Monday 30 July 2012


His life and work live on. REMEMBERING RALPH McQUARRIE. A new book coming soon from DREAMS AND VISIONS PRESS. 



Reviewed by Scott Weller

The recent passing of STAR WARS legendary visual founder, that humble man of such incredible talent, Ralph McQuarrie, is still being keenly felt within the worldwide fan community of George Lucas's beloved space fantasy series, but his friends and devoted partners at the DREAMS AND VISIONS PRESS company have produced a wonderful and beautifully nostalgic tribute to the kind- hearted, dedicated and stunningly inventive man- a true pioneer whose brushstrokes changed the face of the film and TV industry forever, and cast such a positive, enchanting- thoroughly spellbinding- visual potion on all us-and proving himself as a true Wizard of Oz in the process!- in creating such stuff that once only dreams were made of. A man whose rich abilities let the child inside all of us finally escape and soar to new heights of artistic wonder and enjoyment, within a time of beauty, fantasy and imagination now fully restored to us through a universe set "A Long Time Ago, In A Galaxy Far, Far Away..."

REMEMBERING RALPH McQUARRIE: DREAMER AND VISIONARY is a lovely work. A 48 page treasure trove taking us into the wonderfully rich life and career of this much admired and loved man, in an overview with numerous and often very touching contributions from his family, friends and work colleagues (including such greats as Phil Tippett, Harrison Ellenshaw, and, in a personal highlight, a contribution from George Lucas himself), as well as the artists whose lives were indelibly changed forever by his talents (like Prequel Trilogy veteran Doug Chiang). It's all finely crafted against a backdrop of some of the rarest of McQuarrie's pieces, including lots of material never before published in DREAMS AND VISIONS PRESS's prior and ambitious celebratory book projects, alongside some new discoveries, too. STAR WARS fans will be delighted with the selection of rare materials here, including conceptual work and storyboards on the films and material linked to spin-offs, alongside behind the scenes photos, that have been beautifully gathered and laid out. Lovers of all of the late artists work in general will be equally satisfied, including rare book cover art and film projects that sadly never got off the ground. (Like the stunning work he did for EMPIRE director Irvin Kershner's aborted, but very bold, re-make plans for the classic sci-fi movie FORBIDDEN PLANET in the early 90's.) There's also a look back to McQuarrie's pre-WARS work that would influence George Lucas into hiring him in 1975, like his lovely and equally important cells and paint work for CBS in their world-changing coverage of the 1969 Apollo 7 moon landing, and the Hal Barwood and Matthew Robbins unmade and fascinating STAR DANCING sci-fi project. Beyond the fantasy and reality of space, McQuarrie's love of aviation, technology and humanity in general also shine through in a charming and evocative way.

Making its debut at the upcoming STAR WARS: CELEBRATION VI convention in Florida this August 24th, REMEMBERING RALPH McQUARRIE is a true celebration and dedication to the much missed man and his talent, and a warm and emotional tribute. It's a beautifully assembled endeavour that no STAR WARS fan should be without.


For more on the book, and how to get it, head over to the DREAMS AND VISIONS PRESS site: Dreams and Visions Press and their FACEBOOK page: Dreams and Visions Press

With thanks to John Scoleri at DREAMS AND VISIONS PRESS

Sunday 29 July 2012


The Pod Racers and their flag bearers of the Boonta Eve Classic gather at the Mos Espa stadium in this great image from EPISODE I about to be filmed on location in Tunisia in 1997, featuring all the specially built props shipped over from the UK.

Saturday 28 July 2012


Darth Vader and his TIE fighter wing men close in for the fast kill on the doomed Rebel X and Y-wing fighter Red and Gold flights attempting their strafing run down the precarious Death Star trench, in this terrific storyboard-I think by Joe Johnston-for the original STAR WARS.

With thanks to Chris Baker for the image.

Legendary Filmmaker Joe Johnston Reflects on Designing 'Star Wars' and Directing Robin Williams


Now carving out a successful acting career in films such as SMOKIN' ACES, THE THING prequel, WARRIOR and the upcoming re-make of THE GREAT GATSBY, Joel Edgerton is more well-known to STAR WARS fans for his youthful portrayal as adoptive grump-to be protector of the young Luke Skywalker, Owen Lars, in EPISODES II - IV.

Despite ultimately having had most of his scenes from EPISODE II reside on the cutting room floor (annoyingly, we never saw them on the Blu-ray release last year, either!), his contribution to the STAR WARS saga remains no less important and memorable.

Friday 27 July 2012


Supreme Chancellor Palpatine and his aide Mas Amedda watch from a balcony as the first battalions of Clone Troops departs Coruscant, and the Clone Wars begin, from the classic finale scene of EPISODE II: ATTACK OF THE CLONES.

Thursday 26 July 2012


In an angle I don't recall seeing in the finished movie, our heroic Artoo Detoo opens the security door that will allow access to the Millennium Falcon, and escape from Imperial controlled Cloud City, in this exciting moment from THE EMPIRE STRIKES BACK.

Creating Artoo for the Classic Trilogy was truly a team effort, but one of those key people was technician Tony Dyson. Check out this Australian video interview about how he got involved in the saga, and helping to bring the world's favourite Astro Droid to unique life for TESB: Tony Dyson Creater of Star Wars R2D2 in Second Life - YouTube



A novel by Jeff Grubb

Published in paperback in the UK by ARROW

Reviewed by Scott Weller

Manipulation, intrigue and danger within a powerful Hutt clan, amidst the terrifying emergence of a dangerous new spice drug, are the key ingredients of adventure and drama facing a brand new Jedi Knight hero creation, librarian/archivist Mander Zuma, in this premiere showcase STAR WARS adventure crafted by Jeff Grubb, set within the NEW JEDI ORDER Expanded Universe: SCOURGE, out now in UK paperback by ARROW BOOKS.

The drug is Tempest, and its rapid fire spread across the universe of the New Republic has been worryingly corrupting and deadly, of which Zuma's former Padawan learner, the Pantoran hot-head Toro Irana, has recently become one of its victims. His death, in further unusual circumstances, on an Outer Rim world launches his Master's investigation, and soon personal crusade, to get to the truth and wipe out the drug and the source of its creation once and for all. Along the way, the Jedi picks up a few new allies to aid him in his cause, including lively space faring duo, the clever Bothan, Eddey Be'ray, and his equally determined to find the truth partner, and Pantoran sister to Toro Irana, Reen Irana, as they travel to the greedy and enterprising Hutt empire world of Nar Shaddaa and its powerful Anjiliac clan (a real mixed bag of up and down the scale, larger than life personalities, some of whom are not to be trifled with), following the clues and being followed themselves by a dangerous group of underworld psychos, assassins and droids from all corners of the STAR WARS universe, to a final and decisive battle on a dying world which itself brings death to life.

Mentioned in the original STAR WARS, and on and off in all kinds of Expanded Universe literature over the years, the concept of spice and spice running in the saga gets more investigation here-almost a kind of FRENCH CONNECTION "A Long Time Ago in a Galaxy far, far away...", though Zuma is no sometime anti-hero like that seventies film icon based on a real life character, Popeye Doyle. Despite his librarian status, and early doubts as to his abilities as a Jedi Knight, Zuma is reasonably well rendered, and Grubb, another in the line of authors who clearly knows his STAR WARS saga, moves the story along at a perfectly enjoyable and highly readable pace, full of twists and turns (though he does give away the villainous culprit a bit too easily in the mid-part of the novel, I thought) and some solid action set pieces. The look into the Hutt empire, the various differing Anjiliac clan members, and the main civilisation itself, is also effectively portrayed.

SCOURGE, its subject matter based on an earlier WIZARDS OF THE COAST Roleplaying Game, is ultimately a confident and sprightly debut from Grubb, of which I'm sure this will not be his one and only dip into the STAR WARS universe of novel adventures.


Wednesday 25 July 2012


Mark Hamill poses in his X-wing fighter pilot garb for a publicity/reference photo shoot taken for the original STAR WARS in mid-1977, by famous photographer Bob Seidemann.

Check out this interesting time capsule piece on STRIPES.COM regarding Hamill's return to Japan whilst promoting the first film in June 1978: 'Star Wars' star Mark Hamill visits Yokosuka alma mater - News - Stripes

Tuesday 24 July 2012


In the cold deserts of Tunisia during March 1976, a goggle hatted George Lucas converses with golden suited Anthony Daniels as they get ready to film Threepio's lone wandering of the Dune Sea. (Note Production Designer John Barry's Krayt Dragon skeleton in the background, apparently a recycled prop from the UK filming of Disney's ONE OF OUR DINOSAURS IS MISSING.)

The demanding and problem-filled adventure that is STAR WARS filming has now begun, and no one is yet sure how well it's overall shooting, or eventual release, will fare...

Monday 23 July 2012


Hayden Christensen as battle-scarred Anakin Skywalker makes for an imposing figure within the interior hatch of Bail Organa's Alderaanian diplomatic cruiser, in this posed publicity image for EPISODE III that certainly caught the eye in the build up to the films anticipated release in 2005. Nineteen years later story-wise, he'll be making a more terrifying, smoke filled, body strewn entrance in a similar ship- this time a Rebel Alliance Blockade Runner - and as his grim new visage as the mutilated, mechanical suit wearing Dark Lord of the Sith, Darth Vader.

With thanks to Chris Baker for the images.

Sunday 22 July 2012


Little Anakin Skywalker says goodbye to his friend Jira (Margaret Towner), the market stall dealer, in this deleted scene from EPISODE I that eventually made it onto the DVD release.

Saturday 21 July 2012


The weather ravaged crew of EMPIRE, in Norway during March/April 1979, film a shot of the Wampa's deadly clawed hand about to give Luke Skywalker a very bad day...


"Hitler has declared war on the Jones boys!"

"Don't call me, 'Junior'!"

The man with the hat is back, and this time he's brought his dad, as Father and Son Jones's take on the Nazi menace one last time in INDIANA JONES AND THE LAST CRUSADE, tonight on the UK's BBC ONE HD channel.

Trailer: Indiana Jones and the Last Crusade (1989) - Teaser Trailer [HD] - YouTube

And don't forget, INDIANA JONES: THE COMPLETE ADVENTURES coming to Blu-ray in September: The Indiana Jones Complete Adventures Trailer

Friday 20 July 2012


His once friend and brother believed dead, a mentally and physically exhausted Obi-Wan Kenobi ascends the ramp of the Naboo cruiser, watched by a surprised C-3PO, in this sad but memorable scene from EPISODE III.

Thursday 19 July 2012


One of my favourite 1983 stills from RETURN OF THE JEDI, as Luke, seeing the top deck gunner of Jabba's Sail Barge shooting at his friends on the skiff, makes a brief but perilous leap on to the side of the immense red-sailed ship to stop it, and throwing a nuisance Weequay mercenary into the Sarlaac Pit at the same time.

Luke Skywalker was now a Jedi, and the audience was loving every minute of it!

Wednesday 18 July 2012


As we still await some kind of cool merchandise related to Seth MacFarlane's brilliant Classic Trilogy spoofs, here's Lois Griffin, aka STAR WARS EPISODE IV's re-imagined Princess Leia, as realised in this fun cartoon pin-up by artist Joseph Hyata.

FAMILY GUY Characters: copyright Seth MacFarlane/FOX


Imperial Snowtroopers rush to action within the remains of the Rebel Base hangar on Hoth, as they try to stop the about to depart Millennium Falcon. In the recently published THE MAKING OF THE EMPIRE STRIKES BACK by J.W. Rinzler, it was revealed that, in deleted scene footage, one of the soldiers' weapons managed a lucky shot in successfully damaging the Hyperdrive system of Han Solo's ship.


Clashing lightsabers have always been a wonderful visual motif for the STAR WARS saga, and none more so than when used on the covers of enjoyably cheesy records of the late seventies and early eighties like this one, from WONDERLAND RECORDS in 1977, all eagerly cashing in on John Williams classic seminal movie score themes from the original film, alongside a whole plethora of other accompanying genre music from TV and films. It was all a license to print money back them, before LUCASFILM really got its act together and the ground trembled with their copyright infringement lawsuits and withdrawal notices...

For more info, check out this fun blog looking back at classic film and TV albums: Franklin Mint Blog: Wonderland Records: Theme From Star Wars (1977)

Tuesday 17 July 2012


In the blue screen realm of the FOX STUDIOS, Australia for shooting of EPISODE II in 2000, a mid-riff bare Natalie Portman as Padme Amidala takes aim against insectoid and Battle Droid aggressors yet to be added to the film in CGI post production.

Monday 16 July 2012


Here's some lovely artwork from British talent Andrew Skilleter which were done for some official UK ESB merchandising from 1980/81, with the ICARUS company. Best known for his sensational cover work on the TARGET book range of the Classic DOCTOR WHO series story adaptations from the late seventies well into the late eighties, Skilleter has also contributed his fine talents to other types of genre work and special commissions.

Check out his website here: — Andrew Skilleter


The little Rodian friend to Anakin, Wald (Warwick Davis), poses alongside a fine collection of his alien buddies from the Boonta Eve Pod Race, in this fun posed image taken on location in Tunisia during the filming of EPISODE I: THE PHANTOM MENACE.

“I felt flattered and honoured just to play that small role (of Wald the Rodian). But George felt kind of bad that I was wearing a mask again, as he’d seen me do all these things like WILLOW where I wasn’t wearing a mask. So George said, “There’s another part where you can be a spectator in the Pod race,” and he put in me in there, next to Watto.”

“While we were in Tunisia, there was one day when I wasn’t doing anything, so I decided to go out to the set just to watch what they were doing. George saw me and said “What are you doing?” I said, “It’s my day off.” He then said, “I can’t have you sitting there doing nothing, go and get something on and we’ll put you in a scene-but make sure you look different!” I got a costume and hood and went into make-up and asked them to make me look different. They put a beard on me and stuff and I ended up looking like a nomad character. So I’m in that scene as well.”

“EPISODE I was a very technical film. A lot of the time, you didn’t really get a sense of what we were doing because there was so much missing during shooting. You had to rely on descriptions from the director and possibly some storyboards to get a sense of what would be added by the computer.”


Sunday 15 July 2012


Inside the Asteroid "cave", Chewbacca gets in a little bowcaster target practice against some irritating flying Mynocks trying to peck at the Millennium Falcon, in this classic scene from THE EMPIRE STRIKES BACK.


If there's one thing we've learned in the last few years of THE CLONE WARS, it's that the words Obi-Wan Kenobi and Mandalore just don't mix well together at all- luckily for us- as the first explosive clip from a new Death Watch story arc, also featuring the return of fan favourite Katee Sackhoff as feisty warrior Bo-Katan, spectacularly arrived at the US COMIC CON this weekend. How long will it be before the KENNER Obi-Wan in Death Watch armour figures hit the toy stores?

Clip: Comic-Con: Star Wars The Clone Wars Season 5 Exclusive - Meet Obi-Wan's Surprising New Allies - IGN

Another new clip on the EW website shows some cool looking security droids, a variant of the Threepio kind, being torn apart by the Maul brothers: Star Wars: The Clone Wars -- First look at Darth Maul | Inside TV | EW.com

Saturday 14 July 2012


British effects genius, the late John Stears.
When one looks back at the birth and launch of the original STAR WARS in 1977, everybody remembers the iconic and incredible technological leap and innovations pioneered by the American team of ILM set into being by a determined George Lucas with John Dykstra inside a garage in a seedy part of Los Angeles. But not everybody remembers the vital contributions made to that landmark film by a small team of equally talented UK effects marvels who would be responsible for the studio and location filming's challenging, equally make-or-break practical effects: things that couldn't be shot on or against blue screen and filled in later, but rather solid items/weapons/props/robots that had to be physically built for the actors to inter-act with: to walk, talk, clash, explode, or emit smoke. On STAR WARS, the pioneering individual responsible for handling the heavy script requirements to be brought to practical reality was the late technician John Stears, a veteran of his craft and one of the most respected talents of his generation, most well-known at the time for his prolific and acclaimed work on the early James Bond movies of the early to mid-sixties starring the equally iconic Sean Connery. Stears' singular and impressive work on STAR WARS would see all of his past skills, imagination and experience used to their fullest in late 1975/76 as he and his little army of practical technicians sought to bring the incredible imagination of George Lucas, and the visual renderings of Ralph McQuarrie, Joe Johnson, John Barry and Colin Cantwell, to life.

Stears (far right) and George Lucas film test shots of an early Artoo prototype at Elstree Studios, 1975.

Some of the many varied Artoo shells on location in Tunisia.

One of the Treadwell droids poses for a shot on one of the Death Star sets at Elstree.

The mammoth Jawa Sandcrawler prop/scaffold in the Tunisian desert, whose realization had key input from Stears.

Stears on location at work on the circuitry of one of the three-legged Artoo units.

Stears and colleague make adjustments to the Artoo remote controlled model - a nothing short of miraculous engineering feat for its time - at Elstree Studios.

Regarded by legendary Production Designer Ken Adam as "a brilliant engineer", presumably recommended to Lucas and producer Gary Kurtz by the London offices of 20TH CENTURY FOX (who had also provided them with other UK name talents in the field in 1975), and after the duo's original choice for the project- SPACE: 1999 effects whizz Brian Johnson- was not available, Stears work on such classic Bond films like GOLDFINGER, THUNDERBALL and YOU ONLY LIVE TWICE (all possessing varying kinds of impressive and challenging premiere effects work on land, sea, air and even outer space!), alongside a talent for using explosives, of which he was apparently one of the few motion-picture technicians in his home country allowed a license to handle them, easily made him the next best choice in the film-makers eyes to helm THE STAR WARS incredible and ambitious list of on-screen requirements. 

Fully enthused with the new sci-fi project offered to him (especially after seeing Ralph McQuarrie's awe-inspiring production paintings which the effects expert thought would be a bold challenge to realize onscreen), and admiring Lucas's work on both THX-1138 (despite its dark offbeat nature) and AMERICAN GRAFFITI (which he felt was a film more closer to Lucas's own personality), Stears was officially the first British member of the crew to start work on THE STAR WARS at Elstree Studios in late 1975 (alongside uncredited early stages Production Designer Elliot Scott and Set Decorator Roger Christian), developing the kind of prototype technology that was revolutionary back then but now seems common place and taken for granted in today's modern FX world. His first and by far most challenging task was to come up with a practical working Artoo Detoo prop which he ended up building completely from scratch into a three-legged remote controlled unit, whilst the Art Department (notably Roger Christian) additionally worked on the two-legged version eventually housing actor Kenny Baker, and later (in secret, under the request of production designer John Barry) on a filming back-up version of Artoo that could be pulled along on a fishing line and proved useful on location. Both two and three-legged versions of Artoo would be brought to life within what would be a pretty short space of pre-production time. (With additional input from the likes of outside contractors manufacturing the shells and specialised components needed.) From the development of Artoo, further droids of all shapes and sizes would be built, repainted and redressed from time to time to occupy the various landscapes and sets coming to life as part of George Lucas's specially imagined and intriguing "used universe".

Stears (left) and an unknown UK technician partake in various unused filmed lightsaber effects tests.

The final lightsabers used in studio filming of STAR WARS. Rotorized rods with light reflecting tape, the method originally considered 'Top Secret' by Stears back in 1976/77.

Trial and error. The original filmed 'death' of Obi-Wan Kenobi proves unsuccessful on film and would be optical enhanced in post production.

Further innovations to come within the world of Empire and Rebellion involving Stears input with the John Barry's art department would be the lightsabers (of which all kinds of ideas, shapes and sizes for the weapons were developed, devised and tested, before the ultimate look and way of filming them was confirmed and achieved (by way of delicate rods with spinning light reflected taped, later enhanced or replaced by optical animation from US-based artists)), Luke's above ground traversing Landspeeder (one of the practical built craft being constructed in and around the chassis of a Reliant Robin three-wheeler motor car), and the immense Jawa Sandcrawler frontage, transported out for filming in the weather changing realms of Tunisia: a scaffold prop comprising the bulky tracks of numerous scrapped German tanks, alongside working parts and steam jets which, as part of the formidable shape, quickly put the willies up the Algerian army with its presence during the original March/April 1976 location filming.

The full-size X-wing fighter at Shepperton, soon needing to rise into the air!

Another large prop, the singular, specially built X-wing fighter, would also need Stears help and service later on that Summer at the huge Shepperton Studios facility, as the technician organised the use of a huge building crane to lift it into the air as a lead-in to the all-important Battle of Yavin seen at the end of the film.

The tremendous explosion concocted by Stears for the action-packed opening of STAR WARS!

Beyond droids and speeders, Stears would further lend his skills to the films many impressive laser battle pyrotechnics and was most noteworthily responsible for the epic blast that launched the Imperial Stormtroopers into the Rebel Blockade Runner at its start-an explosion so big and loud, though mis-timed apparently, spectators recalled it shook and almost demolished the lime green corridor set around them (as well as almost ending Stears life and career indefinitely!), and would be well remembered by the actors and stuntmen playing friend and foe. Just watch the final film and see for yourself how big that on-screen blast actually is: the debris that shoots past the camera and the shock on the Rebel soldiers faces as it goes off. No fear acting required - this was the real thing! (Only a few months earlier, Stears had also almost destroyed the Death Star cell bay elevator entrance due to a similar mixture of explosives, ultimately blaming the set creators for making the set from weak materials!)

Stears accepts his 1978 Academy Award for STAR WARS, alongside the US effects team headed by John Dykstra (far right).

For the behind the scenes crew making STAR WARS, and especially George Lucas, problems and delays from the practical special effects became irksome (most notably with the often out of control droids wandering on and off whilst also crashing into things, due to radio control problems), alongside some practical failures that had to have solutions realised in costly post production (like the ultimate disappearance of Ben Kenobi into the Force after his duel with Darth Vader), with Stears taking the brunt, but nonetheless the final on-screen results achieved by all concerned proved worthy of the toil and trouble, of which the UK veteran would join his American counterparts in winning a well-deserved Academy Award for the films ultimately incredible and audience acclaimed effects in 1978. (His only pity, he recalled at the time, being that his entire dedicated crew working at Elstree couldn't equally have been given the awards/recognition they deserved.) Stears would later be disappointed that American effects supervisor Dykstra would claim sole credit for the onscreen realisation of the lightsaber for the original movie (the US rotoscope animation work having enhanced the UK shot blade work in post production).

The next sci-fi project on the cards for Stears in 1978 was to have been the sci-fi horror classic, Alien. Enjoying the early script and personally finding it superior to Star Wars, he was excited at working on the film's model and practical studio work, yet the project ultimately went to his UK rival Brian Johnson (with Nick Allder), presumably due to internal politics at the studio/ behind the scenes, or director Ridley Scott, a tough man to work with, wanting to pick his own team/s.

Despite the loss of Alien, Stears at least had the next film in The Adventures of Luke Skywalker-then only known as STAR WARS II- to look forward to. Stears believed he had developed a prior good rapport with Lucas and was hoping to be ready for more pre-production time to do an even bigger and better job with the first sequel. Surprisingly, there was more personal disappointment- the veteran was not selected as part of the original core team returning to work on the film series: the producers instead relying on the aforementioned UK (and US co-partner) practical effects supervision of the now available, and equally talented, Brian Johnson. (Perhaps Johnson was seen as someone whom Lucas/Kurtz may have felt was a younger and more hip kinsman to them, rather than Stears, who was likely seen as being too a part of the old and perhaps snobily elitist, guard of British filmmakers that had caused so much behind the scenes ire to Lucas/Kurtz in 1976?).

Despite some mild and brief behind the scenes friction between Stears and Johnson linked to the 1979 upcoming production of the new film (soon titled THE EMPIRE STRIKES BACK), regarding the remote controlled Artoo design and re-development/improvements, the former, with his further Oscar clout from the original Star Wars under his belt, eventually made his way States-side to resume his noteworthy effects career (including working on such cults hits as THE MARTIAN CHRONICLES (as Second Unite Director and Effecrs Supervisor for the lengthy three-part mini-series filmed on location likely around the same time as EMPIRE was in production) and Sean Connery's HIGH NOON in space, OUTLAND). Later into the early nineties he worked on another big league sci-fi saga, the pilot episode of the BABYLON 5 TV series, before his sad passing at the young age of 64 in 1999.

John Stears: 1934 - 1999

His contributions to the original saga continuing to resonate with audiences of all ages in this 35th Anniversary of the original STAR WARS, the name, work and legacy of John Stears lives on within the magic of movies...

For more detailed information on John Stears work on the original STAR WARS, check out the AFICIONADO special issue dedicated to THE  MAKING OF STAR WARS: A NEW HOPE, here:

With thanks to Chris Baker for selected stills.

Rare John Stears behind the scenes feature from 1977: 


Hayden Christensen as Anakin Skywalker and Ewan McGregor as Obi-Wan Kenobi film final lighting, make-up and costume tests on the set of Padme's Coruscant apartment a day or so before the official commencement of Principal Photography on EPISODE III at the FOX STUDIOS, Australia in 2003.


Continuing the BBC's welcome repeat season of Indiana Jones movies in HD, tonight sees our hero's most perilous and darkest adventure yet, inside THE TEMPLE OF DOOM!

I'd never previously seen the above cool poster composition for the film's original 1984 Belgian release, so I thought I'd post it. I also think it's time that J.W. Rinzler and the LUCAS BOOKS people did a big and colourful book on all the official Indy related merchandise/poster art that's out there. I think it'd be a sales winner!

And don't forget, Indy and his memorable adventures arrives on Blu-ray from LUCASFILM/PARAMOUNT this September (including a complete restoration of RAIDERS OF THE LOST ARK and lots of new materials). And we can't wait.

Here's the newest trailer: Indiana Jones The Complete Adventures on Blu-ray for the first time ever! - YouTube