BEHIND THE SCENES: THE MARCIA LUCAS FACTOR!

 

George Lucas, needing morale support, with then wife Marcia, perched against a Djerba beast background player. An image taken during the final days of Tunisian location filming for Star Wars in early April, 1976.

Behind every great man, there has to be a great woman, as the song goes, and back in 1976 as writer/creator George Lucas developed, and filmed the original, difficult to make Star Wars he had the thankful support and backing of his wife Marcia Lucas during many affecting times, herself a much in-demand and trusted filmmaking talent within the world of editing, and known for her strong creative instincts and individual flair. She was and is a gregarious person who recognised peoples' talents and knew how to bring them out to the benefit of everyone, especially in Hollywood circles, where she was much admired by the likes of director friends including Martin Scorsese and Brian De Palma, who'd use her editing talents/opinions for their own groundbreaking projects. Both George and Marcia would prove to be a popular couple during the period they were together, whose chalk and cheese natures seemed to blend perfectly in the early to mid seventies era of innovative and unforgettable movie production. Marcia would also be a key voice in editing and helping George lock in the 'spirit' of his hit comedy, American Graffiti.

Marcia Lucas's Star Wars-related postcard from Tunisia to Lucy Autrey and the Parkway team in 1976.

Though not originally to have been part of the film's editing (instead to have acted as a consultant), during Star Wars 1975-1976 pre-production she favoured the casting of Hamill, Ford, and Fisher, was key to the development of the Force in the movie's original script, which she found fascinating (even writing some of the extra dialogue needed during Kenobi and Vader's duel), helped her husband realise that Kenobi's death was indeed vital to keep the film's drama in the final script (and not leave a great actor like Sir Alec Guinness with nothing important to do), whilst in her own editing high ground, she brought in the idea of 'wipes' transitions for scenes (used effectively for TV commercials at that time). 

Designing both the Lucasfilm Ltd  and ILM logos. Marcia travelled to Tunisia and was regularly at London's Elstree Studios. It was alongside her husband looking at the film's dailies that they knew that the assigned UK editor John Jympson wasn't picking the right take prints to be used in the editing process before his role in the film was terminated in July 1976. Ever gregarious, she regularly had dinner with the film's main cast, especially Sir Alec Guinness, whom she often found scandalous and funny away from the set (George sadly never attended the dinners). She was greatly impressed with Carrie Fisher (loving her spontaneous, clever wit) and Harrison Ford, who looked every inch the 'soldier of fortune' to her. It was Marcia, alongside US casting advisor Fred Roos, who championed Luke Skywalker to be played by Mark Hamill.

When a desperate-for-help Lucas needed Marcia's editing skills and keen eye for character after the replacement of Jymoson (whom Marcia felt used too broader takes of actors performances that did not bring a sense of reality to the piece and felt too humorous), she was key to making the final Death Star space battle as tight and exciting as possible in what became a monumental task (generating the idea and tension of the Death Star preparing to fire at the Rebel Base, alongside fellow editor Paul Hirsch's contribution - an edge-of-your-seat countdown to the finale), of which ILM needed the assembled footage as quickly as possible for ongoing model filming. She also fought Brian De Palma's wanting George to remove the concept of the Force from the film, which she was adamant should stay (De Palma may even have had his friend Paul Hirsch remove some of its references in Post Production, most of which were then re-instated by a determined Marcia). Beyond getting the hilarious moniker of 'The Queen of Death' in killing off characters across the Star Wars saga during editing, Marcia also recognised the value of small unique moments of humour, like the Mouse Robot sequence showcasing Chewbacca, which was almost entirely excised from the film before she put her foot down.

Visiting the Death Star hangar bay set at Elstree circa May/June 1976, Mark Hamill demonstrates his then ongoing toe infection to Marcia and colleague. Image: Robert Watts.

Cast and crew gather at the Elstree Studios bar/restaurant. Image: Robert Watts.

Fondly known by the 1977 Lucasfilm team as 'the heart' of its expanding family, and recognised as 'the smartest pair of hands in the galaxy', Marcia was sadly not able to work on the editing for The Empire Strikes Back (part of a sequel series that she had no idea George Lucas had any plans for beyond what was thought to be the one-off 1977 film) due to other commitments (though she clearly saw and/or gave opinions during the film's post production process, and visited the London Elstree Studios filming at least once in mid 1979, alongside her then husband) and to also start looking after her and George's adopted baby, though she was able to come back to help her again desperate husband for a short period on Return of the Jedi's end of Post Production period, despite having now retired from the editing field, when it's original cut (crafted by director Richard Marquand and his own specially chosen editor Sean Barton) needed a major creative boost in key dramatic areas, especially linked to Mark Hamill's scenes as Luke Skywalker, and his eventual destiny as a Jedi, plus the vital moment when Vader transitions back to Anakin Skywalker and defeats the Emperor. Marcia would further be a part in reshaping the film's already edited Sail Barge battle, so as to bring viewing clarity.

Earlier this year, Marcia Lucas was a key contributor to a documentary series linked to the making of the Original Trilogy, which aired on Vice TV (July 12th): 

Vice TV-Nacelle ‘Star Wars’ Series Lands 1st TV Interview With Lucas’ Ex-Wife – Deadline

Filming at the top of the Sidi Driss hotel in Tunisia with Mark Hamill looking down into the sinkhole, and watched by the crew (including Marcia Lucas, centre, with Gary Kurtz). Image: the Ben Ageros Collection.

Visiting the location specifically to bolster her husband's low spirits with the problematic start of filming Star Wars, Marcia watches George direct a Landspeeder motion sequence.

 Marcia, at bottom left of image with Gil Taylor, and Meredith Kurtz, as the crew (including George Lucas, Anthony Waye and Ann Skinner), from a small scaffold, film the Landspeeder entrance into Mos Eisley at Djerba, Tunisia, at the end of March, 1976.

Conferring with, and enjoying the company of, Garrick Hagon and Mark Hamill, watched by George, on the last day of location principal photography at the Djerba fishing village, Tunisia- April, 1976.

Both Marcia and George had a natural passion for the craft of film making and editing and were much respected for their successes in the 1970's.

A proud Oscar winning Marcia with her husband at the 1978 Academy Awards, enjoying the success of the original Star Wars.

With fellow Star Wars editors Richard Chew and Paul Hirsch, with the iconic Farrah-Fawcett at the 1978 Oscars.

Going through some footage of The Empire Strikes Back in late 1979, alongside respected director Irvin Kershner.

Marcia hated the original script created for Revenge of the Jedi, which featured two Death Stars (as seen in this Ralph McQuarrie painting. Soon enough, George dropped the idea and brought Lawrence Kasdan back to the fold to help him draft a better story.

As seen in a recent Star Wars related six-part 2023 documentary on the US Vice TV channel: Icons Unearthed.

https://www.indiewire.com/2021/09/star-wars-editor-slams-disney-films-jj-abrams-1234666134/?fbclid=IwAR14fJW4wZuyQHxak_GpAa7a81Ce3NuXArGI2vG0-a6p-wTzjs4XQB3bDS8

'STAR WARS' AT 45: THAT OLD WOOKIEE AND PRISONER ESCORT TRICK!

Now trapped and relocated to the fearsome Death Star space station, the reckless but noble Luke Skywalker convinces a doubting but greedy Han Solo and Chewbacca to walk into the Lion's Den and rescue the captured and vitally needed to their cause Rebel Princess Leia Organa, in a now classic set-piece scene that has become the stuff of pop culture legend, even referenced in an episode of the popular US mystery adventure produced by J.J. Abrams, Lost.

"I can't see a thing in this helmet!"

Hamill shares a joke with Assistant Director Anthony Waye.

Lucas and the Elstree team prepare for filming.

In a new edition of Doctor Who Magazine (June issue 578, 2022), Anthony Waye recalled that his second unit directing job on the original Star Wars came about because of an urgent request call from the film's then UK Production Supervisor, Bruce Sharman, who asked him to work on the film literally a week before shooting began in Tunisia. Waye found the location a horrible place to film in, hating the overall location, its lousy weather, the inadequate hotels and the awful food. He found producer Gary Kurtz to be totally inexperienced in movie-making at that point and that Waye, alongside many of the UK behind the scenes team, openly thought the film was total rubbish (a well known fact).

 

During chaotic location filming alongside Lucas in Tunisia - March, 1976.

Though Waye was impressed with the finished film at the London cast and crew screening a year later, he still feels that Star Wars as a film is overall still "rubbishey". Why is this writer not surprised, with those opinions, that Waye was never asked back to work as one of the key UK talents on the subsequent The Empire Strikes Back?! Regardless, it doesn't stop the now aging former producer of some of the latter (and some weaker) James Bond films from happily making money (and boosting his eventual retirement pension) from signing Kurtz/Joiner Archive behind the scenes images of himself on the Star Wars sets at UK conventions/events!

'STAR WARS' AT 40: DISCOVERING 'TATOOINE'...

On a recce with Producer Gary Kurtz in Tunisia (with assistant director Tony Waye), the late British Production Designer John Barry goes through locations he previously visited and used for the dream-like fantasy The Little Prince, now being even more effectively utilized for the original STAR WARS filming set on the desert world of Tatooine, during March/April 1976.

No one working on the film at that time will ever forget its spectacular and never seen anything like it set design and creation at London's Elstree and Shepperton Studios, with Barry getting deserved credit and an Academy Award, working well with Lucas and conceptual designer Ralph McQuarrie - selected to work on the film by Gary Kurtz, Barry beat out three other potential art directors for the film because of his economic talents. Most of the film's allocated budget was going on effects and production design, and Barry made sure every penny available to him was put up on screen, working miracles in a short time and often against the filming clock demanded by FOX, and defining a visual design style for our heroes and villains that continues to this day.

'STAR WARS' AT 40: THE FINER POINTS OF SWORDPLAY!

As filming of his "passing" into the Force draws near on the Death Star hangar set, a meticulous and thoughtful as ever Sir Alec Guinness goes through a scene with Stunt Coordinator Peter Diamond and George Lucas, whilst Assistant Director Anthony Waye (in dark blue coat) looks on.

The visual gallery as presented in The Making of Star Wars book, by J.W. Rinzler.

The practical effect of Ben's cloak being cut in half by Vader would be shot on May 28th, 1976, enhanced by optical work in 1977 post production.

Sir Alec Guinness saved Star Wars when crew members were in revolt | Daily Mail Online

'STAR WARS' AT 40: A MEETING OF TALENTS

On the Death Star lift shaft set at Elstree, a very youthful George Lucas goes through a specific scene or directorial point with Harrison Ford, whilst Mark Hamill looks distracted and serious. Behind them, holding Chewbacca's handcuffs, is assistant director Anthony Waye, best known for his long-time work on the legendary James Bond franchise, in a variety of producing roles.

Desperate at wanting to inject a little more humour into his character, Mark Hamill would subtly follow in Harrison Ford' footsteps where he could in improvising dialogue, adding the line "I can't see a thing in this helmet!" during the scene's rehearsal. After filming, Hamill was allowed to keep his Stormtrooper outfit.

BEHIND THE SCENES: DANGERS OF THE JUNDLAND WASTES

Mark Hamill and Anthony Daniels by the Landspeeder prop, which is held up by a small scaffold.

AFICIONADO's in-depth coverage of STAR WARS 1977 original Script Supervisor Ann Skinner's original continuity Polaroids and information notes continues with the classic scene where Luke and the droids are attacked in the Jundland Wastes by the Sandpeople (aka Tusken Raiders), originally filmed in Tunisia during late March 1976.

Anthony Waye rehearses the scene with presumably local extras, and stuntman Peter Diamond, in costume as Sandpeople.

Ann Sknner's continuity shot of Mark Hamill from the second take of the scene.

Another continuity image linked to the third and fourth take.

One image sadly not revealed at the excellent 2014 Skinner gallery at the BFI, though it resides in their Special Collections vault, is a superb angle showing Peter Diamond as Luke's Sandperson enemy raising his lethal gaderffii stick in attack, as Mark Hamill is far left of shot almost out of camera. Below to the right of the image is a large pillow, mattresses and board for safety, where Miss Skinner's unique camera angle positioning also reveals a mosque-like building atop one of the distant mountains, located in what is now known in fan circles as "STAR WARS Canyon". Another unseen three-quarter vertical length image of Threepio (centre of image) sans missing arm, with Luke and Ben on either side (their faces half cut-off in shot framing), also resides in the collection.

Continuity shot of Hamill and Guinness with Anthony Daniels as C-3PO for a brief deleted scene.

Ann Skinner's early 1976 character notes for the Sandpeople, based on a pre-shooting script:

"SANDPEOPLE: Tusken Raiders. Speak coarse barbaric language which is not understood. Ride on BANTHAS in single file.... Monstrous bear-like creatures as large as elephants with huge red eyes, tremendous looped horns and long furry dinosaur-like tailes."

Ann Skinner's earliest pre-filming typed character notes for Ben Kenobi: ""Sorcerer", Old Man, Was a Jedi Knight, FORCE still strong in him (an energy field which gives him power), Scruffy beard, Limp." 

Kenobi's arrival in disturbing the Sandpeople is recorded in Skinner's handwritten notes, specifically the continuity of his seen-for-the-first-time costume:

"Brown cloak over high-neck brown shirt, beige dress under it and wrapped over. Dark belt around waist and lightsaber on left side. Hair untidy. No gloves, heavy brown boots with thick black soles. Hands clasped under sleeves monk-style on walk towards."

Getting ready to film Sir Alec's first scene. Image: LUCASFILM, via Chris Baker.

Note the intriguing real-life paintings carved on the rocks behind the landspeeder.

With thanks to Ann Skinner and the BFI

The mosque/building on the hill, as seen from the Jawa Sandcrawler side of the canyon.

Unions, eccentrics and alcohol: the Brits who built Star Wars

BEHIND THE SCENES: CATCHING MAGIC!

George Lucas, with support from British crewmen Assistant Director Anthony Waye (varying scale producer of many James Bond movies from the eighties onwards, including work on the recent SKYFALL) and Camera Operator Ronnie Taylor, lines up a shot for location filming in Tunisia, sometime in March/April 1976.