'STAR WARS REBELS': BEWARE THE SITH HOLOCRON!

The legacy of the Sith Holocron could be used for good in the right hands, and to potentially be used to destroy the Empire, but young Jedi-to-be Ezra Bridger soon has his hands full with it and its latent powers bringing initiations of fate and prophecy, especially when Darth Maul manipulates him with the device at a vulnerable time that will place another young Jedi and his elder custodian potentially in danger on a far off desert world, during the popular Season Three holocron arc episodes The Holocrons of Fate and Visions and Voices.

EPISODE IX: RISE OF THE VILLAINS!

Assembled villainy has never been nastier in the sequel trilogy than with the combined forces of the First Order, under the brutal command of Supreme Leader Kylo Ren (with assistance from his onscreen underused Knights and the shady General Hux) and the original First Galactic Empire, under the command of Allegiant General Pryde in the name of the resurgent Emperor Palpatine. The galaxy will quake under their terrifying future plans...

'SOLO': READY FOR MY CLOSE-UP!

On location in the Canary Islands.

To play the younger version of an established icon character as Han Solo was a challenge that young rising star Alden Ehrenreich ultimately took on with pleasing gusto, delivering a fine performance of vulnerability and cocky assuredness that the character's onscreen originator Harrison Ford would ultimately approve of by the time that Solo: A Star Wars Story was released in 2018.

EPISODE VIII: THE NEW RESISTANCE LEADER...

In what could never be a worse time for the Resistance, now almost at the point of extinction, and with the near death of their bold and spirited leader in General Leia Organa, desperate times require desperate measures as an intriguing new choice of leadership in Vice Admiral Amilyn Holdo takes the seat of fleet command decision, in this memorable moment from The Last Jedi. 

ROGUE ONE: SPACE DOCK CONFLICT

The battle is brutally joined between Rebel X-wing fighters and TIE fighters in and around the busy Star Destroyer space dock platform above the natural resources mined world of Scarif, in one of the original concept art pieces for Rogue One: A Star Wars Story's developing story conclusion, crafted by the ever-talented visualist, Ryan Church.

EPISODE VII: MAKING THINGS RIGHT AGAIN...

Desperate times require help from the past, as top Resistance pilot Poe Dameron makes an urgent trip for General Leia Organa to the far off realm of Jakku and a secret meeting with the enigmatic Lor San Tekka, who holds the potential key as to the location of the missing Jedi Master Luke Skywalker, during the beginning to The Force Awakens.

HAPPY 45TH ANNIVERSARY, 'BATTLESTAR GALACTICA'!

The original theatrical version of Battlestar Galactica, now available on impressive 4K UHD.

It started off as an idea for a smaller scale space hippy-ish science fiction series called Adam's Ark in the late sixties, then thankfully went on to become something bigger, greater, more spectacular and more resonating with audiences by the time it metamorphosed into Battlestar Galactica by 1978, following in the post cinematic arrival of Star Wars. Creator Glen A. Larson's finest series continues on in its titular spaceship's journey for sanctuary and strength looking for that shiny, long lost planet called Earth. And its beloved fans worldwide continue to enjoy every aspect of that very special singular season journey and the characters within it (especially its visual effects and designs from so many of the talented team headed by the original Star Wars US special effects veteran John Dykstra)...

And even now, the show is still attracting new UK TV audiences and appreciation, what with another classic run airing on digital TV during these past few months of 2023...

For more on the series, check out this great site: 

BATTLESTAR GALACTICA - SAGA OF A STAR WORLD

HAPPY 45TH ANNIVERSARY, 'BATTLESTAR GALACTICA'!

EPISODE III: DROIDEKA ATTACK!

Now aboard the Invisible Hand enemy cruiser, Anakin and Obi-Wan, on their way to rescue the Supreme Chancellor, soon encounter more enemy attack fire, this time from newly arrived, formidable Droidekas, in this scene from EPISODE III.

'JEDI' AT 40:THE MAKERS OF MONSTERS!

Two of film's greatest visionaries and pioneers in monster creation, from the UK and US - Stuart Freeborn and Phil Tippett - combine forces beautifully to create a splendid menagerie of grotesques for the memorable opening to Return of the Jedi, set within Jabba the Hutt's palace on Tatooine. And there's no greater and monumental grotesque than Jabba himself, specially built as an incredible feat of puppet engineering by Freeborn and his team at Elstree Studios. 

Two great behind the scenes images presumably taken either during the creatures dress rehearsal day at Elstree on 16th January, 1982, or possibly on 23rd January, or at the end of filming on the sequence by early February, 1982.

New British and American created aliens (plus re-used previous aliens created by Freeborn for the original Star Wars) gather for this memorable posed imagery. 

'JEDI' AT 40: INTRODUCING SALACIOUS B. CRUMB!

The Star Wars equivalent of Peter Lorre to Jabba the Hutt's Sydney Greenstreet, the creepy and nasty little Kowakian Monkey Lizard known as Salacious B. Crumb (named by creature-creating guru Phil Tippett), makes the most of his status within the court of Jabba the Hutt, and being aligned to the power and intimidation wrought by the super slug. A gross combination of a 'groupie' and a evil court jester type, for sure...

Brought to reality within the US environs of ILM's expansive 'Creature Shop' during 1981, its puppet operator would be the talented Tim Rose for the majority of filming at London's Elstree Studios during early 1982. 

A basic shape begins at ILM.

Evolving into its final form.

Getting a detailed spray painting for skin texture.

Tim Rose watching a monitor as he manipulates the puppet in tests/rehearsals.

Detailed looks as Salacious.

On set, and nastier than ever.

Director Richard Marquand offers acting advice.

A deleted scene moment of Bib Fortuna and Crumb getting drunk in the throne room. It was conceived on set and filmed by David Tomblin, but never made the final cut.

'ATTACK' AT 20: YODA vs DOOKU!

An intense duel ensues between the towering force of Count Dooku and the small but determined Yoda, the latter of whom soon shows the latest Sith Apprentice the full power of his abilities. Recognising potential defeat or stalemate, Dooku creates a distraction for Yoda that requires his abilities to rescue the injured Obi-Wan and Anakin, now in danger, instead. The Count soon escapes the hangar safely within his Droid-operated Solar Sail vessel pod.

“From what I could tell, George was asking for the Tasmanian devil.. every time we showed it to him he said, “Amp it up! He’s got to be bouncing around!” He kept saying, “He’s a frog, this wicked-ass frog that’s going to kick it.”” 

Rob Coleman - DVD Review magazine Issue 44 - 2002 

“I’ve done more fights on celluloid than any actor in history…and I’ve got the scars to prove it. And this fight is greater than anything I’ve been involved in.”

Christopher Lee - DVD Review magazine Issue 44 - 2002

“I thought it was a remarkable scene considering that I never, at any time during the fight, actually saw Yoda. When we were filming, he wasn’t there. There was no time to position him. The whole thing was very fast and quick, so there wasn’t any time to place him 40 feet up on the left, or 10 feet to the right or wherever he was. I had to do it against blue screen, without Yoda being there, or anybody else for that matter. It was mainly a question of eye lines. I was told to look in that direction, make that movement and then make another movement in another direction. It was choreographed. That was the only way to do it. The long shots where Dooku is running (weren’t performed by me) because I was 79 or thereabouts, and I just can’t run. So that’s done by a double. But everyone had doubles, and they are in Episode III too. They have to be on certain occasions. But most of the stuff that you saw that was close-up-that’s to say knees upward, waist upward-was done by me.” 

Christopher Lee - Starlog magazine Issue 336 - July 2005

Locking lightsabers!

A deleted moment where Dooku uses two lightsabers.

A part of the filmed duel sequence saw Dooku wield two sabers against Yoda but this experimental footage was ultimately unused, though still photos from it were used for EPISODE II marketing and publicity purposes linked to the Dooku character.

An impressive visual shot from the duel sequence.

Yoda congratulates Dooku on his duel prowess.

Dooku provides the cowardly distraction needed to escape.

Yoda rescues Obi-Wan and Anakin as Dooku escapes...

More on the live action part of the filming:

STAR WARS AFICIONADO WEBSITE: CLASSIC IMAGE: THE TWO MASTERS OF DARKNESS!

'ATTACK' AT 20: DEFLECTING DARKNESS!

Count Dooku, on the attack!

Upon entering the secret Geonosis hangar bay area, Yoda must soon deflect an attack of force objects direction, then a further assault of physical Dark Side strength, as Count Dooku brings down a piece of ceiling onto the diminutive Jedi. Directed bolts of of terrifying Force lightning are then unleashed and held back, before Dooku finally realises that the only way to defeat this former master will be through his experienced skills with a lightsaber...

Yoda surveys the secret hangar.

And squares off against the deadly powers of Count Dooku.

“There was bluescreen in The Lord of the Rings, but nothing like there was on Star Wars. About 85% was shot on bluescreen for Star Wars. Walls, floor, the complete stage was blue. They need that for technical reasons, which I can not go into, for it’s something I do not understand. They need that to put in the background, what’s behind you, in front of you, besides you. Reading the script, I know what is taking place and where this is supposed to be, but I do not know what it is going to look like and I do not know if I’m going to be surrounded by other people, droids or that I’ll be alone. I have no idea. So when shooting, there is nothing there – and there certainly wasn’t when I had my fight with Yoda! They have to match what he does after what I’ve done first! I do the lightsaber moves, after I’m told where Yoda is going to be. So I do not know exactly what he is going to do in the fight. I’ve often been asked the question what it is like to work with bluescreen. Over the years I got quite used to that. The answer is of course that you have to have a very powerful imagination, experience, professional knowledge, powers of invention of your own and you have to have the right instincts. You either have them or you haven’t. If you have them, it’s a great help to everybody. What else do you need to be an actor? Dedication, devotion. All these elements are vital if you want to make a career as an actor.” 

Christopher Lee - Internet interview (source unknown) 

The Dark Side of the Force is unleashed!

Yoda prevents the ceiling from coming down on him.

Sending out Force lightning.

Yoda absorbs the dark energy...

and redirects it back at Dooku.

'ATTACK' AT 20: CREATING THE DIGITAL YODA!

With the success of Jar Jar Binks as a digital creation, the time was right for the saga's beloved Master Yoda to gain an old/new lease of life in CGI for Attack of the Clones, especially with the film's finale, crowd-pleasing finale lightsaber duel between him and his once apprentice, Count Dooku.

“In EPISODE II I wanted Yoda to fight, to be an actual warrior, not just this sage. I obviously couldn’t even think about doing that on the other films. It wasn’t technically doable. Now I can.” 

George Lucas - TV GUIDE magazine - May 11th - 17th issue - 2002

Physical sculpt reference model, a cast presumably taken from the surviving Yoda head in the Lucasfilm Archives.

Rob Coleman and an ILM team mate observe the details on the Yoda sculpt for future CGI reference use.

Developing Yoda tests, copying a scene from The Empire Strikes Back.

Getting closer to the final version.

Rob Coleman looks at completed footage of the Yoda/Dooku confrontation.

“There were a lot of challenges and if we hadn't met those challenges I wouldn't have had a movie, especially on this one, because I had to replicate Yoda. If I couldn't replicate Yoda digitally I was in serious trouble. I couldn't have made this movie. We tried to make him digitally on the first movie and we couldn't do it, but if we hadn't accomplished it here I would have had a pretty silly end of the movie.” 

George Lucas - BBC Online interview - 2002

An image used for marketing and merchandise.