat the Empire. In the Зоряні війни (1977) DVD Commentary, Lucas says that he felt it was a waste of Guinness' talents to have him stand beside Princess Leia in the control room during the Death Star battle (as it was scripted) and too outlandish to have the elderly Obi-Wan join the dogfight. There are some stories that either Guinness demanded that Obi-Wan was killed off, so he wouldn't have to appear in any sequels, or Lucas did it on his own much to the bitterness of Guinness. There are many stories as to why Lucas changed it. However, Obi-Wan ends up getting killed off in Зоряні війни (1977). In George Lucas's original treatment (when it was ALL one story instead of a trilogy), Obi-Wan lives throughout the whole story (a fact confirmed by Lucas in the DVD commentary). There seems to be many stories behind Sir Alec Guinness and his role as Obi-Wan Kenobi.
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