CLASSIC IMAGE: CAPTURED BY THE JAWAS!

First it was Threepio, now it's Artoo who is soon captured and in the grubby hands of those pesky little collecting critters that are the Jawas, attaching a restraining bolt to it and then sucking it up into the main hold of its massive Sandcrawler vessel. A classic moment from the original Star Wars.

Filming at a small canyon location in Tunisia called Sidi Bouhlel, located in Tozeur, on Tuesday March 30th, 1976, the key sunset scenes involving the Jawas having neutralized Artoo, and carrying him to their Sandcrawler, would be shot (when the rushes are viewed in London later on in filming, however, the wide establishing footage of the Sandcrawler is discovered to be scratched and the film stock poor - it is decided that this will have to be mostly re-shot in 1977 once extra funds are secured from Fox). 

The Jawa sequence/going into the Sandcrawler scaffold prop for the night shoot included regular little person player and longtime friend/showbusiness partner Jack Purvis (listed on the call sheet as 'Head Jawa'), a French/Tunisian midget (named Mahmoud or Mahjoub?) who had been helping the film crew in the location filming, between three and seven local Tunisian children, the young son of Giles Instone, manager of the British lorry drivers transporting sets and equipment to Tunisia, and Gary Kurtz’s two daughters Melissa and Tiffany. 

For the scene where Artoo is sucked up the tube into the Sandcrawler, the effect was simply achieved by dropping the empty prop down from the tube and then reversing it in post production.

The Jawas and their new capture prize.

The Jawas at work!

The originally shot footage of Artoo getting his restraining bolt.

The re-filmed restraining bolt sequence at ILM later in post production. ILM staffer/production assistant Penny McCarthy is on her knees in the Jawa robes.

BEHIND THE SCENES: DUNE SEA DROID!

Wednesday 24th March, 1976. Part of a busy day of location principal photography linked to the Dune Sea sequences, filming begins in La Grande Dunes west of the film’s production base, at Nefta, in the eerie yet stunning desert area for the scene where Threepio shuffles by an extinct alien creature's remains - a fiberglass skeleton copy of a Sauropod creature that had originally been constructed for use in the ELSTREE STUDIOS filmed 1975 UK Walt Disney film One of Our Dinosaurs Is Missing. A large prop, found deep in the Elstree warehouse by set decorator Roger Christian and colleagues, the remains would, ultimately, be abandoned to the desert due to transport practicality problems once filming in Tunisia is completed. Also shot that day is the harried droid's sighting of a far distant Jawa Sandcrawler (achieved via a small matte painting of the horizon obscure vehicle handled by ILM in late 1976).

Unfortunately, as location photography progresses, so too do the worsening weather conditions, as fierce sandstorms soon arrive to hit the area, and specially made goggles are supplied to shield everyone from the terrifying, strapping high velocity winds. Natural elements such as sand would also play a part in the chaos, clogging the film cameras and ruining other important equipment. A planned location site to have incorporated a matte painting, handled by the second unit, would ultimately be abandoned by 5.57 PM due to bad light.

This image is presented here in the original way it was shot, as Threepio waves and cries out to the possible transport atop a distant sand dune.

Norman Reynolds and colleague make adjustments to Threepio's suit as the weather worsens on location.

The original Dinosaur bones on the Elstree parking area, before transport to Tunisia.

The small matte of the Jawa Sandcrawler, we assume by Ralph McQuarrie.

CLASSIC IMAGE: GETTING VERBAL WITH VADER!

Captured by Imperial forces aboard her Blockade Runner, the bold Princess Leia Organa is brought forth to the evil Lord Darth Vader (watched by commander Daine Jir), who confronts her about the stolen missing Death Star data tapes and her role in the Rebellion as one of it's major leaders. It's interesting to see the above B/W image from this classic Star Wars scene, where Leia is clearly showing anger at Vader - a moment we don't see in the film. Perhaps an unused take or specially posed image for on-set stillsman John Jay? 

A CORELLIAN AND A WOOKIEE - FRIENDS TO THE END....

You couldn't get two more loyal to each other friends than the trouble-finding smuggling buddies that are Han Solo and his wookiee compadre Chewbacca. They are potentially in it up their necks with the crime lord Jabba the Hutt by the time of the original Star Wars, but a nice easy charter, and big payment, with a strange old hermit and a callow youth bodes well for their future...

Some nice posed images of Han Solo and Harrison Ford taken during filming in London for the original movie back in mid 1976. The photographer for this memorable shoot is most likely Brit talent David Steen. 

"I thought it was a real good part - the character (of Han Solo) was humorous and I thought those things in the script that weren't exactly funny probably would be - I thought it was going to be funny. I didn't think it would have such a wide audience. It was just a good part for me!"

Harrison Ford - Bantha Tracks - 1980

"In the tests, he (Chewbacca) looked like a folding chair. At Elstree I just made it a pet relationship. "Look, I've got this huge dog."

Harrison Ford - Film Review magazine Star Wars special - 1997

"He's like a big dog, a dog that's ferocious one moment, and whimperingly docile the next. The character comes off as sweet and charming as the person who was inside him. He (Peter Mayhew) really got into the film. By the end of the picture he was very good."

Harrison Ford - Science Fantasy Film Classics magazine - 1977

"Harrison and I worked well together. He is a wonderful person and a terrific actor; truly professional."

Peter Mayhew - interview quote (unknown source)

CLASSIC ART: THE RISE OF DARTH VADER...

The might and evil of the Galactic Empire as represented by its most formidable and life threatening 'attack dog' - Darth Vader, the stuff that true nightmares are made of for the Rebel Alliance opposing the machinations of the dreaded Emperor Palpatine.

Great art by Vincent Di Fate for the cover of the fourth issue of the eighties US magazine Video Gaming Illustrated.

CLASSIC ART: 'STAR WARS' BEGINS...

The classic Hildebrandt Brothers poster that debuted in the UK at the end of 1977/early 1978.

As a rare and pristine condition British release print of the original 1977 version of Star Wars makes for a special screening (originally housed by Rank back in 1979, and later donated), for the first time in decades in the UK, launching this year's BFI Film on Film festival in London (12th to 15th June, 2025), here's a look back to that time when George Lucas's (at first one-off) film launched across the world in 1977 and 1978, promoted via these gorgeous adventure-fuelled posters that soon captured our hearts, minds and imaginations like never before...

Early US teaser poster with the original SW logo before the 'W' was changed.

US teaser poster.

American release poster.

Tom Jung's early poster, at first primarily used for the US, then appearing in various merchandising.

Tom Jung's version of the Hildebrandt original.

Some international posters mixed the Tom Jung art with the Hildebrandts.

Three Japanese posters from 1977/78.

Photo montage mixed with the Hildebrandt art.

Other Japanese rarities.

Italian art my Michelangelo Papuzza.

The 'Dirty Dozen' poster art for the UK and US from 1978, by Tom Chantrell.

Australian 'Daybill' poster. 

THE MODERN MAGICIANS! CELEBRATING THE BIRTH OF 'INDUSTRIAL LIGHT AND MAGIC'!

Back in June 1972, when cinematography had started on the comedy/drama American Graffiti, the film's rising star Ron Howard asked its writer/director, and later close friend, George Lucas, what his next project was to be. Lucas replied that he had an interest in doing an exciting space fantasy adventure in the mould of Flash Gordon, but for a new generation of cinemagoers, and that he had in his mind an epic and fast-paced space battle that was to be a major part of it. Just how he was going to get that film made, in what would become Star Wars, would be an adventure in itself, and for the innovative special effects work needed to make that 'space battle' a reality, Lucas soon realised that he'd have to set-up a company from scratch to handle the work. The end result was Industrial Light and Magic, assembling some of the best and brightest talents old and new, working inside and outside of the American film system, who'd go on, against time and odds, to deliver genuine awe and excitement in their cinematic visual effects storytelling wake by May 25th, 1977...

The rest, as they say, is history...

Happy Fiftieth Anniversary to ILM, and thank you for bringing us all so much magic!

Remembering Early ILM with Patricia Rose Duignan | Lucasfilm.com

A Long Time Ago in a Warehouse Far, Far Away - Ventura Blvd

ILM chronology for the original Star Wars.

An early logo for the film, believed to have been created by Joe Johnston.

Getting ILM organised for the new May 1977 release deadline: George Mather, a respected talent who recognised a hit film in the works, with Lucas go through storyboards. 

The small but packed ILM model shop area.

A model universe takes shape going into mid 1976.

More views of the model shop, with the Imperial Star Destroyer, Blockade Runner and sections of the Death Star surface in view.

Working on the large version of the Blockade Runner.

Colin Cantwell's Skyhopper model, used for reference at ILM.

The early Colin Cantwell Imperial Star Destroyer model is used for reference as he work begins on building the model that would be used in the film.

Grant McCune also at work on the Star Destroyer. Note all the reference shots behind of the Millennium Falcon partially built at Elstree. Some of those pics have never appeared in any publications.

Jon Erland and Steve Gawley as the model takes shape.

A look at the many detailed models built for the film.

Darth Vader's TIE fighter, his wingman and a Landspeeder model.

Lorne Peterson and Jon Erland at work.

Two unknown crew members, one wearing Joe Johnston's concept mask version of Darth Vader, and both with a special T-shirt also created by Johnston.

Shipped to the US, the original Landspeeder model with the smaller version built by ILM.

Speedin' down Valjean Avenue.

Jon Erland and Phil Tippett with their alien chess pieces. A stop motion sequence that was handled very late in ILM's filming schedule.

The pair also work on an insert shot of the Dianoga for the Trash Compactor sequence.

John Dykstra operates his specially built computer controlled camera, the Dykstraflex.

Dennis Muren, an upcoming ILM star, at work. Note the Summer 1976 Howard Chaykin poster promoting the film.

The original title crawl later cut down and reshaped by George Lucas and Brian DePalma.

Richard Edlund films the original title card.

Jon Erland with the Blockade Runner escape pod section.

The superb Death Star model in all its glory.

Richard Edlund prepares to film the model.

Byron Werner and colleague add extra lighting.

The are where the ILM team, plus Rick Baker, watch the ongoing footage being created.

Lucas goes through the schedules with the key ILM team.

Connie McCrum, Cindy Isman and Mary Lind keep an eye on the assembled effects shots.

Lucas makes a costume adjustment to the Space Stormtrooper, played on the ILM stage by Joe Johnston.

A 'Pirate Ship' take shape!

The impressive Millennium Falcon, a last minute change in the ship's design, created by Joe Johnston.

Connie McCrum 'handles' the Falcon.

A photo cut out of the Falcon for use in the animated jump to lightspeed sequence.

Filming the top of the Falcon, note the laser guns fired upwards.

The Falcon, prepared to enter the Death Star hangar bay frontage.

Legendary matte painting artist Harrison Ellenshaw with his establishing work for the docking bay interior.

The iconic opening sequence, as originally shot - upside down!

Edlund supervises the filming of the sequence, which he knows has to be done right so as to win the audiences' attention.

Paul Huston and colleague at work on the smaller blockade runner used for the opening sequence.

Again filmed upside down to simulate a space explosion, the full-size Blockade Runner.

The fun and macabre alien head/hands workshop using old and new creations from Rick Baker.

Doug Beswick with one of the Bith head moulds.

Several ILM employees enjoy clowning around for the camera.

A test explosion is filmed.

A test X-wing and pyro.

Lorne Peterson with one of the impressive X-wing models against blue screen.

Preparing to wire manipulate an X-wing above the ILM stage.

Red Five and Red Leader models ready for filming, in what would ultimately be an unused shot.

Lucas goes through a model's filming with Johnston.

Model maker Dave Jones readies a Y-wing fighter model for filming.

The lethal TIE trio are prepared for filming by Muren.

The interior of the Death Star superlaser, of which Joe Johnston and Jon Erland, as two of its Imperial Technicians, are corner superimposed.

Peter Kuran (far left) and Patricia Rose Dignan watch as Lucas observes key filming frames. 

Filming the remote controlled Jawa Sandcrawler model out in California during early 1977.

Shots of the impressive Death Star trench surface.

Filming a point of view attack on the Death Star surface.

A section of the Death Star surface is moved out into the car park area for filming and pyrotechnic detonations.

The surface area assembled for filming.

Detonating explosive sections outside the ILM building.

Preparing to film and detonate parts of the exterior surface model.

The jaw-dropping descent into the trench is filmed in two sections and seamless put together during editing.

One of the surface cannons prepares to fire.

Ken Ralston inspects the model on the ILM stage.

A shot of the trench speed through. 

Preparing to film in the trench.

The thermal exhaust port area - notice the near miss detonation from Red Leader's proton torpedo.

Filming the incredible Death Star explosion.

Johnston and droid friend.

Gary Kurtz joins the ILM team conference with Lucas.

A nostalgic group shot of the original ILM team outside their Van Nuys base.

The ILM team reassembles in 2017, for the film's Fortieth Anniversary, alongside Marcia Lucas and Gary Kurtz.

Special ILM crew badges created for the small but dedicated Art Department.