THE CLONE WARS: SPEED DRAMA!

Out to avenge his mother's death at the hands of Count Dooku's evil forces, young and reckless Lux Bonteri finds himself in an explosive landspeeder chase against the Mandalorian Death Watch, helped by a concerned Ahsoka Tano and R2, in a scene from The Clone Wars Season Five episode, A Friend in Need.

CLASSIC INDY: INDY VS THE MACHINE MAN!

The ultimate showdown between the forces of good and evil as Indiana Jones takes on the despicable German SS nasty Helmut Von Mephisto for control of an ancient civilisation's mysterious and lethal power, in this great cover art by Greg Knight for the much-missed author J.W. Rinzler's one and only Indiana Jones Young Readers Adventure published specifically for the US during 2009: Indiana Jones and the Mystery of Mount Sinai, a lively read where Rinzler channels the adventure of Raiders of the Lost Ark (bringing back two of the story's semi-supporting characters in the process) with a World War II era semi-prequel to the then 2008 released Kingdom of the Crystal Skull.

Intriguingly, the villainous Mephisto, with his Darth-Vader like mechanical arm/energy discharging weapon, would be inspired by a villain of the same name from the ultimately aborted Indiana Jones and the Monkey King movie script.

EPISODE IX: TRACKING REY!

General Leia Organa may be sadly lost to them now, but the Resistance force led by Finn and Poe Dameron must fight on against overwhelming odds against the First Order. But luck may be in their favour anew with the return of Rey, now using Luke Skywalker's X-wing fighter to savilly navigate her way to the mysterious location of the Emperor's Sith world of Exegol, in this scene from The Rise of Skywalker.

OUT THIS WEEK - 'TOTAL FILM' CELEBRATES 'OBI-WAN KENOBI'

Now offworld from his existing child minding duties on Tatooine, the fugitive Obi-Wan Kenobi soon finds himself in further perilous situations both Imperial and otherwise, on a far-off city, in this great posed image making the cover for the UK film magazine Total Film's special coverage of the new limited series Obi-Wan Kenobi, airing exclusively on the Disney+ network from May 27th, 2022. The magazine is available from April 28th, 2022.

Special Subscriber's cover.

Obi-Wan on Tatooine, presumably in Anchorhead?

Back into the universe, and in great danger!

The Grand Inquisitor (Rupert Friend) closes in...

More series news:

https://www.superherohype.com/tv/513574-composer-natalie-holt-reveals-her-approach-to-scoring-obi-wan-kenobi

https://www.gamesradar.com/uk/obi-wan-kenobi-rupert-friend-star-wars-cameos-easter-eggs/

'SOLO': THE ROBOTS OF KESSEL!

They've been dutiful, if controlled, servants to the evil Pyke Syndicate servants controlling the Spice Mines of Kessel, but it won't be long before droid revolutionary L3-37 releases her droid companions from bondage and into action as part of a huge slave rebellion, as witnessed in the lively events of Solo: A Star Wars Story.

A fiery L3-37 begins the revolution!

One of the Vandor fighting Gonk droids which we assume was redressed for a later Droid appearance on Kessel. 

EPISODE VIII: GONE FISHING!

On the mysterious ocean world of Ahch-To, Rey's daily observations of the self-exiled and cranky Jedi Master Luke Skywalker continue, as a wet and windy fishing day begins in this unusual sequence from The Last Jedi.

ROGUE ONE: JUNGLE WARFARE!

Ready to make ten men look like a hundred, Cassian Andor's small but loyal band of Rebel soldier volunteers stealthily make their way through the Scarif Imperial Base's surrounding jungle, ready to cause maximum havoc in this great moment from Rogue One: A Star Wars Story.

'OBI-WAN KENOBI': INSIDE THE CAVE!

In a vast cave on Tatooine, Obi-Wan Kenobi continues his checks on the future Jedi-to-be Luke Skywalker, in this intriguing image from the upcoming Obi-Wan Kenobi TV series, debuting with a double episode instalment, exclusively on Disney+ from May 27th, 2022.

Interestingly, before late 1975 budget crunches sabotaged George Lucas's pre-production conceptual plans for many aspects of the original Star Wars, Obi-Wan's Tatooine home was to have been a cave dwelling rather than what it ultimately became as a simplistic desert structure...

https://ew.com/tv/obi-wan-kenobi-ewan-mcgregor-star-wars-joby-harold/

Mark Hamill congratulates the new young 'Luke'.

EPISODE VIl: DESTRUCTIVE PLANS....

From the military environs of the destructive Starkiller Base, watched by Captain Phasma and another officer, the evil General Hux outlines his plans for a vicious first-strike death blow to the New Republic and the Resistance, in this memorable moment from The Force Awakens.

ILM CLASSIC IMAGE: MODEL WORLDS!

The intriguing underworld realms of the Utapau species is vividly brought to life in EPISODE III with this stunning model of the lower levels sinkhole city. Another example of the craft, care and striking realisation put into the film's often remarkable sequences by its dedicated ILM model and effects teams back during 2003-2005.

CLASSIC ART: WHEN TIE FIGHTERS ATTACK!

The depths of space are soon lit up by a flight of attacking TIE fighters, as the Empire's space fleet begins its surprise attack on the Rebels in this great recent art linked to Return of the Jedi, whilst also celebrating the superbly designed and iconic spaceships and fighter craft of the Classic Trilogy.

'ATTACK' AT 20: FORMER QUEEN, FUTURE FREEDOM FIGHTER!

A new look to equal Princess Leia - Padme Amidala readies to fight for peace in EPISODE II.

“She’s idealistic, honest, and good, and because of that, sometimes, naïve. Padme doesn’t want to fall in love because she’s thinks she has more important things to accomplish. She sees a future for herself as a leader, which doesn’t allow for much vulnerability, which in turn is the key component of romance.” 

 “What’s more she’s no longer Queen. She’s now a senator. Which was kind of a relief to me, because for one it means that I don’t have to wear that heavy old costume. It’s very hard to concentrate when you’re in pain. On the last film, we had one headpiece that had a cord attached to the top and hooked up to a pulley. Someone would walk behind me and pull down to lessen the weight.” 

 “EPISODE I was really, really hard for me. Being 16, in London for the summer with no people my age and not knowing anyone there, that was really difficult for me. The weather was awful, and the studio was like this old factory. It was a very depressing summer. But when you’re 16 it’s easy to be selfish and go, “I’m not having a good day and I can’t deal with this!” Now I’m old enough to know this is my job. I have to put my own issues aside.” 

NATALIE PORTMAN- STARBURST ISSUE 286- MAY 2002

BEHIND THE SCENES: PAUL HIRSCH TAKES THE EDITING REINS...

 

Having fun with the clapperboard on the Bespin Landing Platform set in July, 1979

Returning back to the Star Wars saga having proudly won an Academy Award for his work on the original 1977 film alongside Marcia Lucas and Richard Chew, respected star editing talent Paul Hirsch is now the sole editorial shaper of The Empire Strikes Back as it enters production in 1979, and up to its eventual release in theatres in May 1980. Importantly, this time out, Hirsch gets a chance to work on the film's cutting whilst principal photography is underway at Elstree Studios in London (staying with the production until 21st August, 1979) then returning back to the US for the long-hours, difficult but ultimately rewarding post production phase ahead, working closely with George Lucas and ILM for the to-be-slotted-in effects sequences taking place this time, and with new director Irvin Kershner, another visualist whose work Hirsh admires. Working together on the film, with so much riding on its success for the George Lucas-funded film production, Empire truly proves no easy task to edit, what with so much going on plot-wise (especially at the beginning of the film) that needs to be carefully set-up for the audience to easily follow. Thankfully, the first sequel ultimately develops its own unique storytelling rhythms, going on to become a richly rewarding viewing experience with its final ultimate shaping as a dark, exciting, emotionally complex continuation.

With his fellow Oscar winners in editing: Richard Chew and Marcia Lucas.

Hanging around on the huge Star Wars Stage in Summer, 1979.

On the Star Destroyer bridge set, Hirsch and camera operator Kelvin Pike watch Mark Hamill have fun with a sci-fi award involving Gary Kurtz and Irvin Kershner, during Summer 1979 filming at Elstree.

CLASSIC IMAGE: NO HIDING PLACE?

Within the compact bridge of the damaged Naboo Royal Cruiser, a worried Captain Panaka, having witnessed his party barely escape the Trade Federation blockade, is worried about the Jedi's in-hiding destination for the Queen, in a tense moment from EPISODE I.

'STAR WARS' AT 45 - DANIELS OF THE DESERT!

For a singular day at least treated with care and respect by the behind the scenes crew and Tunisian extras within this physically limiting and painful costume, a youthful Anthony Daniels catches up with some of the script changes in a brief filming break on location for the original Star Wars, on the first principal photography day at the Nefta wastelands of Tunisia in March 1976. 

With all the discomforts to come over the next five months of filming, Daniels would soon consider his weekly fee of £250 a paltry sum.

From that first unique day, who can forget the original first posed publicity images of Daniels as Threepio alongside Artoo Detoo on location in Tunisia. at the Lars Homestead? Think Artoo looks a bit different in the shots than he ultimately does in the film? Well, that's because the Artoo seen below would be the lightweight mock-up spare. moved about on piano wire, originally built for emergency use by Roger Christian (under instruction from Production Designer John Barry), just in case the remote controlled one, conceived and operated by UK Practical Effects Supervisor John Stears, broke down, which it ultimately and often did during the early days on location filming!

Scrap of Gold – Artoo’s Arms - YouTube

Daniels as Threepio alongside the piano wire-operated 'dummy' version of Artoo, on location in Tunisia for the film's early, now iconic, publicity images.