AN 'EMPIRE' AT 40: MATTE DESCENT!

Harrison Ellenshaw at ILM with his Bespin core matte painting.

Luke's suicidal fall soon takes him to a point where he is sucked into another type of air shaft and a further rapid descent towards an unknown destination...

Harrison Ellenshaw talks about his involvement on Empire...

"I finished working on 'The Black Hole' on a Friday, and Monday I was here, ready to begin on 'The Empire Strikes Back'"

Star Wars had a small budget, so George had to be very concerned where every dollar went; that, more than anything else explains the small number of matte shots." 

"Empire' is far more ambitious visually than 'Star Wars,' which means about 50 matte shots this time around. Much of the shooting was done on location to simulate the snow planet. Only a small percentage of the film takes place in space, with most of it in 'familiar' surroundings. 'Empire' is a completely different departure for me; It has it's own unique look to it. I'm scared, because I'm afraid many of the matte shots will look like matte shots because you'll know what we've done can't be done any other way. I fear they will be evident. Fortunately, there is a tone established very early in the film which will cause a suspension of disbelief; hopefully, believing in the fantasy of it all will make the mattes less noticeable, or at least less bothersome."

Luke's eventual suicide fall, as captured in storyboard by Ivor Beddoes.

"Matte painting is a tedious business, often taking up to 50 man-hours to complete a single matte; I will often work on ten, fifteen, as many as 20 paintings at one time, constantly improving, changing... preparing the work for film use. Ralph (McQuarrie) who hasn't previously preparing the work for film use. Ralph (McQuarrie) who hasn't previously worked a lot on mattes, takes a different approach with 'Empire', his are of such detail and complexity that he is forced to work through from beginning to end on each individual matte. Without him, I don't think we could have made the deadlines"

'The Empire Strikes Back' is one of the most fully documented films ever made; records are kept of every step of the operation, and each matte (which would ordinarily be scraped clean for use on the next picture) is preserved. 

"It's a pain in the ass, but you accept it for 2 reasons; one, it's a bit of an ego trip, because someone's taking a picture of something you're doing and it's always nice to know that someone is taking an interest in what you do... two, you know it's good for the film."

"Something different is being done in the case of 'Empire'. Four-by-Five transparencies are being shot of the paintings, and then being composited with the live-action, so the quality is much better than what you'd ordinarily get from a frame blow-up; It's not as grainy, and it really looks slick."

"I like to work with George, and I hope to continue to do so."

Questor magazine - August 1980

AN 'EMPIRE' AT 40: A HERO FALLS, RISES, AND FALLS AGAIN!

Ivor Beddoes art for the air-floating Luke sequence.

He may have made the ultimate descent but the hot air currents below him soon send Luke high upwards above a watching Vader, as the young Jedi then falls once again, accelerating faster to his sure doom, in a deleted moment partially filmed at Elstree Studios in July, 1979.

Darth Vader (Dave Prowse) watches Luke fly upwards before descending again.

AN 'EMPIRE' AT 40: THE CRIPPLING BLOW!

From Media Historian/Author/Star Wars Archivist Paul Duncan on Facebook - July 2021:

The shot of Luke’s right hand being cut off was filmed on July 27, 1979 in three takes with two cameras. The scene was repeated with different lenses, different framings, and different angles. Director Irvin Kershner knew that this was the key scene of the movie and was keen to capture it in full.

Ivor Beddoes storyboard for the all-important sequence.

"There is no escape. Don't make me destroy you..."

AN 'EMPIRE' AT 40: DARK DESCENT!

Posed publicity image of Luke looking down to find the elusive Vader...

Luke goes in pursuit of Vader, heading deep down into the lower levels of the Carbon Freezing Chamber...

Mark Hamill recalled in a late 1980 interview that he did a series of gymnastic moves that never made the final film. I'm assuming it was during this sequence, perhaps similar to something preconceived by artist Ivor Beddoes...

Ivor Beddoes storyboards of Luke's climb down to the lower level...

AN 'EMPIRE' AT 40: ESCAPE LEAP!

"All too easy.."

Darth Vader's preconceptions about Luke's lack of training in the Force are briefly challenged when the boy manages to Force leap out of the carbon freeze pit as it activates, a shot achieved by using a puppet filmed at ILM.

Dave Prowse is listed on call sheets as playing Vader (presumably for the non action part of the scene where Luke falls into the carbon pit) on the 29th June, 1979.

Vader Force-activates the carbon freeze mechanism but Luke escapes just in time!

An unused action idea from Ivor Beddoes as Vader strikes out and cuts varying pipes to injure and capture Luke.

The model as displayed for a Propstore Auction a few years back.

As used in the finished film.

AN 'EMPIRE' AT 40: VADER DEFEATED?

 

A vengeance-fuelled Luke Skywalker successfully defeats Vader despite his inexperience duelling with a lightsaber. And as the lifeless body of the decapitated dark lord crumples to the floor, his rolling head soon reveals a shocking truth to the boy!

Stuntman Bob Anderson in the costume during the filming of the scene.

Substituting the headless dummy that will collapse on cue.

A light weight dummy Vader constructed by costumes and the on set practical effects department would be propped up and ready to detonate, lose its head and collapse once thrashed by Mark Hamill's swinging lightsaber.

One of the Vader helmets is rolled on the floor to camera, whilst a dummy one explodes to show its shocking face underneath it.

A group of set visitors (merchandise liaisons and public guests) witnessed the filming of this sequence, which soon lead to an apparent leak to a UK national newspaper that was trying to spoil the film's plot, saying, through witness assumption, that Luke would vanquish Vader for the upcoming sequel.

 

Ivor Beddoes storyboard of Vader's helmet opened up (rather than exploding) to reveal Luke's own face underneath.

AN 'EMPIRE' AT 40: THE OTHER 'BATTLE OF HOTH'!

Imperial Snowtroopers disembark a Walker in this great art by Joe Johnston.

The epic Battle of Hoth had many incredible action/visual moments to savour, but there were other intriguing ideas and planned geography for the conflict ultimately not used during the shaping of the sequence during its pre-production art and storyboarding phase. Some of the more graphic violence of the boards were not considered for filming (notably illustrations showing battle-retreating Rebel Soldiers being crushed to death by Walker feet!).

Early concept art by Joe Johnston for the Battle of Hoth, when it was originally to have had Imperial Tanks in conflict rather than Walkers.

Snowtroopers rush across the surface in a great unfilmed storyboard by Joe Johnston.

Repelling Imperial invaders!

Here's a further selection of intriguing art pieces to enjoy...

UK film talent Ivor Beddoes ideas for the movement and geography of the battle sequence.
 

A second Beddoes idea is pinned to the walls at Elstree during 1978/79.

Luke is trapped in the snow amidst a battlefield of dead soldiers, in an idea from Ivor Beddoes, working on action ideas for Irvin Kershner at Elstree.

Rebel Soldiers assist in blasting away at a fallen Walker in this storyboard idea.

Unused ground level idea of Rebel solders retreating from the Walkers legs, an action moment that was likely cut for being too ambitious and optically tricky to effectively realize.

PENCIL UNIVERSE! 'STAR WARS' STORYBOARDS: DAY FOUR - "BUT YOU ARE NOT A JEDI YET!"

In eager anticipation of the UK release of the lavish new STAR WARS STORYBOARDS: THE ORIGINAL TRILOGY hardcover by J.W. Rinzler, published by ABRAMS, AFICIONADO presents a six-day tribute to the incredible art works of the diverse visualists whose key contributions helped bring to life the defining three movies of 1977, 1980 and 1983.

Day Four celebrates the work of Ivor Beddoes. A respected and highly experienced talent in the world of British art direction, Beddoes had worked on the original STAR WARS with George Lucas during its pre-production and production stages at Elstree during late 1975 and early 1976 (mostly on key action scenes), and was soon a vital part of director Irvin Kershner's thought processes in developing the fast paced, overall grimmer atmosphere for THE EMPIRE STRIKES BACK. Especially superb in drafting physically challenging and athletic sequences, his detailed notes accompanying, well-thought out work on the now legendary lightsaber duel between Darth Vader and Luke Skywalker, deep within the claustrophobic and sweaty bowels of the floating Bespin mining colony, would surely be one of his career highlights.

Get hold of STAR WARS STORYBOARDS: THE ORIGINAL TRILOGY here: Star Wars Storyboards: The Original Trilogy: Amazon.co.uk: J.W. Rinzler: Books

COMING SOON: 'STAR WARS STORYBOARDS: THE ORIGINAL TRILOGY'

Here's a lovely spread, from the 2014 UK ABRAMS BOOKS electronic catalogue, showcasing the supreme new STAR WARS STORYBOARDS book concentrating on the stunning work done for the timeless Original Trilogy, featuring storyboards from the collective icon talents of Ivor Beddoes, Joe Johnston and others (plus, of very special exclusivity, previously unseen Ralph McQuarrie storyboards for THE EMPIRE STRIKES BACK). Note the different cover for the book here, too, what with its highlight spectacular ROTJ space battle image above Death Star II - a particular storyboard, featuring the immense Executor in battle with Rebel fighters, that was sadly never realised in the finished film....

Order the book here: Star Wars Storyboards: The Original Trilogy: Amazon.co.uk: J.W. Rinzler: Books

BEHIND THE SCENES: A JEDI HOLDS FIRM!

A defiant Obi-Wan Kenobi, looking more like a Samurai warrior than his final on-screen incarnation, uses all his skills to deflect Darth Vader's lightsaber attack in this early Ivor Beddoes storyboard for the original STAR WARS circa late 1975/early 1976

BEHIND THE SCENES IMAGE: WOOKIEE FIRST!

Chewie, Luke and friends board the Millennium Falcon ramp and prepare to escape the Death Star in this early post-production 1975/76 storyboard from Ivor Beddoes for THE STAR WARS.

CLASSIC ART: A DUEL FROM PENCIL!

The climactic lightsaber battle between Darth Vader and Luke Skywalker in the carbon freezing area of Bespin certainly didn't disappoint STAR WARS fans when THE EMPIRE STRIKES BACK arrived in cinemas in 1980. And it hasn't disappointed in repeat viewings since, either-a brilliantly choreographed and menacingly photographed sequence of action and emotional suspense. Here are some of the early storyboard ideas for the duel created by the late renoned British storyboard artist Ivor Beddoes, who also worked on key action sequences and effects concepts for the original STAR WARS and the first two Christopher Reeve SUPERMAN movies filmed back-to-back in 1977/78.


With thanks to Ian Trussler for the image.

CLASSIC IMAGE: HELP FROM AN OLD FRIEND...

Here's some great EMPIRE 1978/79 storyboards from artist unknown (possibly the UK's Ivor Beddoes?) showing Luke's capture by the Wampa and his first attempt to retrieve his fallen lightsaber. Click the pic to see a larger version. Note that, in the original sequence as stated on the board, Luke was to have heard Obi-Wan Kenobi's voice telling him to concentrate and use the Force.

With thanks to Ian Trussler for the image.

CLASSIC ART: TINY WISDOM!

Here's a fun b/w late 1978 or early 1979 storyboard, possibly by the respected UK artist Ivor Beddoes during the time he worked on storyboarding for THE EMPIRE STRIKES BACK at ELSTREE with the late director Irvin Kershner, showing a wide-eyed and innocent, dreaming of adventure and excitement Luke Skywalker conferring with an early version of Yoda within his hut home on Dagobah.

With thanks to Ian Trussler for the image.

LOOKING BACK: OBI-WAN LIVES!

Obi-Wan Kenobi makes the ultimate sacrifice for his escaping friends in STAR WARS.

Prior to March 1976, Sir Alec Guinness, playing the wise and noble Jedi Knight, Ben "Obi-Wan" Kenobi, thought he was going to survive his duel with Lord Darth Vader and go on to the Rebel Base on Yavin IV to provide both support for Princess Leia and encouragement to Luke Skywalker whilst piloting his ship against the Death Star. Here are the late 1975/ early 76 storyboards by famed UK artist Ivor Beddoes of the original sequence, which culminated in a shield door cutting the devil horned, helmeted Vader off from Kenobi (injured in battle, the Jedi is then helped back to the Millennium Falcon by Luke Skywalker):

George Lucas, however, had other ideas, and didn't want Sir Alec as an actor and Kenobi as a character having very little to do but stand in the background for the films final act. So, in advice and consultation with wife Marcia, he took the brave step of killing Kenobi off- a wise move that added drama and sadness to the film and gave it a harder edge-that main characters, despite their abilities, could be killed off unexpectedly in the STAR WARS saga- though it was a decision that Lucas struggled with right up to the start of the films shooting in Tunisia and which worried Guinness. Fortunately, Lucas also had a little plan of having Kenobi come back as a spectral Force voice at the end victory, which meant that a return of some kind for Guinness/Kenobi, in person or in voice-over, for the future (if the film was a hit) was possible.