AN 'EMPIRE' AT 45: GOING SOLO IN NORWAY!

He hadn't yet landed the role of the devil may care Indiana Jones, but Harrison Ford was certainly doing some globe-trotting of his own with The Empire Strikes Back, swiftly dispatched from Elstree to Norway to shoot scenes in real snowy climes, amidst avalanches and dangerous white-outs. Certainly adventures in filming that Ford would never, ever forget.

Filming Han's discovery of the injured Luke, literally shot outside the snowbound hotel at Finse during March, 1979. 

Han checks on Luke's delirious condition.

Han prepares to fire at the Imperial Probe Droid.

Posing for press publicity with Carrie Fisher.

"I hadn't anticipated being there (in Norway) at all. My snow scenes were supposed to be shot at the sound stage at the studio. I had just arrived in England as they left for Norway, and in no time at all, I found myself whisked away to join them in Norway, with no preparation, wearing a costume built for conditions on the stage. Another one of those bizarre life experiences."

Harrison Ford - Bantha Tracks interview - 1980

'AN EMPIRE' AT 45: FROM FINSE WITH LOVE!

UK art technician Alan Tomkins with the Tauntaun prop outside the Finse 1222 hotel in Norway. Image: Pamela Mann.

Filming of the desert realms of Tatooine, in Tunisia, for the original Star Wars back during March/April 1976, had brought its own unique problems that had to be overcome by the film crew, but those were nothing in comparison to the location work at Norway for the opening act of The Empire Strikes Back set on the ice planet of Hoth. Heavy ice, snowstorms, avalanches and 'white-outs' were constant, in the worst weather that the chosen location, Finse, had seen for decades. In such conditions it was a marvel that the main first unit, headed by Irvin Kershner, a frost-bitten Gary Kurtz, stalwart David Tomblin, and others, were able to accomplish so much. And thankfully, some material could even be shot literally outside the hotel! 

But the worsening weather would go on to heavily affect the second unit's eventual filming of the ground snow battle scenes against the AT-AT's going into April, 1979...

Gary Kurtz and Irvin Kershner brave the elements.

Mark Hamill gets sun sun and rest atop one of the special Empire snow vehicles.

Peter Mayhew and crew enjoy a warming meal on at one the location camp bases.

Filming Chewbacca's one and only scene on location.

Continuity Polaroid of Mayhew with Pamela Mann.

"That was fairly horrendous. It was cold and the wind was blowing. It was just a bit unpleasant, but the filming of that scene was only half a day."

Peter Mayhew - Star Wars Insider - Issue 28

Quickly abandoning filming as a dreaded 'white-out' arrives at the site.

Inside one of the two location camp huts, Irvin Kershner rehearses a scene with Mark Hamill atop the primary Tauntaun prop, watched and recorded by Michel Parbot and his documentary team.

Posing atop the full scale prop for publicity images.

Filming reaction shots with the head prop, also built by Stuart Freeborn and his team in London.

Some of the crew assemble at a base camp with the prop Tauntaun. Image: Pamela Mann.

Crewman Des Webb wears the heavy stilts whilst playing the Wampa snow monster.

The snow vehicles continue on throughout the location filming.

Lifted by helicopter (likely piloted by film-making veteran Marc Wolfe), Colin Skeaping doubles as Luke for his descent from the damaged Walker.

UK Script Supervisor and Continuity talent Pamela Mann enjoys the location.

Pamela even enjoys her own igloo as part of the location camraderie.

Harrison Ford, Kershner and crew prepare for the next Tauntaun sequence.

Moving the damaged Snowspeeder prop into location positioning.

Filming Luke's swift escape from the wrecked Snowspeeder.

Filming the Probot prop at varying sites on location.

The half Probot prop and tracks outside the Finse 1222 hotel.

AN 'EMPIRE' AT 45: THE RETURN OF LUKE SKYWALKER!

Two years on from being that once farm boy who dreamt of adventure and excitement amongst the stars, Luke Skywalker has finally become a person of significance and heroism for the Rebel Alliance, of which his skills as a pilot, seeing-in the destruction of the Death Star space station, has naturally made him a fine leader as well as respected commander of his own unique Rogue Squadron of fighters. Now, with his Jedi powers slowly building, and relocated with his comrades to the Hoth system, Luke's courage and initiative have proved inspiring, along with great tenacity, in helping to set-up the secret base away from the grip of the evil Empire...

Great 1980 merchandising art for The Empire Strikes Back, by Gerry Daly.

AN 'EMPIRE' AT 45: THE GALACTIC EMU'S!

Looking like alien version of an Emu crossed with a camels, Joe Johnston's classic conception of the Tauntaun snow beast certainly made an impression back in 1977, a fascinating year that featured an incredible array of intriguing all-new potential designs from both Johnston and Ralph McQuarrie for a myriad of new characters, aliens, hardware and environs for what was at first known as Star Wars II, before becoming The Empire Strikes Back.

AN 'EMPIRE' AT 45: THE POWER OF POSTER ART!

Amidst the terrifying visage of the returned Darth Vader, technological action is another standout part of this classic early movie poster conceptual piece by the famous illustrator Tom Jung, of which the might of the Imperial AT-AT's against our Rebel heroes proves formidable, and truly showcasing how an Empire will strikes back! 

AN 'EMPIRE' AT 45: FROM BESPIN WITH LOVE...

A wondrous city in the clouds provides a time for unique safety and refuge from the Imperials for Princess Leia Organa, who is given a unique outdoor tour by Baron Lando Kadar in this great conceptual painting by Ralph McQuarrie. Even from this painting we get the impression that Lando is certainly 'the old smoothie' referenced by Han Solo.

McQuarrie enjoyed working on the conceptual side of The Empire Strikes Back as much as he did on the original Star Wars, especially in developing the look and style of the Cloud City realm.

Michael Pangrazio's 1979 concept for an unused matte painting.

AN 'EMPIRE' AT 45: DELIVERANCE AT CLOUD CITY!

Having used all his skills to outwit the once pursuant Imperial fleet, Han Solo takes the damaged Millennium Falcon to the far-off realms of Bespin, where he hopes his old friend Lando Calrissian, now the administrator of a Tibanna Gas Mine colony, will take them in and provide a period of safety. Thankfully, old grudges between Lando towards Han have been seemingly forgotten as he enthusiastically escorts the fugitive group into the city.

The cast take a break between scene. Image: Mark Sennet.

Waiting for trouble between Han and Lando.

Anthony Daniels makes a point on the stage.

Filming at Elstree with the camera masking out unwanted background elements that will be later replaced with matte work.

'EPISODE III' AT TWENTY: THE VADER FACTOR!

One of Lucasfilm's most ambitious and effective marketing campaigns yet for the Star Wars Prequels, designed to bring in fans old and new to movie theatres, featuring the iconic Darth Vader, whose emergence in Episode III proves crucial in bridging the two George Lucas created trilogies together. Indeed, Vader is the key marketing image for movie posters and selected advertising/merchandise worldwide during May 2005, as well as subsequent later tie-ins...

'EPISODE III' AT TWENTY: A DARK DESTINY FULFILLED!

The nightmare begins...

His near destroyed, battle scarred and fire consumed body secretly returned to Coruscant, Darth Sidious still has plans for his apprentice in evil, Anakin Skywalker, as he finally becomes the unforgettable armoured, life support system-suited vision that is Darth Vader, fully immersed in powerful evil yet tortured and anguished forever more due to his disfigurement - emotionally and psychologically ruined further with the unexpected and shocking news of his beloved Padme's demise.

Yannick Dusseault's dark and atmospheric concept art for the scene from November 7th, 2003. This image was later 'leaked' to the UK press the following year as a preview for Episode III.

In one of the darkest moments of the Prequel saga, Darth Vader is born in true Frankenstein-esque gothic style, and the universe will never be the same again with such a terrifying arrival...

"It's the iconic moment. It's Darth Vader. To be totally enclosed in that suit, behind that mask - was extremely empowering. No... intense? Overwhelming? Cool? I've got it - how about orgasmic?"

"It was indescribable, you know? It was a completion of a job. And then my sort of five-year journey was over coupled with the fact that it was just this incredibly powerful feeling, this beastly feeling that wells up inside of you when you're playing a character that is Darth. You walk by and people see Darth and you know you watch the reactions on their faces. The days that Darth came out was quite the event on set. Everyone wanted to see what was going on. It was a one-of-a-kind experience."

"Getting to act behind a mask in general is a very freeing experience, and when that face is Darth Vader, it's very empowering, very beastly."

Hayden Christensen - unknown Internet interview - May 2005

The horrifically disfigured Anakin willing surrenders to the mechanical suit/life support system that will fully transform him into Darth Vader, Dark Lord of the Sith.

The timeline of Anakin Skywalker into Darth Vader.

'EPISODE III' AT TWENTY: A GALAXY IN MOURNING...

The funeral procession begins through Theed City on Naboo.

Dignitaries from across the galaxy assemble alongside the devastated peoples of Naboo to mourn the loss of their heroine in politics, the woman who saved their planet from Trade Federation domination thirteen years earlier as their former Queen: Padme Amidala. Her passions and legacy to stop tyranny will live on with the birth of the slowly-building Rebellion against the Galactic Empire, of which her two now secretly hidden and Jedi-powers children, Luke and Leia Skywalker, protected on separate worlds, will ultimately be amongst its greatest heroes and leaders.

"I think they call it the "End Dress." It's really, really beautiful. I think Trisha (Biggar) wanted to get an ocean sense. Someone said to me that it was very 'Orphelia.' With the flowers and the hair, it looks like I'm drowning."

Natalie Portman - Dressing the Galaxy book - 2005

"My favourite costume that Trisha designed for the Prequel Trilogy is the one Natalie wears in her funeral. It's a very moving shot in which her open coffin slowly glides under the camera. I remember asking Trisha why she chose the specific fabric and color for that dress. She looked at me in bewilderment, and very gently explained that the colour - this beautiful azure blue - and the rippled fabric matched the ethereal and melancholy landscape of the Naboo lake retreat at Lake Como, where Padme and Anakin fell in love. This is where Padme had wanted to escape with Anakin, and the funeral gown symbolizes her spiritual return to that lake."

Rick McCallum - Dressing the Galaxy book - 2005 

Filmed at ILM, around 50 Lucasfilm staffers were called in to play Naboo inhabitants for background crowd scenes, some wearing multiple, differing costumes when photographed. Amongst the people would be veteran Star Wars behind the scenes chronicler J.W. Rinzler, who recalled: "The group was shot at different angles and elevations, so the filmmakers could replicate us wherever they wanted to in relation to wherever the camera was." 

Iain McCaig's approved costume design for Padme, given a "Fabuloso" stamp by Lucas.

Goodbye, Padme.

Clutching the Japor snippet that was once supposed to bring luck.

Behind the scenes of the costume tests and filming.

'EPISODE III' AT TWENTY: LIGHT VS DARKNESS!

The Duel of the Fates continues..

Now returned to Coruscant in the aftermath of the brutal slaying of their fellow Jedi during Order 66, Obi-Wan goes off to find Anakin Skywalker via his connection to Padme, whilst Yoda confronts the evil and repulsive Darth Sidious, their intense lightsaber duel taking them into the heart of the senate audience chamber. Though Yoda's impressive skills in the Force almost win the day, it's ultimately the Emperor/Sidious who wins through, as a defeated and depressed Yoda realises that he will now have to begin a life of exile on a mysterious alien world later revealed as Dagobah.

A thrilling CGI sequence that once more makes effective use of John Williams supreme score, originally composed for Episode I but reused here: Duel of the Fates.

The Emperor's hideous cackle must not deter Yoda from combat.

"Fighting Frank (Oz) - fighting Yoda - was a joy. And then I got to experience the full beauty of CGI. In other words, actors in battle with invisible people. Although it was a very precise choreographic sequence - it would have to be, you've seen it - which we did do. Then I sensed, in fact George asked for it in a polite way, he wanted a few sort of improvised strokes. So basically I did a rap to thin air at the end of the choreographed sequence and then collapsed with exhaustion and hysterical laughter on the floor. I don't know if any of those movements are in the final cut... That wasn't difficult, that was great fun."

Ian McDiarmid - Episode III DVD press launch interview - 2005